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post #931 of 36917 Old 05-10-2015, 01:12 PM
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TV/Technology Notes
Microsoft to bring local TV channels to your Xbox One
By Mike Snider, USA Today's 'Cutting the Cord' Column - May 10, 2015



Of course, you have to be able to pick up signals from your antenna — new flat antennas can reach up to 50 miles, while outdoor antennas can pull in signals more than 100 miles away.
...
http://www.usatoday.com/story/tech/2...l-tv/70896914/
Yeah, right. It's clear that the author doesn't know diddly squat about realistic expectations for OTA reception.
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post #932 of 36917 Old 05-10-2015, 01:56 PM
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NEW DRAMAS

"BLINDSPOT"

From executive producer Greg Berlanti ("Arrow," "The Flash," "The Mysteries of Laura") comes "Blindspot": A vast international plot explodes when a beautiful Jane Doe, completely covered in mysterious, intricate tattoos, is discovered naked in Times Square with no memory of who she is or how she got there. But there's one tattoo that is impossible to miss: the name of FBI agent Kurt Weller, emblazoned across her back. "Jane," Agent Weller and the rest of the FBI quickly realize that each mark on her body is a crime to solve, leading them closer to the truth about her identity and the mysteries to be revealed.
Let me get this straight: NBC cancelled Constantine because they didn't want a show about a well established demon hunter from comic book lore with a built-in fanbase who uses a scry map to find new cases to solve... because they wanted to add a generic police show about an amnesiac who uses the tattoos on her own body to find new cases to solve? Oh, NBC, your logic continues to astound.
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post #933 of 36917 Old 05-10-2015, 01:56 PM
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The People who think OTA should be fantastic for all are probably in the same group as the ones that constantly wonder why their wireless Router is not a perfect device/system.

.

"There you go again..." - Good Ol' R. Reagan's favorite Troll line !

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post #934 of 36917 Old 05-10-2015, 02:02 PM
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Originally Posted by Aleron Ives View Post
Let me get this straight: NBC cancelled Constantine because they didn't want a show about a well established demon hunter from comic book lore with a built-in fanbase who uses a scry map to find new cases to solve... because they wanted to add a generic police show about an amnesiac who uses the tattoos on her own body to find new cases to solve? Oh, NBC, your logic continues to astound.
It also sounds like a slight variation of a show they already have, The Blacklist.
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post #935 of 36917 Old 05-10-2015, 02:09 PM
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Originally Posted by Dmon4u View Post
The People who think OTA should be fantastic for all are probably in the same group as the ones that constantly wonder why their wireless Router is not a perfect device/system.
Apparently a lot of people have no understanding of the electromagnetic spectrum.
In many places OTA reception is excellent, especially with an outdoor antenna, but there are other areas where there are no transmitters within a reasonable distance or where the terrain prevents reliable reception.

If our nation had a better attitude toward OTA, as many European nations do, we could build a system where OTA, cable, satellite, and cellular transmissions all have their appropriate roles, and the consumer gets better programming (but not as many channels, many of which tend to be worthless anyways) and information services delivered at a more reasonable cost. Some people would have to pay more in taxes, but the system overall would work better for the nation as a whole.
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post #936 of 36917 Old 05-10-2015, 02:15 PM
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It also sounds like a slight variation of a show they already have, The Blacklist.
I despise the ads that NBC ran for "The Blacklist".
They tried to make murder and gangsterism into something humorous.
Not funny at all.
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post #937 of 36917 Old 05-10-2015, 05:25 PM
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Apparently a lot of people have no understanding of the electromagnetic spectrum.
If they did, there'd be no need for LIL and Voom might still exist. Plus, DSS would be cheaper as there'd be no negotiation advantage for local affiliates.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #938 of 36917 Old 05-10-2015, 06:02 PM - Thread Starter
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Broadcast Upfronts
NBC upfront: Big changes most nights
Retools for fall after struggling to launch new shows this season
By Toni Fitzgerald, Media Life Magazine - May 10, 2015

NBC is making a number of bold moves for fall, after struggling to launch new shows this season.

The network released its fall schedule on Sunday, in advance of Monday’s NBC upfront presentation, and there are a lot of changes from this year.

The network has six new programs on the schedule, including a variety show from Neil Patrick Harris, and it’s making changes on all but one weeknight.

NBC needs to find a few new programs that can help shoulder the ratings load that’s long been carried by “Sunday Night Football” and “The Voice.”

“Voice’s” ratings are fading as the show enters its ninth season this fall, and the network had dismal development last season. It canceled all but one new show, and it has only one returning comedy.

It will use its most established shows, “Voice,” “The Blacklist” and “Grimm,” to anchor a lineup that remains heavy on dramas, including three new ones.

On Monday, the network will launch another new drama behind “The Voice,” which will continue in the 8 to 10 p.m. timeslot.

It will lead into “Blindspot,” a mystery about a woman who has no memory of getting a slew of tattoos on her body. Each week one of them is investigated.

Mysteries have fared better than action or medical dramas in this slot the past three years, where “Revolution” and “Blacklist” were launched.

On Tuesday, “Voice” remains at 8 p.m., followed by “Heartbreaker,” a drama about a fiery female heart transplant surgeon.

The variety show, “Best Time Ever with Neil Patrick Harris,” airs at 10. It’s a mishmash of comedy, games, hidden camera pranks and musical numbers.

Wednesday is the only night that returns intact, leading off with “The Mysteries of Laura,” which got a surprise season-two renewal. It was the network’s only new show to survive.

“Law & Order: Special Victims Unit” returns for season 17 at 9 p.m., followed by “Chicago P.D.”

On Thursday, NBC’s most-anticipated new show, “Heroes Reborn,” starts the night at 8 p.m. It’s a reboot of the hit 2000s series “Heroes.”

It’s a smart move since NBC has struggled on this night for years. Even moving “Blacklist,” its top scripted show to Thursdays, did not help the network much this season.

“Blacklist” will stay at 9 p.m., despite its live ratings taking a tumble since the show switched nights. And new drama “The Player,” about a security expert working in Las Vegas, takes over the 10 p.m. slot.

The network makes a big switch on Friday, where it’s launching a comedy block. NBC’s lone returning sitcom, “Undateable,” will air at 8, with a new twist. Every episode will air live next season, after a special live outing drew decent numbers earlier this week.

“Undateable” is followed by new comedy “People Are Talking,” about an outrageous pair of couples.

“Grimm” stays at 9 p.m., where it’s been the past four seasons, and “Dateline NBC” airs at 10 p.m.

Saturday will be “Dateline Saturday Night Mystery,” followed by repeats of “Saturday Night Live.”

And “Football Night in America” and “Sunday Night Football” will remain on Sundays through early January.

NBC has a number of shows waiting for midseason, including “Chicago Fire,” which will return to Tuesday at 10 once the variety show is over in November, and its new spinoff, “Chicago Med.”

“Celebrity Apprentice,” “Game of Silence,” “Shades of Blue,” “Crowded,” “Superstore,” “Hot & Bothered,” “You, Me & the End of the World,” “Coach” and “Little Big Shots” will also get midseason slots.

The network will air a live production of “The Wiz” in December.

NBC has not yet decided the fate of “A.D.: The Bible Continues” or “American Odyssey,” which debuted last month.

It has canceled “Marry Me,” “About a Boy,” Constantine,” “One Big Happy” and “State of Affairs.”

[CLICK LINK BELOW TO SEE SCHEDULE GRID]

http://www.medialifemagazine.com/nbc...n-most-nights/
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post #939 of 36917 Old 05-10-2015, 06:07 PM - Thread Starter
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Obituary
Elizabeth Wilson, Quiet Luminary Of Movies, TV And Broadway, Dies At 94
By Jeremy Gerard, Deadline.com - May 10, 2015

If you can picture Dustin Hoffman’s mother in The Graduate, or Ralph Fiennes’ in Quiz Show, or, in her best known, if least characteristic film role as the treacherous foil to Jane Fonda and Lily Tomlin in 9 To 5, you can probably summon Elizabeth Wilson’s face more quickly than her name. A ubiquitous presence in movies, television and on Broadway stages throughout a seven-decade career, Wilson died Saturday in New Haven.

With a patrician bearing that barely concealed a touch of the eccentric, Wilson was sought by directors as disparate as Alfred Hitchcock (who cast her as a waitress in The Birds) and the late Mike Nichols. He cast her not only in The Graduate and but also in Catch-22, The Day Of The Dolphin and Regarding Henry, and also in a 1973 Broadway revival of Uncle Vanya that starred Julie Christie, George C. Scott, Lillian Gish and, in the title role, Nicol Williamson. Wilson worked in television throughout her professional life, whether with Rod Serling in the 1955 drama Patterns or police procedurals including Law & Order: Criminal Intent. For Norman Lear, she played Edith Bunker’s cousin on CBS’ All in the Family. She had a recurring role in the late 1970s as star Barnard Hughes’s wife on the CBS sitcom Doc.

Wilson was born in Grand Rapids, Michigan and came to New York to study with Sanford Meisner at the Neighborhood Playhouse, which rivaled the Actors’ Studio as an incubator of major acting talent. She made her Broadway debut in the original 1953 production of William Inge’s Picnic, opposite Kim Stanley and Paul Newman. I was lucky enough to have seen her in several seminal stage roles of her late career: In 1972, she played Harriet opposite Tom Aldredge’s Ozzie Nelson in David Rabe’s searing anti-war play Sticks And Bones, for which she won the Tony Award as best actress in a featured role. In 1980, she was part of a brilliant ensemble of women including Nancy Marchand, Teresa Wright and Maureen O’Sullivan, in Vivian Matalon’s Tony-winning revival of Paul Osborne’s deceptively gentle period comedy Morning’s At Seven.

Wilson played the wife in a timid couple moved by an unknown terror to camp out with their dysfunctional neighbors in the celebrated 1996 revival of Edward Albee’s A Delicate Balance. Her last Broadway appearance was in Jeremy Sams’ revisal of Noël Coward’s Waiting in The Wings, co-starring Lauren Bacall, Rosemary Harris and the real life husband-and-wife team of Helen Stenborg and Barnard Hughes.

Other major Broadway roles included Mrs. Peachum in a 1976 revival of The Threepenny Opera and a revival 0f Eugene O’Neill’s Ah, Wilderness, playing Robards’ sister, in 1988. She continued supporting the theater, appearing at galas honoring the work of writers and directors who’d kept her busy all those years.

http://deadline.com/2015/05/elizabet...es-1201424183/
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post #940 of 36917 Old 05-10-2015, 06:11 PM - Thread Starter
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TV Notes
‘Last Man Standing’ Renewed for Season 5 on ABC
By Elizabeth Wagmeister, Variety.com - May 10, 2015

“Last Man Standing” is coming back for a fifth season, Variety has learned.

The Tim Allen comedy is the last returning ABC series to be picked up for the 2015-16 season, following a slew of over 20 comedy and drama renewals last week.

The half hour laffer is a solid performer for the Friday night lineup at ABC, which with the help of “Shark Tank” and “20/20,” has become the top network among adults 18-49 for the night.

Leading off Friday night for ABC, “Last Man Standing” has averaged a 1.8 rating in adults 18-49 and 8.2 million viewers overall, according to Nielsen’s Live+7 estimates.

The fourth season of the 20th Century Fox TV property wrapped up on April 17. The renewal comes just a few days after ABC named a new showrunner to the series. Co-executive producer Matt Berry will succeed Tom Doyle, who has spent three years as showrunner.

For its new comedy slate, ABC greenlit “Uncle Buck,” based on the John Hughes flick and starring comedian Mike Epps; “Dr. Ken” from “Community’s” Ken Jeong; family sitcom “The Real O’Neals;” and “The Muppets” remake from “The Big Bang Theory’s” Bill Prady.

Returning comedies include “Black-ish,” “Fresh Off The Boat,” “The Goldbergs,” “The Middle,” “Modern Family” and “Galavant.”

http://variety.com/2015/tv/news/last...bc-1201491995/
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post #941 of 36917 Old 05-10-2015, 06:17 PM - Thread Starter
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TV Notes
As Letterman Retires, Late Night TV Faces a Changing Landscape
By Dave Itzkoff, The New York Times - May 11, 2015

It was a typical week for late-night television: On NBC’s “Tonight” show, the host Jimmy Fallon played a catchphrase guessing game with the “Modern Family” star Sofia Vergara, and re-enacted the music video for the 1990 rock ballad “More Than Words.”

On ABC’s “Jimmy Kimmel Live,” Mr. Kimmel watched a hidden camera to see how Los Angeles pedestrians would react to a burrito dangled above Hollywood Boulevard. And on CBS’s “Late Late Show,” James Corden asked pizzeria customers to choose between the pies they had ordered and the contents of a mystery box.

Elsewhere, on CBS’s “Late Show,” David Letterman was interviewing President Obama — a ruminative, sometimes funny, casual conversation between two men who seemed almost like peers, joking about how they might share a game of dominoes after they retire.

Mr. Letterman, of course, will make that transition first: He is ending his 22-year run on “Late Show” (and a 33-year late-night career) on May 20.

When he walks out of the famously chilly Ed Sullivan Theater for the last time, he will be leaving a late-night landscape that, while brimming with potential and still attracting millions of viewers, is also scrambling to redefine itself in a world where late-night TV shows are increasingly not being watched at night, not for more than a few minutes and not on a TV.

If Mr. Letterman represented an era when a late-night show was a comprehensive end-of-day viewing experience, meant to be watched in a post-twilight setting for an hour (or until you fell asleep), the coming age is fragmented by technology, designed for online virality, unstructured and unmoored from time slots.

“People are just plucking your greatest hits, without having to sit through the rest of the show,” Mr. Kimmel, 47, the ABC host, said. “There’s more focus on singles than on albums.”

Many of the classic trappings of late-night shows are still visible: opening monologues, house bands and desk-side celebrity chitchats. What is going away is the expectation viewers will watch these programs in close to their entirety, or even sequentially. And future shows will abandon the familiar, rhythmic tempo of late-night altogether. Next year, Chelsea Handler, the former host of the E! series “Chelsea Lately,” plans to introduce a Netflix series that can be watched at any time of day and whose contents could vary widely from episode to episode. (Ms. Handler, like Trevor Noah, who will replace Jon Stewart on “The Daily Show,” has yet to appear on the air in a new late-night hosting role.)

“I don’t want it to be the same format every single night,” Ms. Handler, 40, said. “It could be 35 minutes one night, or it could be 65 minutes. We might do three episodes in a week.”

In the meantime, the people creating late-night television are experiencing varying degrees of head-scratching and hand-wringing and periods of Internet sniping as they try to determine how to distinguish their programs.

Seth Meyers, who hosts NBC’s “Late Night,” observed that nearly every comedy component that was once unique to the field has been co-opted elsewhere, but each performer can still find a signature element to stand out in the crowd.

Asked if topical competitors like “The Daily Show” had taken away some of his opening-monologue turf, Mr. Meyers, 41, replied, “Certainly.” He added: “Someone has the market cornered on everything, but no one has a monopoly on everything. I’d like to have a show that is good at a lot of different things, as opposed to just one thing.”

In a positive development for these shows, the Internet has allowed them to reach larger audiences while their broadcast ratings remain healthy.

Mr. Fallon, 40, the 11:35 p.m. champion, has nearly four million nightly viewers, while Mr. Kimmel and Mr. Letterman get about 2.7 million each. (These numbers are down over all from earlier, less fragmented eras — Jay Leno’s “Tonight” show drew about six million viewers and Mr. Letterman’s “Late Show” about four million when they went head-to-head in the 2000s.)

A successful online video from one of those shows, however, can be even more powerful. A reunion of the “Saved by the Bell” cast or a woman appearing to set herself aflame while attempting to twerk can receive tens of millions of views.

Mr. Fallon’s recurring celebrity lip-sync competitions are popular enough to have spawned a hit spinoff series, “Lip Sync Battle,” on the Spike cable channel.

Still, there is concern that pursuing online virality for its own sake will backfire. “You cannot be chasing that, because it’s futile,” said Mr. Corden, 36, the British actor who took over “Late Late Show” in March. “If you just want to have a great viral clip,” he added, “I’ll strip naked and run down Sunset Boulevard. That will get loads of views.”

Others have criticized the use of these offbeat segments for creating an overly clubby sensibility. In April, Andrés du Bouchet, a writer for TBS’s “Conan,” criticized other programs for an overreliance on gimmickry that he called “Prom King Comedy.”

“No celebrities, no parodies, no pranks, no mash-ups or hashtag wars,” Mr. du Bouchet wrote in a series of Twitter posts that were later deleted.

“You’ve let the popular kids appropriate the very art form that helped you deal,” he wrote. “None of the funniest stuff ever involved celebrity cameos.”

Mr. du Bouchet, who appeared to be attacking rival hosts like Mr. Fallon, was reprimanded by his own boss. Conan O’Brien, the former “Late Night” and “Tonight” show host, wrote on Twitter that one of his writers should “focus on making my show funnier instead of tweeting stupid things about the state of late-night comedy.”

Through their press representatives, Mr. Fallon, Mr. O’Brien and their staffs declined to comment for this article.

Mr. Kimmel, without naming names, said this debate reflected “a stupid way of looking at things.”

“Should we force guests to sit in their chairs and only talk?” he said. “People are not allowed to get up and perform? These are variety shows, and there’s more variety than there ever was before.”

That evolution is as much a result of shifts in the talents of the people leading these programs as in technology. Where Mr. Letterman broke in as a stand-up comic and Mr. O’Brien as a TV comedy writer, hosts like Mr. Fallon and Mr. Corden are more seasoned and dynamic performers.

Stephen Colbert, 50, who played an acerbic political commentator on “The Colbert Report” on Comedy Central, will set aside this character when he takes over at “Late Show” in September. Prospective writers for his “Late Show” have been told the host still enjoys “active and silly comedy,” according to a set of submission guidelines these writers were provided, and have been asked to pitch jokes based on news stories as well as comedy bits Mr. Colbert can perform with guests.

Mr. Letterman, whose “Late Night” program on NBC provided a cutting-edge companion to Johnny Carson’s “Tonight” show in the 1980s, was welcoming of this latest wave of change.

Going back to the creation of the “Tonight” show in 1954, Mr. Letterman said, “If you take a look at early Steve Allen shows, I’ll bet you could find versions of what is now being done — maybe not as slick, certainly not in color.”

Mr. Letterman said the seeds of change “were sown decades ago, and good for these guys that they found something else to do.”

Merrill Markoe, Mr. Letterman’s original head writer at “Late Night,” said that many of its comic creations — Top 10 lists; Velcro suits; hydraulic-press experiments — were a response at the time to the perceived rigidity of Mr. Carson’s show. The challenge she and her colleagues faced, she said, was to “bring something new to the landscape,” which she said is “still the job definition.”

Inevitably, for every late-night era, what once seemed daring and unfamiliar will someday become the tradition for the next generation to push against.

“Over 20 years ago, we said goodbye to Carson,” said Nell Scovell, a former writer for Mr. Letterman’s “Late Night” program.

“This month, we’ll say goodbye to Letterman,” she added. “And 20 years from now, we’ll all lip-sync goodbye to Jimmy Fallon.”

http://www.nytimes.com/2015/05/11/ar...?ref=arts&_r=0

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post #942 of 36917 Old 05-10-2015, 10:04 PM
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Originally Posted by Keenan View Post
It also sounds like a slight variation of a show they already have, The Blacklist.

If you know what Blacklist is all about, please share. Do I like it? Yes. Do I understand it? Hell, no.
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post #943 of 36917 Old 05-11-2015, 05:42 AM
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Fox fall 2015 schedule

FOX FALL 2015 SCHEDULE
(All Times ET/PT)

MONDAY
8:00-9:00 PM GOTHAM
9:00-10:00 PM MINORITY REPORT (new)

TUESDAY
8:00-8:30 PM GRANDFATHERED (new)
8:30-9:00 PM THE GRINDER (new)
9:00-10:00 PM SCREAM QUEENS (new)

WEDNESDAY
8:00-9:00 PM ROSEWOOD (new)
9:00-10:00 PM EMPIRE

THURSDAY
8:00-9:00 PM BONES
9:00-10:00 PM SLEEPY HOLLOW

FRIDAY
8:00-9:00 PM MASTERCHEF JUNIOR
9:00-10:00 PM WORLD'S FUNNIEST

SATURDAY
7:00-10:30 PM FOX SPORTS SATURDAY: FOX COLLEGE FOOTBALL

SUNDAY
7:00-7:30 PM NFL ON FOX
7:30-8:00 PM THE OT / BOB'S BURGERS
8:00-8:30 PM THE SIMPSONS
8:30-9:00 PM BROOKLYN NINE-NINE
9:00-9:30 PM FAMILY GUY
9:30-10:00 PM THE LAST MAN ON EARTH

FOX ANNOUNCES NEW PRIMETIME SERIES FOR 2015-2016 SEASON

ONE NEW COMEDY-HORROR ANTHOLOGY, FOUR NEW COMEDIES, FOUR NEW DRAMAS AND ONE
NEW EVENT SERIES JOIN SCHEDULE

ALL-NEW TUESDAY BEGINS THIS FALL WITH JOHN STAMOS COMEDY "GRANDFATHERED,"
"THE GRINDER," STARRING ROB LOWE AND FRED SAVAGE, AND RYAN MURPHY'S
COMEDY-HORROR SERIES "SCREAM QUEENS"

FUTURISTIC CRIME DRAMA "MINORITY REPORT" AND MIAMI-SET PROCEDURAL
"ROSEWOOD," FEATURING MORRIS CHESTNUT, TO DEBUT THIS FALL

"THE X-FILES" BEGINS ITS TWO-NIGHT PREMIERE EVENT, FOLLOWING NFC
CHAMPIONSHIP GAME SUNDAY, JANUARY 24

NEW SERIES SET TO PREMIERE IN 2016 INCLUDE DEVILISH, DC COMICS-INSPIRED
"LUCIFER," MODERN ACTION DRAMA "THE FRANKENSTEIN CODE," YOUNG ENSEMBLE
COMEDY "THE GUIDE TO SURVIVING LIFE" AND ANIMATED SATIRE "BORDERTOWN"

AMERICAN IDOL Begins Its Final Season Celebration in January; NEW GIRL
Returns in January with Season of Uninterrupted Episodes; GREASE: LIVE
Electrifies Sunday, January 31

New York - Dana Walden and Gary Newman, Chairmen and CEOs, Fox Television
Group, today unveiled the FOX primetime slate for the 2015-2016 television
season to the national advertising community during its annual Programming
Presentation at the Beacon Theatre.

"Building on the phenomenal momentum created by GOTHAM, THE LAST MAN ON
EARTH and, of course, EMPIRE, we're infusing next season's schedule with
new ambitious dramas, smart comedies, aspirational unscripted series and
big live events and specials - all from the best creators in the business,"
said Walden and Newman. "And our strategy with these bold creative swings
is simple: schedule them strategically, market them relentlessly and create
events that break through and captivate viewers across every platform."

Tuesdays are all-new this fall on FOX, with new comedies GRANDFATHERED and
THE GRINDER, followed by killer comedy-horror series SCREAM QUEENS.

The new comedies kicking off an all-new Tuesday are GRANDFATHERED and THE
GRINDER. A comedy about coming of age - at any age - GRANDFATHERED stars
John Stamos ("Full House," "ER") as the ultimate bachelor whose life is
turned upside down when he discovers he's not only a father, but a
grandfather. THE GRINDER, starring Emmy Award nominee Rob Lowe ("Parks and
Recreation," "The West Wing") and Emmy Award and Golden Globe Award nominee
Fred Savage ("The Wonder Years"), follows a famous TV lawyer (Lowe) who,
after his hit series, "The Grinder," is canceled, moves back home and joins
his brother (Savage) at their family's real-life law firm - despite having
no formal education, no bar certification, no license to practice and no
experience in an actual courtroom.

Award-winning executive producers Ryan Murphy (GLEE, "American Horror
Story"), Brad Falchuk (GLEE, "American Horror Story") and Ian Brennan
(GLEE) meld comedy, mystery and horror in SCREAM QUEENS. All hell is about
to break loose for the Kappa House sisters of Wallace University when a
murder takes place, exactly 20 years after a mysterious death originally
rocked their college campus. The super-charged anthology series is a modern
take on the classic whodunit with a killer cast, including Emma Roberts
("American Horror Story: Freak Show," "Scream 4"), Jamie Lee Curtis
("Halloween," "A Fish Called Wanda," "True Lies"), Lea Michele (GLEE),
Oliver Hudson ("Nashville," "Rules of Engagement"), Keke Palmer ("Akeela
and the Bee," "Masters of Sex") and guest stars Ariana Grande and Nick
Jonas ("Kingdom"), among others. With at least one casualty each week until
the mystery is solved, anyone could be the next victim - or the murderer.

Two new dramas - the futuristic MINORITY REPORT and the Miami-set ROSEWOOD
- debut this fall. Based on Steven Spielberg's international blockbuster
film and the first of his films to be adapted for television, MINORITY
REPORT follows the partnership between a man (Stark Sands, "Inside Llewyn
Davis") haunted by the future and a cop (Meagan Good, "Think Like A Man"
franchise, "Californication") haunted by her past, as they race to stop the
worst crimes before they happen.

Also joining the schedule this fall is ROSEWOOD. From executive producer
Todd Harthan ("Psych," "Dominion"), ROSEWOOD stars Morris Chestnut ("Nurse
Jackie," "The Best Man" franchise) as DR. BEAUMONT ROSEWOOD, JR., a
brilliant private pathologist who uses wildly sophisticated technology and
his drive to live life to the fullest to help a tough-as-nails detective
(Jaina Lee Ortiz, "The After") and the Miami PD uncover clues no one else
can see.

The next mind-bending chapter of THE X-FILES debuts with a special
two-night event beginning Sunday, Jan. 24 (10:00-11:00 PM ET/7:00-8:00 PM
PT), following the NFC CHAMPIONSHIP GAME, and continuing with its time
period premiere on Monday, Jan. 25 (8:00-9:00 PM ET/PT). The thrilling,
six-episode event series, helmed by creator/executive producer Chris Carter
and starring David Duchovny and Gillian Anderson as FBI Agents FOX MULDER
and DANA SCULLY, marks the momentous return of the Emmy Award- and Golden
Globe-winning pop culture phenomenon, which remains one of the
longest-running sci-fi series in network television history.

In 2016, additional new series joining the schedule include devilish drama
LUCIFER and modern action series THE FRANKENSTEIN CODE; and two comedies,
THE GUIDE TO SURVIVING LIFE and animated BORDERTOWN.

Based on characters from DC Entertainment's Vertigo imprint, LUCIFER stars
Tom Ellis ("Merlin") as the charming, charismatic and handsome-as-hell
original fallen angel, who, bored and unhappy in Hell, takes refuge in Los
Angeles, where he uses his gift of persuasion to punish bad guys. But the
longer he's away from the underworld, the greater the threat that the worst
of humanity could escape.

In THE FRANKENSTEIN CODE, from executive producer/writer Rand Ravich
("Life," "Crisis") and executive producer Howard Gordon ("Homeland," "24"),
a disgraced, 75-year-old ex-sheriff, whose life ends at the hands of
corrupt cops, is brought back to life and given a second chance by a pair
of young tech scientists, as a 35-year-old (Rob Kazinsky, "True Blood")
with unpredictable near-superhuman abilities.

NEW GIRL will return to Tuesdays in January, for its first-ever season of
virtually uninterrupted originals. These weekly all-new episodes will
platform THE GUIDE TO SURVIVING LIFE, the new young ensemble comedy about a
group of friends living together for the first time. Each episode is told
from the perspective of COOPER BARRETT (Jack Cutmore-Scott, "Kingsman: The
Secret Service"), a wickedly charming and deeply flawed recent college grad
whose life is filled with terrible choices, excellent mistakes and
fantastic misadventures.

A new animated comedy from FAMILY GUY's Mark Hentemann and Seth MacFarlane,
BORDERTOWN is a satirical look at the cultural shifts taking place in
America. Exploring family, politics and everything in between with a
cross-cultural wink, the series centers on two very different families
living in a fictional Southwest desert town on the U.S. - Mexico border.

AMERICAN IDOL will begin its 15th - and final - season this January on FOX.
A season-long celebratory event, AMERICAN IDOL XV will feature host Ryan
Seacrest and judges Jennifer Lopez, Keith Urban and Harry Connick, Jr., as
they search for the final IDOL superstar and pay tribute to the past 14
seasons of amazingly talented contestants and the millions of fans who
tweeted, texted and championed their IDOLs.

As previously announced, GREASE: LIVE, a three-hour production of the
massively popular crossover musical "Grease," starring superstar singers,
dancers and actresses Julianne Hough ("Safe Haven," "Rock of Ages") and
Vanessa Hudgens (Broadway's "Gigi," "Spring Breakers"), will air LIVE
Sunday, Jan. 31, 2016 on FOX. With Hough as the angelic "Sandy" - Rydell
High's most talked-about newcomer - and Hudgens as iconic bad girl "Rizzo,"
this first-ever live television production of "Grease" will re-imagine the
hit musical for an entirely new generation.

Additional FOX series include: ARE YOU SMARTER THAN A 5TH GRADER?, BOB'S
BURGERS, BOOM!, BONES, BROOKLYN NINE-NINE, BULLSEYE, EMPIRE, FAMILY GUY,
GOTHAM, HELL'S KITCHEN, MASTERCHEF, MASTERCHEF JUNIOR, THE SIMPSONS, SLEEPY
HOLLOW, SO YOU THINK YOU CAN DANCE and WORLD'S FUNNIEST.

Additional schedule information to be announced.

FOX 2015-2016 PRIMETIME SCHEDULE - Page 4

Following are the FOX fall 2015 primetime schedule, as well as social media
information for and synopses of the new series:

FOX FALL 2015 SCHEDULE
(All Times ET/PT)

MONDAY
8:00-9:00 PM GOTHAM
9:00-10:00 PM MINORITY REPORT (new)

TUESDAY
8:00-8:30 PM GRANDFATHERED (new)
8:30-9:00 PM THE GRINDER (new)
9:00-10:00 PM SCREAM QUEENS (new)

WEDNESDAY
8:00-9:00 PM ROSEWOOD (new)
9:00-10:00 PM EMPIRE

THURSDAY
8:00-9:00 PM BONES
9:00-10:00 PM SLEEPY HOLLOW

FRIDAY
8:00-9:00 PM MASTERCHEF JUNIOR
9:00-10:00 PM WORLD'S FUNNIEST

SATURDAY
7:00-10:30 PM FOX SPORTS SATURDAY: FOX COLLEGE FOOTBALL

SUNDAY
7:00-7:30 PM NFL ON FOX
7:30-8:00 PM THE OT / BOB'S BURGERS
8:00-8:30 PM THE SIMPSONS
8:30-9:00 PM BROOKLYN NINE-NINE
9:00-9:30 PM FAMILY GUY
9:30-10:00 PM THE LAST MAN ON EARTH

FOX 2015-2016 PRIMETIME SCHEDULE SOCIAL MEDIA INFORMATION

BORDERTOWN Bordertown @Border TOWNonFOX / #bordertown

THE FRANKENSTEIN CODE TheFrankensteinCode @Frankenstein FOX /
#frankensteincode

GRANDFATHERED Grandfathered @Grandfather ed / #grandfathered

THE GRINDER TheGrinderFOX @theg rinderFOX / #thegrinder

THE GUIDE TO SURVIVING LIFE TheGuideToSurvivingLife @guid eToLifeFOX /
#guidetolife

LUCIFER LuciferonFOX @lucifer onFOX / #lucifer

MINORITY REPORT MinorityReportFOX @Minority RepFOX / #minorityreport

ROSEWOOD RosewoodFOX @Rosewood FOX / #rosewood

SCREAM QUEENS ScreamQueensFOX @ScreaM Queens / #screamqueens

THE X-FILES The X-Files @THeX FilesFOX / #thexfiles

FOX 2015-2016 PRIMETIME SCHEDULE

NEW SERIES SYNOPSES

The following new anthology series will debut this fall on FOX:

SCREAM QUEENS
The girls of Kappa House are dying for new pledges. SCREAM QUEENS is a new
killer comedy-horror series from Ryan Murphy, Brad Falchuk and Ian Brennan,
the Emmy- and Golden Globe Award-winning executive producers of GLEE and
"American Horror Story." Wallace University is rocked by a string of
murders. Kappa House, the most sought-after sorority for pledges, is ruled
with an iron fist (in a pink glove) by its Queen Bitch, CHANEL OBERLIN
(Emma Roberts, "American Horror Story: Freak Show," "Scream 4"). But when
anti-Kappa DEAN MUNSCH (Jamie Lee Curtis, "Halloween," "A Fish Called
Wanda," "True Lies") decrees that sorority pledging must be open to all
students, and not just the school's silver-spooned elite, all hell is about
to break loose, as a devil-clad killer begins wreaking havoc, claiming one
victim, one episode at a time. Part black comedy, part slasher flick,
SCREAM QUEENS is a modern take on the classic whodunit, in which every
character has a motive for murder... or could easily be the next
blood-soaked casualty. SCREAM QUEENS stars Emma Roberts, Jamie Lee Curtis,
Emmy Award and Golden Globe Award nominee Lea Michele (GLEE), Academy Award
nominee Abigail Breslin ("Little Miss Sunshine," "Zombieland," "August:
Osage County"), Nasim Pedrad ("Saturday Night Live"), Oliver Hudson
("Nashville," "Rules of Engagement"), Skyler Samuels ("American Horror
Story: Coven"), Keke Palmer ("Akeela and the Bee," "Masters of Sex"),
newcomer Billie Lourd, Diego Bonita ("Rock of Ages"), Glen Powell ("The
Expendables 3"), Lucien Laviscount ("Episodes"), Niecy Nash ("Getting On,"
"The Soul Man"), pop superstar and actor Nick Jonas ("Kingdom") and Grammy
Award nominee and actress Ariana Grande.

PRODUCTION COMPANIES: 20th Century Fox Television, Ryan Murphy Television,
Brad Falchuk Teley-Vision
CO-CREATORS/WRITERS/EXECUTIVE PRODUCERS: Ryan Murphy, Brad Falchuk, Ian
Brennan
DIRECTORS: Ryan Murphy, Brad Falchuk, Ian Brennan
CAST: Emma Roberts as Chanel Oberlin, Jamie Lee Curtis as Dean Munsch, Lea
Michele as Hester, Abigail Breslin as Chanel #5 , Nasim Pedrad as Gigi,
Oliver Hudson as Wes, Skyler Samuels as Grace, Keke Palmer as Zayday,
Billie Lourd as Chanel #3 , Diego Boneta as Pete, Glen Powell as Chad,
Lucien Laviscount as Earl, Niecy Nash as Denise, Nick Jonas as Boone,
Ariana Grande as Chanel #2

The following new comedies will premiere this fall on FOX:

GRANDFATHERED
What's the fastest way to put the brakes on a cruise-controlled bachelor
lifestyle? Fatherhood? Guess again. Television icon John Stamos ("Full
House," "ER") stars in a new comedy about the ultimate bachelor who
discovers he's not only a father, but a grandfather. Successful
restaurateur and man-about-town JIMMY MARTINO (Stamos) is used to being the
most suave, most handsome and most single person in the room. All that
changes with the surprise appearance of Jimmy's adult son, GERALD (Josh
Peck, THE MINDY PROJECT), and his baby daughter, EDIE. Now Jimmy has to
unlearn a lifetime of blissful selfishness and grapple with the fact that
he went straight from single to grandfather in six seconds flat. Keeping
tabs on Jimmy is Gerald's mother and Jimmy's former girlfriend, rocker
chick-turned-mother SARA (Paget Brewster, "Criminal Minds," "Community").
Equally concerned about how Jimmy will manage these new developments is
Jimmy's restaurant family, especially assistant manager ANNELISE (Kelly
Jenrette, "Audrey") and chef KEN (Ravi Patel, "Super Fun Night"). Can Jimmy
teach Gerald to be a little more like him in order to win the affection of
Edie's hot mess of a mom, VANESSA (Christina Milian, FAMILY GUY, "Baggage
Claim")? Will Jimmy and Sara fall for each other all over again, even
though she's the one thing he never dates - a woman his own age? And who's
higher maintenance, Jimmy or the baby? GRANDFATHERED is an unconventional,
sophisticated comedy about coming of age - at any age.

PRODUCTION COMPANY: ABC Studios, 20th Century Fox Television
WRITER: Daniel Chun
EXECUTIVE PRODUCERS: Daniel Chun, Dan Fogelman, John Stamos
DIRECTOR: Chris Koch
CAST: John Stamos as Jimmy, Josh Peck as Gerald, Paget Brewster as Sara,
Christina Milian as Vanessa, Kelly Jenrette as Annelise, Ravi Patel as Ken

THE GRINDER
How many TV lawyers does it take to try a real-life case in a real-life
courtroom? One, and his name is THE GRINDER. Starring Emmy Award nominee
Rob Lowe ("Parks and Recreation," "The West Wing"), THE GRINDER is a new
comedy about a famous TV lawyer at a crossroads. When his legal series
ends, he decides to move back home and join his family's real law firm -
despite having no formal education, no bar certification, no license to
practice and no experience in an actual courtroom. DEAN SANDERSON (Lowe)
spent eight seasons playing the title role on the hit legal drama "The
Grinder." Now he's moving back to his hometown of Boise, Idaho, where his
brother, STEWART (Emmy Award and Golden Globe Award nominee Fred Savage,
"The Wonder Years"), is a real-life attorney who is poised to take over the
family law firm. It doesn't take long for Dean to start injecting his TV
drama into every aspect of Stewart's life, both in the courtroom and at
home, impacting Stewart's wife - and Dean's high school sweetheart - DEBBIE
(Mary Elizabeth Ellis, NEW GIRL, "It's Always Sunny in Philadelphia");
their two kids, 15-year-old LIZZIE (Hana Hayes, "Bucket and Skinner's Epic
Adventures") and 13-year-old ETHAN (Connor Kalopsis, "Days Of Our Lives");
and Dean and Stewart's father, the law firm's head, DEAN SR. (William
Devane, "24: Live Another Day"). Dean and Stewart don't see to eye to eye,
but when they stop arguing with each other and start arguing together in
court... they make a formidable team. THE GRINDER is the story of two
brothers, who took different paths, but meet again in the middle - for
justice... sort of.

PRODUCTION COMPANY: 20th Century Fox Television
WRITERS: Andrew Mogel, Jarrad Paul
EXECUTIVE PRODUCERS: Andrew Mogel, Jarrad Paul, Nicholas Stoller, Jake
Kasdan, Rob Lowe
DIRECTOR: Jake Kasdan
CAST: Rob Lowe as Dean, Fred Savage as Stewart, Mary Elizabeth Ellis as
Debbie, William Devane as Dean Sr., Hana Hayes as Lizzie, Connor Kalopsis
as Ethan

The following new dramas will debut this fall on FOX:

MINORITY REPORT
The future is coming. Based on the international blockbuster film by
executive producer Steven Spielberg and the first of his films to be
adapted for television, MINORITY REPORT follows the unlikely partnership
between a man haunted by the future and a cop haunted by her past, as they
race to stop the worst crimes of the year 2065 before they happen. Set in
Washington, D.C., it is 10 years after the demise of Precrime, a law
enforcement agency tasked with identifying and eliminating criminals...
before their crimes were committed. To carry out this brand of justice, the
agency used three precogs - "precognitives" Dash, Arthur and Agatha - who
were able to see the future. Now, in 2065, crime-solving is different, and
justice leans more on sophisticated and trusted technology than on the
instincts of the precogs. Precog DASH (Stark Sands, "Inside Llewyn Davis")
- driven by his terrifying, but fragmented visions - now has returned in
secret to help a brash, but shrewd police detective, LARA VEGA (Meagan
Good, "Think Like A Man" franchise, "Californication"), attempt to stop the
murders that he predicts. As they navigate this future America, they will
search for Dash's missing twin brother, ARTHUR, and elude others who will
stop at nothing to exploit their precog abilities. Also complicating
matters is Dash and Arthur's ingenious, but reclusive, foster sister,
AGATHA (Laura Regan, "Mad Men," "Unbreakable"), who just wants Dash to
return home. A drama of crime and conspiracy, this is a timeless story of
connection: two lost souls, Dash and Vega, who find friendship, purpose and
redemption in each other.

PRODUCTION COMPANIES: 20th Century Fox Television, Paramount Television,
Amblin Television
WRITTEN/DEVELOPED BY: Max Borenstein
EXECUTIVE PRODUCERS: Max Borenstein, Kevin Falls, Steven Spielberg, Darryl
Frank, Justin Falvey, Mark Mylod
DIRECTOR: Mark Mylod
CAST: Meagan Good as Vega, Stark Sands as Dash/Arthur, Wilmer Valderrama as
Will Blake, Daniel London as Wally, Laura Regan as Agatha, Li Jun Li as
Akeela, Zhane Hall as Rico

ROSEWOOD
Meet the Beethoven of private pathologists... From executive producer Todd
Harthan ("Psych," "Dominion"), ROSEWOOD is the story of DR. BEAUMONT
ROSEWOOD, JR. (Morris Chestnut, "Nurse Jackie," "The Best Man" franchise),
the most brilliant private pathologist in Miami. Using his wildly
sophisticated autopsy lab, he performs for-hire autopsies to uncover clues
that the Miami PD can't see. His new partner-in-crime is Detective VILLA
(Jaina Lee Ortiz, "The After"), a Miami PD detective with attitude and
demons to spare. While she's impressed by Rosewood's incredible abilities,
his constant optimism is more annoying than it is infectious. But somehow,
week-to-week, this unlikely tag team will solve many crimes together.
Joining Rosewood in his practice are his sister and "toxicology queen,"
PIPPY (Gabrielle Dennis, "The Game"); and DNA specialist TARA MILLY IZIKOFF
aka TMI (Anna Konkle, "Man Seeking Woman," "Betas"), who is Pippy's
fiancée. Plagued with his own set of medical ailments, Rosewood sees that
every moment of life should be embraced and lived to the fullest. And those
moments of victims' lives that will never be are what drive him the most.

PRODUCTION COMPANIES: 20th Century Fox Television, Temple Hill
WRITER: Todd Harthan
EXECUTIVE PRODUCERS: Todd Harthan, Wyck Godfrey, Marty Bowen, Richard
Shepard
DIRECTOR: Richard Shepard
CAST: Morris Chestnut as Beaumont Rosewood, Jr., Jaina Lee Ortiz as Det.
Villa, Gabrielle Dennis as Pippy, Anna Konkle as TMI, Maggie Elizabeth
Jones as Bella

The following new event series will debut in January 2016 on FOX:

THE X-FILES
Thirteen years after the original series run, the next mind-bending chapter
of THE X-FILES will be a thrilling, six-episode event series helmed by
creator/executive producer Chris Carter, with stars David Duchovny and
Gillian Anderson re-inhabiting their roles as iconic FBI Agents FOX MULDER
and DANA SCULLY. This marks the momentous return of the Emmy- and Golden
Globe Award-winning pop culture phenomenon, which remains one of the
longest-running sci-fi series in network television history. Production on
THE X-FILES event series is set to begin in summer 2015. THE X-FILES
originally premiered in September 1993. Over the course of its nine-season
run, the influential series went from breakout sci-fi favorite to massive
global hit, and became one of the most successful television dramas of all
time. The show, which earned 16 Emmy Awards, five Golden Globes and a
Peabody Award, follows FBI special agents Scully (Anderson) and Mulder
(Duchovny), as they investigate unexplained cases - "X-Files" - for which
the only answers involve paranormal phenomena.

PRODUCTION COMPANIES: 20th Century Fox Television, Ten Thirteen Productions
CREATOR: Chris Carter
EXECUTIVE PRODUCERS: Chris Carter, Glen Morgan
CAST: David Duchovny as FBI Special Agent Fox Mulder, Gillian Anderson as
FBI Special Agent Dana Scully, Mitch Pileggi as Walter Skinner

The following new comedies will debut in midseason on FOX:

THE GUIDE TO SURVIVING LIFE
Wouldn't it be great to have a friend who has made all the mistakes in life
there are to make, and then tells you exactly where he went wrong, so you
don't have to? THE GUIDE TO SURVIVING LIFE is a new comedy that explores
what we all go through on our way to figuring out what life is all about.
COOPER BARRETT (Jack Cutmore-Scott, "Kingsman: The Secret Service") still
doesn't have the job he wants; he's accidently fallen in love with his
across-the-hall neighbor, KELLY BISHOP (Meaghan Rath, "Being Human"); one
of his roommates, NEAL (Charlie Saxton, "Betas," "Hung"), just can't seem
to dump his bodybuilder girlfriend; his other roommate, BARRY (James Earl,
"Ground Floor," GLEE), is a "loveable jackass" who can't stop getting into
trouble; and his 40-year-old-brother, JOSH (Justin Bartha, "The New
Normal," "The Hangover" franchise), a married father of two, is constantly
popping in to come hang with the fellas. The one thing they do have is each
other. As Cooper struggles to survive each of life's many challenges - a
night in jail, an inappropriate text he never should have sent, an
ill-advised household pet - he will guide us through the often-messy,
always-hilarious ordeal, so that our lives don't have to be nearly the
entertaining disaster that Cooper's is turning out to be.

PRODUCTION COMPANIES: 20th Century Fox Television, The Jackal Group
WRITER: Jay Lacopo
EXECUTIVE PRODUCERS: Jay Lacopo, Gail Berman, Bill Callahan, James Griffiths
DIRECTOR: James Griffiths
CAST: Jack Cutmore-Scott as Cooper, Meaghan Rath as Kelly, James Earl as
Barry, Charlie Saxton as Neal, Justin Bartha as Josh, Maureen Sebastian as
Leslie

BORDERTOWN
From FAMILY GUY's Mark Hentemann comes BORDERTOWN, a new animated comedy
about two families living in a Southwest desert town on the U.S. - Mexico
border. The series takes a satirical look at the cultural shifts occurring
in America, where the U.S. Census forecasts that by 2017, ethnic minorities
will become the majority. Set against this increasingly diverse backdrop,
the comedy explores family, politics and everything in between with a
cross-cultural wink. BORDERTOWN centers on two clans: the Buckwalds and the
Gonzalezes. BUD BUCKWALD (Hank Azaria, THE SIMPSONS) is a married father of
three and a Border Patrol agent who is just a tad behind the times and
feels slightly threatened by the cultural changes transforming his
neighborhood. He lives next door to ERNESTO GONZALEZ (Nicholas Gonzalez,
SLEEPY HOLLOW), an ambitious family man, who has been in the country less
than 10 years, but is already doing better than Bud - which, it turns out,
is a bit of an issue for Bud. Bud is married to JANICE BUCKWALD (Alex
Borstein, FAMILY GUY), both the wisest and most oblivious member of the
family. The Buckwald kids include BECKY (Borstein), a socially awkward,
big-boned geek; SANFORD (Judah Friedlander, "30 Rock"), a loser who thinks
he's a player; and GERT (Missi Pyle, "The Exes," "Galaxy Quest"), a beauty
pageant-obsessed five-year-old with a pet pig. Meanwhile, living the
American Dream next door are the Gonzalezes, including MARIA (Stephanie
Escajeda, "100 Things To Do Before High School"), Ernesto's no-nonsense
wife; their son, RUIZ (guest voice Efren Ramirez, "Napoleon Dynamite"); and
their 21-year-old nephew, J.C. (Gonzalez), a graduate student who is
engaged to Becky and frequently butts heads with Bud. As Bud and Ernesto's
paths begin to cross, their two families soon become bound by romance,
conflict and, perhaps most importantly, friendship - a word that means the
same, no matter what side of the border you're from.

PRODUCTION COMPANY: 20th Century Fox Television
CREATOR/WRITER: Mark Hentemann
EXECUTIVE PRODUCERS: Seth MacFarlane, Mark Hentemann
CO-EXECUTIVE PRODUCERS: Alex Carter, Dan Vebber
CONSULTING PRODUCERS: Lalo Alcaraz, Gustavo Arellano
SUPERVISING PRODUCER: Valentina L. Garza
CAST: Hank Azaria as Bud Buckwald, Nicholas Gonzalez as Ernesto Gonzalez
and J.C Gonzalez, Alex Borstein as Janice and Becky Buckwald, Missi Pyle as
Gert Buckwald, Judah Friedlander as Sanford Buckwald, Stephanie Escajeda as
Maria Gonzalez, Efren Ramirez as Ruiz Gonzalez

The following new drama series will debut in midseason 2016 on FOX:

THE FRANKENSTEIN CODE
What would you do with a second chance? From executive producer/writer Rand
Ravich ("Life," "Crisis") and executive producer Howard Gordon ("Homeland,"
"24") comes THE FRANKENSTEIN CODE, a modern reimagining of the Mary Shelley
classic, about a man brought back to life by two scientists playing god.
Seventy-five-year-old JIMMY PRITCHARD (guest star Philip Baker Hall,
"Modern Family," "Magnolia") is a shell of his former self. A drinker, a
womanizer and a father who always put work before family, Pritchard was
forced to resign as L.A. County Sheriff for corrupt conduct more than a
decade ago. Now, some 15 unkind years later, he is killed when he stumbles
upon a robbery at the home of FBI Agent DUVAL PRITCHARD (Tim DeKay, "White
Collar"), one of his three children. But death is surprisingly short for
Jimmy, who is brought back to life by billionaire tech-genius twins MARY
GOODWIN (Dilshad Vadsaria, "Revenge") and her brother, OTTO (Adhir Kalyan,
"Rules of Engagement"), founders of the social networking empire,
Lookinglass. Resurrected as a younger version of himself, with physical
abilities of which he never dreamed, a re-animated Pritchard (Rob Kazinsky,
"True Blood") is given a second chance at life. What will he do with it?
Will he seek vengeance against those who killed him? Will he try to repair
the damage he did to his family? Will he embrace a new sense of purpose or
fall prey to old temptations?

PRODUCTION COMPANIES: 20th Century Fox Television, Teakwood Lane
Productions, Kara Productions
WRITER: Rand Ravich
EXECUTIVE PRODUCERS: Rand Ravich, Howard Gordon, Michael Cuesta (pilot)
CO-EXECUTIVE PRODUCER: Hugh Fitzpatrick
DIRECTOR: Michael Cuesta
CAST: Rob Kazinsky as Jimmy Pritchard, Dilshad Vadsaria as Mary, Adhir
Kalyan as Otto, Tim DeKay as Duval Pritchard, Ciara Bravo as Gracie
Pritchard

LUCIFER
The Devil has come to Los Angeles... Based upon the characters created by
Neil Gaiman, Sam Kieth and Mike Dringenberg for DC Entertainment's Vertigo
imprint, LUCIFER is the story of the original fallen angel. Bored and
unhappy as the Lord of Hell, LUCIFER MORNINGSTAR (Tom Ellis, "Merlin") has
abandoned his throne and retired to L.A., where he owns Lux, an upscale
nightclub. Charming, charismatic and devilishly handsome, Lucifer is
enjoying his retirement, indulging in a few of his favorite things - wine,
women and song - when a beautiful pop star is brutally murdered outside of
Lux. For the first time in roughly 10 billion years, he feels something
awaken deep within him as a result of this murder. Compassion? Sympathy?
The very thought disturbs him - as well as his best friend and confidante,
MAZIKEEN aka MAZE (Lesley-Ann Brandt, "The Librarians"), a fierce demon in
the form of a beautiful young woman. The murder attracts the attention of
LAPD homicide detective CHLOE DANCER (Lauren German, "Chicago Fire"), who
initially is dismissive of Lucifer. But she becomes intrigued by his talent
for drawing out people's secrets and his desire to dispense justice, doling
out punishment to those who deserve it. As they work together to solve the
pop star's murder, Lucifer is struck by Chloe's inherent goodness.
Accustomed to dealing with the absolute worst of humanity, Lucifer is
intrigued by Chloe's apparent purity and begins to wonder if there's hope
for his own soul yet. At the same time, God's emissary, the angel AMENADIEL
(DB Woodside, "Suits," "24"), has been sent to Los Angeles to convince
Lucifer to return to the underworld... can the Devil incarnate be tempted
toward the side of Good, or will his original calling pull him back toward
Evil?

PRODUCTION COMPANIES: Warner Bros. Television, Jerry Bruckheimer
Television, Aggressive Mediocrity
BASED ON THE CHARACTERS CREATED BY: Neil Gaiman, Sam Kieth, Mike
Dringenberg for DC Entertainment's Vertigo Imprint
WRITER: Tom Kapinos
EXECUTIVE PRODUCERS: Jerry Bruckheimer, Tom Kapinos, Jonathan Littman, Len
Wiseman, Ildy Modrovich, Joe Henderson
DIRECTOR: Len Wiseman
CAST: Tom Ellis as Lucifer, Lauren German as Det. Chloe Dancer, Rachael
Harris as Linda Martin, DB Woodside as Amenadiel, Lesley-Ann Brandt as
Maze, Nicholas Gonzalez as Dan, Scarlett Estevez as Trixie

"VCR was in the closet. Still works. Can't get the clock to stop blinking, though."
Angela - Animal Kingdom - 7/16/19
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It has canceled “Marry Me,” “About a Boy,” Constantine,” “One Big Happy” and “State of Affairs.”
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TV Notes
‘American Idol’ Renewed For Final Season
By Nellie Andreeva, Deadline.com - May 11, 2015

It’s an end of an era. One of the most successful reality series ever, American Idol, will end its run after one final season. Fox has renewed the venerable music competition series for a 15th season, which will be its last. Coming back are host Ryan Seacrest, who has been on the show since Day 1, as well as the judges for the past two seasons Jennifer Lopez, Keith Urban and Harry Connick Jr. In addition to the competition, Season 15 also will reflect on the show’s run and some of its notable alumni.

American Idol was a surprise breakout when it debuted in the summer of 2002. It introduced to American viewers Simon Cowell, produced several recording stars including Carrie Underwood, Kelly Clarkson and Jennifer Hundson, and spent almost a decade at the top of the ratings. American Idol and the original British format Pop Idol influenced a slew of music reality formats that came after, like The X Factor and The Voice.

After a remarkable run as the biggest show on television, American Idol has been declining steadily over the past several years. This season, the show’s hours were trimmed. The decision to cancel Idol reflects Fox’s confidence in their scripted programming following the success of Empire, Gotham and The Last Man On Earth, as the network prepares to substitute the 40 or so hours taken up by Idol.

http://deadline.com/2015/05/american...15-1201424278/

* * * *

TV Notes
‘The X Files’ Event Series Gets Post NFC Championship Game Launch, Monday Slot

Fox is going big with its upcoming X-Files event series, giving it its strongest launching pad, the NFC Championship Game. The six-episode series will debut behind the big game on Sunday, January 24, continuing with its time-period premiere the following night in its regular Monday 8 PM time slot, taking over for Gotham. (The Batman drama is expected to return in the spring.) The X-Files will be used to launch new DC drama Lucifer at 9 PM on Monday.

The new X-Files chapter hails from series creator Chris Carter, with stars David Duchovny and Gillian Anderson reprising their roles as FBI Agents Fox Mulder and Dana Scully.

The X-Files has a history airing behind big football games on Fox. In January 1997, an episode of the hit sci-fi drama written by some of its best known alums — Vince Gilligan, John Shiban, and Frank Spotnitz — ran after the Super Bowl.

http://deadline.com/2015/05/the-x-fi...ot-1201424281/
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TV Notes
‘Empire’ to Have 18-Episode Split Season 2, Execs See ‘Opportunity to Grow’
By Tony Maglio, TheWrap.com - May 11, 2015

“Empire” will return to its same Wednesday 9 p.m. timeslot next season (“We’d be crazy to move it,” as Co-chief Gary Newman said) as revealed earlier on Monday morning with Fox’s full fall schedule — it’ll just come earlier and more often this time around.

The hip-hop soap opera will officially have 18 episodes for its sophomore run, as TheWrap previously speculated. Season 2 will be split into two halves, Fox executives told reporters on a Monday morning conference call.

“We don’t want to be greedy, if we came back with the audience we left off with we’d be thrilled,” Fox Television Group Co-Chairman/CEO Dana Walden — Newman’s counterpart — said.

Still, maybe being a little greedy wouldn’t hurt, considering Fox is finishing up the fall season in fourth place out of the so-called Big 4 networks. Fox TV Group COO Joe Earley sure has his fingers crossed over the return of his shiny hit, which came courtesy of Lee Daniels and Danny Strong.

“We do believe there is an opportunity to grow the show, so we have been focused on catch-up,” Earley offered.

So how do you grow TV’s biggest series?

Apparently a ton of marketing, promotion, mall tours, great upcoming guest stars, getting fan favorite Cookie (Taraji P. Henson) to host “Saturday Night Live,” and of course, catch-up viewing. However, being that it is 2015, “Empire” actually won’t run repeats in linear primetime at all, executives said on the pre-upfronts presentation call. Those eager to join the conversation can rely on SVOD, the Fox Now app and other alternative untraditional platforms.

Also new for Season 2 will be singer/songwriter Ne-Yo, who in addition to Timbaland, will contribute to the drama’s music and thus key buzzword, “authenticity.”

Expect more announcements on “Empire’s” second season next month, when much of the marketing begins its rollout.

http://www.thewrap.com/empire-to-hav...unity-to-grow/
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Broadcast Upfront Preview
For the CW, more flash come fall
The network has renewed most of its shows, and it's loading up
By Toni Fitzgerald, Media Life Magazine - May 11, 2015

The CW has seen small viewership gains among total viewers and adults 18-49 this season, and it has one of the year’s most promising new hits, “The Flash.”

The network already has renewed the bulk of its schedule, and only a few shows are being axed for next season.

Still, there are a couple of problem areas that will need addressed.

For next season, the CW needs to find a better companion than “Reign” to air behind “The Vampire Diaries” and to reconsider its Friday night strategy.

But it, along with CBS, will probably have the most stable schedule come fall.

The CW holds its upfront presentation on Thursday, May 14, though it usually releases its fall lineup a day early. Here’s a preview of what media buyers and planners need to know about its schedule.

Season to date ratings
The CW is averaging a 0.8 adults 18-49 rating, according to Nielsen, even to last season. It’s averaging 1.04 million in the demo, up from 960,000.

Biggest strengths
First-year drama “The Flash” has quickly become the CW’s top-rated program, and it has lifted lead-out “iZombie,” another new drama, to respectable ratings and a second-season renewal.

“Arrow” remains a hit on Wednesday, and “Supernatural” has been incredibly steady as it ages.

New dramedy “Jane the Virgin” has low ratings but great cachet. Critics love it and the show won the network’s first-ever Golden Globe earlier this year.

But the network’s biggest strength is its target demo, adults 18-34. Advertisers are very eager to reach them.

Biggest weaknesses
The network is invested in several low-rated dramas, including “Reign” and “The 100,” that air in prime timeslots where other shows might produce better ratings.

“Diaries” just lost one of its three lead actors, which could lead to ratings declines next season.

And Fridays have struggled. The network’s target demo is out rather than watching TV on that night, which may be why it’s satisfied to continue running the fading “America’s Next Top Model.”

New shows
The network has ordered a “Flash”-“Arrow” spinoff called “Legends of Tomorrow,” which will undoubtedly draw similarly strong viewership.

The network has also picked up another show from “Diaries” and “The Originals” showrunner Julie Plec, called “Cordon,” as well as hour-long comedy “Crazy Ex-Girlfriend.”

Bubble shows outlook
None, actually. The network renewed nearly all of its bubble shows and has canceled losers like “The Messengers” and “Hart of Dixie.”

What to watch for
“Legends” launching at midseason to spell “Flash” or “Arrow,” a big push for recently launched digital network CW Seed, and “Reign” moving to midseason to allow the network to launch a new show behind “Diaries.”

http://www.medialifemagazine.com/for...epth-for-fall/
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TV Sports/Critic's Notes
3 Reasons Bill Simmons Leaving ESPN Is a Big Deal...
... even if you're not a big sports fan
By Eliana Dockterman, TIME.com

After months of rumors, ESPN made its split with Bill Simmons official Friday. It’s rare that a writer’s departure from a media outlet creates so much interest–even if the writer is one of America’s most influential sports personalities and the outlet is among the world’s most valuable media companies–but here’s why Simmons leaving matters:

1. Bill Simmons is a major brand

At a time when the monetary value of the written word has been diminished, people know Bill Simmons’ name and listen to what he has to say, making him a valuable asset. His columns at ESPN have historically been the most popular on the site. His podcast, the B.S. Report, was downloaded 32 million times in 2013, long before the format had a renaissance last year. His dead tree book, The Book of Basketball, is a no. 1 New York Times bestseller. And he is an established on-air personality on ESPN shows like NBA Countdown.

Thanks to his massive reach (Twitter following: 3.68 million and counting), ESPN allowed Simmons to start his own sports and pop culture website, Grantland, under their banner. That move helped pave the way for a wave of other media brands built around the distinct visions of their founders (see below).

Simmons is also responsible for some of ESPN’s most critically-acclaimed recent programming. He was the mastermind behind the award-winning documentary series 30 for 30. Originally conceived as a way to mark ESPN’s 30th anniversary, the films were so successful that the company decided to continue funding the ambitious projects for years to come.

2. His brand has sway

Simmons has reach far beyond sports. Guests on the B.S. Report have included President Barack Obama, late night host Jimmy Kimmel (whose show Simmons once wrote for), Girls creator Lena Dunham, Mad Men actor Jon Hamm and author Malcolm Gladwell.

Dunham has proved to be a particularly enthusiastic supporter. After Simmons was suspended by ESPN for calling NFL Commissioner Roger Goodell a “liar” on his podcast during the Ray Rice domestic abuse scandal and challenging ESPN to fire him, Dunham rallied celebrities like Judd Apatow to his defense on Twitter using the hashtag #FreeSimmons .

And other big editorial names listen to Simmons’ advice. When the statistician Nate Silver left the New York Times in 2013, it was Simmons (and Simmons’ dad) who helped convince him to turn his Five Thirty Eight site—known for predicting elections with freakish accuracy—into an appendage of ESPN structured similarly to Grantland.

3. His audience is loyal

Simmons re-imagined sports writing from the perspective of the fan, dispatching neutrality in favor of emotion and energy. When he began writing for AOL in 1997, the conventions of blogging didn’t even exist. Simmons’ stream of consciousness writing, filled with plenty of pop culture references, established a new kind of style, and his unabashed partisanship won over readers. (One column he wrote was titled “Is Clemens the Anti-Christ?”) He eventually branded himself as the “Sports Guy” for ESPN.com and ESPN the Magazine and spawned a legion of imitators. Wherever Simmons goes, his millions of fans will travel with him.

Still, losing Simmons won’t exactly be a death blow to ESPN, which is reportedly worth $50.8 billion. ESPN is an entertainment behemoth, and Simmons’ audience is just a small fraction of their overall reach.

http://time.com/3852202/bill-simmons-leaving-espn/
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TV Review
'Wayward Pines' (Fox)
By Tim Goodman, The Hollywood Reporter - May 11, 2015

A couple of things you need to know about Wayward Pines before watching are: 1) If you start watching, you shouldn’t stop because it goes off in directions that, by the fourth and fifth episode, are completely unexpected; and 2) Having watched five of the 10 episodes, I have no idea if any of it will make sense or whether it will stick the landing.

If you look at this late-season (oh, who am I kidding, there's no such thing as a season anymore) addition to the schedule as a kind of light puzzle, it might ease the burden of your commitment. But you really do have to opt in. Meaning, if you’re going to sit in front of your set and get all doubt-filled and skeptical, forget it. If you’re not all in, you might as well be out.

Wayward Pines is executive produced by M. Night Shyamalan (The Sixth Sense, Signs), based on the trilogy of books by Blake Crouch and written and developed for television by Chad Hodge.

The short description of the miniseries is that Secret Service agent Ethan Burke (Matt Dillon) is on his way from Seattle to Idaho when he’s in a car accident and wakes up in Wayward Pines, a plastic nightmare of a fake town that he can't escape from.

But that’s not even close to what it’s about.

You can find strong elements of Twin Peaks and The Prisoner in it, plus a little bit of that Lost feel and a whole lot of that Twilight Zone vibe. The touchstones are not hard to find, and it all seems very Shyamalan-esque (he directs the first episode).

It is also, along the way, a maddening mish-mash of tone shifts from dead serious to creepy to silly and then onward toward some kind of mind-bending dystopian sci-fi that may or may not be real.

So, yeah, if you’re up for something completely different that may end up imploding just as easily as it could be riveting, then make the commitment. Wayward Pines is filled with enough guest stars and gear shifts to never stay in the same place and thus remain interesting, though not always logical or satisfying. Fox is billing this as a "psychological thriller" and doesn’t seem afraid to toss in the Twin Peaks comparison (and since you're not going to get that reboot on Showtime, there's another reason to watch this).

Normally on a limited series, there’s enough evidence of whether it will work or not, but since Wayward Pines ultimately becomes something far different in the fourth and specifically the fifth episodes (five were made available for review) than it was in the first and second episodes, all bets are off, hence the warning that you should be prepared to commit to all 10 beforehand.

The series starts with Dillon as Ethan Burke, waking up in the deep, mysterious forests of Idaho, much like Jack from Lost woke up on that weird beach. What Ethan discovers pretty quickly, especially if he ever listened to what Rod Serling was saying on The Twilight Zone, is that the town of Wayward Pines is not what it seems. Something is off. Nothing makes sense. It seems like a kind of clean utopian outpost in the mountains, but when Ethan passes out in town and wakes up in the desolate hospital with creepy Nurse Pam (Melissa Leo), it’s pretty clear he’s in Freaksville, as she’s part Nurse Ratched from One Flew Over the Cuckoos Nest and part Frank Booth from Blue Velvet.

Give Shyamalan and Wayward Pines credit for its all-star casting, which, in addition to Dillon and Leo includes Carla Gugino, Terrence Howard, Juliette Lewis, Toby Jones, Hope Davis, Reed Diamond, Justin Kirk, Shannyn Sossamon and probably a few others you’ll recognize. The large cast means that anyone can go at any time.

As for more plot detail, well, it really won’t help you much. Burke was on his way to Idaho with a fellow Secret Service agent to find two other missing agents. He finds both in Wayward Pines — one dead, the other one not. But she’s very different now. Well, sort of. Burke and his wife Theresa (Sossamon) have a teenage son Ben (Charlie Tahan) who might actually like it in Wayward Pines (for a reason he can’t tell his parents).

Does that help?

Here’s the not-unexpected thing about Wayward Pines — it tweaks its own reality as it goes. Sometimes, that can be interesting (like when the show becomes something drastically different than what you thought two episodes ago) and sometimes annoying (like when all the talk about what year it is and what year people think it is seems to lead nowhere).

And sometimes it's hard to distinguish if the clashing tonal shifts are on purpose, or if Leo is acting in a different series from Gugino, who might be acting in a series that Lewis didn’t know she was in.

But what makes the show work is when it’s unexpected and shocking (several times early on) and then boldly nutso (fourth and fifth episodes), which hints at something either really big or really ridiculous.

Which brings us back to the top: Maybe the best answer to all of this is to not worry about ultimately being fully satisfied and instead just sit back and be entertained or at least distracted as you let the story happen. But watch all of the story or none at all.

'Wayward Pines'
The Bottom Line: Watch them all or watch none — the weirdness of 'Wayward Pines' only works as you get deeper into it
Airdate: Thursday, May 14 at 9 p.m. (Fox)


http://www.hollywoodreporter.com/rev...-review-794699
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Business/Streaming Notes
Distribution: Hulu Antes Up
Third-place SVOD provider uses war chest to chase Netflix, Amazon
By Paige Albiniak, Broadcasting & Cable - May 11, 2015

When news broke late last month that Hulu was ponying up at least $700,000 an episode for Sony Pictures Television’s Seinfeld, a show that went off NBC in 1998 and has been airing in syndication for two full decades, it signaled that a far more competitive era of buying and selling content is upon us.

“Wow, that’s pretty amazing. That was a long time ago … and for a number of years that we made those shows people weren’t that into it,” said Seinfeld star and creator Jerry Seinfeld at the Hulu upfront in New York. “I just can’t believe that the show is still here. This is a pretty mind-blowing moment.”

Last October, Netflix bought Warner Bros.’ Friends, which ended its NBC run in 2004, for about $500,000 an episode. SPT got its record-setting price without Netflix even bidding. Assuming those prices are on target, the total price for each show is similar: at 236 episodes, Netflix paid about $118 million for Friends, while Hulu paid about $126 million for 180 episodes of Seinfeld. Both shows over their total runs have made as much as $3 billion each.

The first sign that Hulu was getting more aggressive was its purchase of CBS’ CSI, announced in February, for an estimated $120 million on the low end. Hulu also just made its first licensing deals with Turner Broadcasting and AMC Networks, giving the service exclusive subscription video-on-demand rights to such shows as anticipated Walking Dead spin-off Fear The Walking Dead and TNT’s The Last Ship. Behind the scenes, Hulu also has gone hard after some other deals that ended up going to Netflix, such as Warner Bros.’ Gotham. At its upfront, Hulu name-checked all of the above, plus Viacom’s South Park and closed with Seinfeld. The message was unmistakable.

All of that spending signals that Hulu is ready to play hardball in an already competitive marketplace. What that means is that prices will go even higher for the most desired programming, as distributors fight over exclusivity and other privileges. It also gives sellers a third sales window for top off-network shows such as Friends and Seinfeld, and down the road, potentially for other big performers The Big Bang Theory and Two and a Half Men.
Hulu is currently considered to be in third-place among the SVOD players, but it announced at its upfront that subscriptions had risen 50% to 9 million from 6 million. Although it’s hard to parse out Amazon’s true video subscribers, considering that all members of Amazon Prime automatically become Instant Video subscribers, research firm IHS estimates that 9 million of those subscribers use the service to watch video.

Those figures put Amazon and Hulu far behind Netflix, which has about 41 million subscribers, but Hulu’s audience is watching more video, with total streams up by 77% in the first three months of this year.

“Every category of measurement, including hours watched and hours streamed is up dramatically year over year,” said Mike Hopkins, Hulu’s CEO, in a statement. “With additional marketing spend, bigger content acquisitions and a new slate of premium originals, the Hulu drumbeat will only continue to grow louder.”

“It doesn’t have to be a zero sum game,” said Dan Cryan, IHS, director, digital media. “If Netflix, Hulu, Amazon and these days, HBO as well, can collectively put together enough compelling and differentiated offers, the lesson from the premium cable business is that they can all grow and develop healthy businesses. This market is still conspicuously in its growth phase.”

Why exactly Hulu made the decision to get aggressive remains to be seen. Hulu is a joint venture of Comcast’s NBCUniversal, Fox and Disney-ABC. With NBC, Fox and ABC behind the service, the broadcast networks seem to be placing bets in anticipation of a day when people mostly watch their TV online.

Another theory is that Hulu is ramping up in order to sell. In 2013, Hulu tried to find a buyer, but couldn’t get anyone to pay the price it wanted. Instead, it opted to invest $750 million in the company, the results of which we are seeing now.

“It was all the owners’ programming on there and potential buyers felt they could just pull that programming the minute they wanted to,” Deana Myers, SNL Kagan senior analyst, said. “My guess is that they are building it up with a goal of perhaps selling it.”

In the meantime, the studios welcome the competition with open arms: “Hulu’s owners see that this space is changing and this seems to be the way in which certain types of people are willing to consume,” said a top distribution studio executive. “If you have three competitors, you can assure competition. It keeps the ecosystem healthy.”

And the bank accounts flush.

http://www.broadcastingcable.com/new...u-antes/140730
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TV/Business Notes
How Is U.S. TV Changing? Ask Jane
By Emily Steel, The New York Times - May 11, 2015

Gina Rodriguez was home in Chicago last month when she stopped at a Subway sandwich shop on the way to the golf course with her father. The Hispanic teenager working behind the counter instantly recognized her as the star of the CW Network’s breakout comedy-drama “Jane the Virgin” and said that the order was on the house. Ms. Rodriguez protested, but the girl insisted, telling the actress how inspirational it was to see someone on television who looked like her and grew up in her neighborhood.

Later, at the golf course, Ms. Rodriguez bumped into more fans: the course’s owners, a white couple in their late 60s who said they tuned into the show each week.

That broad appeal, spanning different generations and ethnic groups, is part of the magic of “Jane the Virgin,” Ms. Rodriguez said in a recent interview.

Adapted from a Venezuelan telenovela, the show tells the story of a 23-year-old virgin who becomes pregnant after she is accidentally artificially inseminated. While outrageous and whimsical, the series is grounded by the universal relationships among Jane, her mother and her grandmother.

“Jane the Virgin” has earned critical acclaim and a Peabody Award for entertainment programs — and a Golden Globe for Ms. Rodriguez, who is of Puerto Rican descent. It is also given some of the credit for increasing the demand for English-language series that attract both English-speaking Hispanic viewers and wider audiences.

Television networks are expected to highlight a number of programs featuring Hispanic leads during their presentations to advertisers, known as upfronts, this week. In addition to “Jane the Virgin” on the CW, there is “Telenovela,” a comedy starring Eva Longoria, and “Shades of Blue,” a police drama starring Jennifer Lopez, both on NBC. The push is part of a broader, albeit gradual, evolution in Hollywood to better reflect the United States’ diversity on the small screen, television executives said, while also trying to avoid the over-the-top stereotypes that have undermined other Hispanic-themed shows.

“All of a sudden, there were Latino pilots coming out right and left,” Ms. Rodriguez said, alluding to the early success of “Jane.” “This wasn’t happening five years ago. The second people see the return, they want in.”

More than ever before, that audience is a mix of ethnicities and cultures. The United States Census Bureau found in 2013 that 17.1 percent of the American population, or more than 54 million people, identified as Hispanic or Latino. And Hispanic viewers watched more than 130 hours of traditional and time-shifted television a month at the end of 2014, according to Nielsen.

“There has been a sea change, and shows that are working are much more reflective of the audience out there,” said David Stapf, president of CBS Television Studios, which is behind “Jane the Virgin.”

Landing shows with cross-cultural appeal also can be good for business. For years, executives at Spanish-language television networks complained that ad spending was not keeping pace with the fast rise of the Hispanic audience. But marketers have started opening their wallets to reach those viewers, and the broader English-language networks are eager for a cut of the cash.

“I think the pivot has already happened,” said Keith Turner, president for advertising sales at Univision, who listed a number of industries, including automakers, pharmaceutical companies and quick-service restaurants, that had ramped up their ad spending with the Spanish-language broadcaster.

Spending on Spanish-language television networks surged 14.7 percent, to $7.2 billion, in 2014 compared with the previous year, according to WPP’s Kantar Media measurement firm. That represents a much quicker pace than the growth of ad spending for all of television, which increased 5.5 percent, to $78.1 billion, in 2014.

Yet struggles remain. Some marketers still are not convinced of the value of advertising to the demographic, industry executives said. Another challenge is figuring out how to reach Hispanic audiences with culturally relevant messages, both on Spanish- and English-language programming.

In an attempt to lure more ad dollars, NBCUniversal recently restructured its sales groups to make it easier for marketers to buy spots aimed at Hispanic viewers on its Spanish-language networks, like Telemundo, as well as across its English-language programming, said Mike Rosen, executive vice president for advertising sales for NBCUniversal’s news and Hispanic groups.

Television executives also grumble about the difficulty in attracting broad audiences for programs with a strong Hispanic voice. Despite its critical acclaim, “Jane the Virgin” wasn’t a smash ratings success. Still, it attracted an average of more than one million viewers and saw steady gains during the course of the season.

The appetite for shows featuring a strong Latin voice has changed sharply in the past decade, said Ben Silverman, chairman of the Los Angeles-based multimedia studio Electus, who brought the concept for “Jane the Virgin” to the CW.

Mr. Silverman previously worked on “Ugly Betty,” an adaptation of a Colombian telenovela about a quirky young woman working in a competitive publishing empire, which ran from 2006 until 2010. While viewers quickly embraced “Ugly Betty,” Mr. Silverman said that it was difficult to get the next wave of Hispanic-centered shows onto the air.

Since then, a census has shown the quick rise of the country’s Hispanic population. At the same time, audiences have fragmented across traditional and digital networks, creating the opportunity to produce programs that appeal to groups that are more tightly defined but also more dedicated.

“This time, there is a lot more of an appetite to build off what we’ve done with ‘Jane,’ ” Mr. Silverman said.

Ms. Rodriguez, 30, said that she was frequently asked why a lack of diversity has persisted in Hollywood. She added that she was teaming up with Mr. Silverman to make a documentary addressing that question.

Its significance, she said, is personal. For years, Ms. Rodriguez said, she struggled to land high-profile roles but also turned down others that she thought perpetuated stereotypes. She said she was surprised when she was asked to audition for the role of Jane. “They are not looking for this little brown baby to be a lead of anything,” she remembered thinking of herself at the time. “And Jane, no less. Jane. My name is Gina, but I am used to going in for Maria or Luisa. So it was really nice to hear Jane.”

The role was refreshing, she said, because it captured the essence of the culture without banging it over people’s heads. “Jane the Virgin,” she said, is essentially built around a mother-daughter-grandmother dynamic that could translate to other races and ethnicities: “It’s just a girl who wants a dream to come true.”

Ms. Rodriguez has managed to charm critics and television executives alike, many of whom have pointed to her as one of Hollywood’s next shining stars. Mr. Silverman said he told her that rather than trying to become a famous actress, she should aspire to become Oprah.

Ms. Rodriguez, who now is filming “Deepwater Horizon,” about the 2010 Gulf of Mexico oil spill, said her aspirations included writing a series of books for teenagers, continuing with “Jane,” appearing in blockbuster films and TV series and creating television shows that break through societal norms for diversity and beauty.

“Everybody wants to tap into the Latino demographic,” she said. “Latinos need to be informed of their power.”

http://www.nytimes.com/2015/05/11/bu...jane.html?_r=0
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Critic's Notes
When will TV's scripted series binge end?
By Rob Owen, Pittsburgh Post-Gazette's 'Tuned In' Column - May 11, 2015

PASADENA, Calif. — In the past few months astute fans of scripted TV have probably noticed multiple TV pile-ups, days when a slew of new scripted series debut.

Gone are the quaint days when TV viewers had to worry about that one night of the week when a favorite show on NBC airs at the same time as another favorite on ABC. Now fans of TV drama have full plates that continue to get fuller.

Netflix’s recently announced plan to revive ABC’s “Full House” as “Fuller House” is just one indication of scripted TV overload: There are more outlets creating scripted content than ever before, whether it’s on broadcast TV (PBS has more scripted drama than ever), cable (even baby networks unheard of by most consumers, like Pivot, are putting on scripted shows) or streaming services (Netflix, Amazon, Hulu, etc.).

On March 1, three scripted series premiered on broadcast channels (Fox’s “Last Man on Earth,” ABC’s “Secrets and Lies” and CBS’s “Battle Creek”). But that was small potatoes compared with April 5, the premiere date for NBC’s “A.D.: The Bible Continues,” WGN America’s second season of “Salem,” PBS’s “Masterpiece” production of “Wolf Hall,” NBC’s “American Odyssey” and the final season of AMC’s “Mad Men.”

A decade ago, “Mad Men,” had yet to debut (it came on in 2007) and original, scripted series in cable were generally limited to a handful of basic cable channels, (USA had “Monk,” FX scored an early hit with “The Shield,” and TNT was just debuting “The Closer.”)

“The amount of competition is just literally insane,” said FX CEO John Landgraf in January, pointing to FX research that found the number of scripted original series on basic and pay cable grew from 26 in 1999 to 199 in 2014, a 665 percent increase. Add to that 129 scripted series in broadcast TV and 24 scripted streaming series for a grand total of 352 original scripted series airing in 2014.

FX compiled a list of all original content on TV, scripted and unscripted, and it came to a 30-page book of more than 1,700 original seasons of TV programming in 2014.

This week at the broadcast networks’ upfront events in New York, dozens of hours of new programs for the 2015-16 TV season will be announced. At the same time viewers learn which TV shows from 2014-15 will be canceled. (Read network schedules as they are announced today through Thursday in Tuned In Journal at post-gazette.com/tv with analysis in the next day’s Post-Gazette.)

With all this scripted content, it seems likely there will be a tipping point.

“I do think channels will start to go away or retrench drastically in terms of the amount of money they’re going to be able to spend on marketing and production,” Mr. Landgraf said. “I don’t know when that’s gonna happen. Part of what’s happening now is there’s a really aggressive scrum, there’s a sense there’s gonna be a shakeout, and everybody’s trying to grab a little bit of stable ground before that shakeout happens. … I don’t think we’ve hit the peak but I wouldn’t be surprised if we look back and 2015 was the peak, and then it declines from there.”

Jeff Wachtel, NBCUniversal Cable Entertainment president and chief content officer, agreed the tipping point is coming.

“The golden age of television naturally spawns what might be a glut of television,” he said. “We must be at some kind of a peak right now, but every time I say that there’s another interesting network doing an unexpected show, so I’m not really sure yet.”

Discovery Channel president Rich Ross said scripted TV is just taking “a bigger bite of the pie and there is more biting to be done.” He cited the library value and brand value of scripted content as working in its favor.

That appears to be the impetus at several NBCUniversal-owned cable networks that jumped into scripted programming for the first time in the past six months including Bravo (with “Girlfriends’ Guide to Divorce”) and E! (with “The Royals”).

Bonnie Hammer, chairman of NBCUniversal Cable Entertainment Group, said adding scripted programming ideally helps a network expand its audience by trying something different. Scripted shows, although more expensive to produce than unscripted programs, offer more financial incentive over a longer period of time. And Bravo is not backing down: The network announced three new scripted series in development late last month.

“If you’re going to expand your audience, you have to get a little out of your comfort zone,” Ms. Hammer said in January. “Scripted series sell domestically and internationally and air differently than reality does. Reality you can air and air on your own channel, but it’s not yet lucrative in terms of selling it in other markets. It gets so attached to your own brand that as far as its financial value, its long tail has yet to be tested whereas with scripted if you have a hit and it gets sold in syndication or to Netflix or Hulu or Amazon, there’s tremendous value there.”

In terms of what scripted series bring to an individual network, executives said it’s all about getting noticed.

“People are trying to get attention and scripted is a way to do that,” said Mr. Ross of Discovery Channel, which attempted one scripted miniseries, 2014’s “Klondike.” Mr. Ross said he intends to make more scripted programs for the network. “I am building a machine to be able to do that yearly. You can’t just dip your toe in the water and expect consumers to keep coming to your network if you don’t keep providing content.”

That’s why Mr. Landgraf has consistently raised the number for how many series he thinks should air on FX. There were two original series when he joined the company in 2004. Now he thinks the network needs 20 scripted shows annually to be fully perceived as a destination network.

“You have to have comedy, drama, miniseries, something relevant on the air at all times in every quarter to remain part of the conversation all year long because otherwise it’s just too competitive to be meaningful,” he said. “You’re struggling to be good enough and big enough that your brand, your logo is worth paying attention to otherwise you’re irrelevant to the consumer. Your shows may be relevant, but you’re irrelevant unless you’re the center of enough excellence that you’re worth paying attention to.”

http://www.post-gazette.com/ae/tv-ra...s/201505100006
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SUNDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insights' Blog.
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Nielsen Overnights
‘Revenge’ ends on a six-month high
Series wraps with a 1.3 in 18-49s, up a tenth from last week
By Toni Fitzgerald, Media Life Magazine - May 11, 2015

The series finale of “Revenge” drew the drama’s best numbers in almost six months.

The show, which aired Sunday at 10 p.m., averaged a 1.3 adults 18-49 rating, according to Nielsen overnights, up a tenth from last week as it wrapped up its four-season run.

It was the No. 4 show of the night on broadcast, behind two ABC programs and golf on NBC. Not surprisingly, then, ABC won the night in the demo, its third straight Sunday win of the May sweep period.

“Once Upon a Time” was the top show with a 1.7 for its two-hour season finale from 8 to 10 p.m. That was even to last week and tied a seven-week high.

Leading off the night, “America’s Funniest Home Videos” tied with NBC’s final hour of The Players Championship for first in its 7 p.m. timeslot with a 1.4.

Elsewhere on this very slow night for broadcast, the season finale of CBS’s “The Good Wife” at 9 p.m. posted a 1.8 among adults 25-54, the network’s target demo, up a third from last week.

At 10 p.m. “Battle Creek” drew a 1.2 in that demo, also up a tenth.

NBC’s “A.D.: The Bible Continues,” which is waiting to hear on a renewal, managed just a 0.9 at 9 p.m.

And Fox’s three original shows—“The Simpsons,” “Brooklyn Nine-Nine” and “Bob’s Burgers”—all posted 1.2s.

* * * *

Top show of the night in 18-49s:

ABC’s “Once Upon a Time,” 8-10 p.m., 1.7 rating.

Top show of the night in 25-54s:
ABC’s “Once Upon a Time,” 8-10 p.m., and NBC’s “Golf Overrun,” 7-8 p.m., 1.9 rating.

Top show of the night in total viewers:
CBS’s “The Good Wife,” 9-10 p.m., 9.23 million.


http://www.medialifemagazine.com/rev...ix-month-high/

* * * *

TV Notes
Less certain future For ABC’s ‘Castle’
The long-running drama has won renewal for an eighth season
By Louisa Ada Seltzer, Media Life Magazine - May 11, 2015

“Castle,” the long-running ABC drama that airs its season finale tonight at 10 p.m., is coming back for an eighth season next year. The network renewed the show on Friday.

But beyond that, there’s little known about the future of the show, which is poised for a lot of changes.

It is replacing its showrunner for the second time in two seasons, with Alexi Hawley and Terence Paul Winter taking over for David Amann. Amman had replaced series creator Andrew Marlow after season six.

“Castle” is also in a creative limbo of sorts.

Stana Katic, one of the show’s two leads, has not re-signed for season eight. Her male counterpart, Nathan Fillion, signed a deal last month.

If Katic does not return, that would spark huge changes to the show, which has always focused on the relationship between Fillion’s novelist and Katic’s detective as they work together to solve crimes and, eventually, fall in love.

Whatever happens with Katic, the show may be entering its final season anyway. “Castle’s” averaging a 1.6 adults 18-49 rating, according to Nielsen, down 15 percent from last season.

For that reason, the show could also be rolled out at midseason or moved to a different night, to give another ABC program the chance to benefit from “Castle’s” Monday lead-in, “Dancing with the Stars.”

http://www.medialifemagazine.com/a-l...re-for-castle/
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TV Notes
On The Air Tonight
MONDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - Dancing with the Stars (120 min., LIVE)
10:01PM - Castle (Season Finale)
* * * *
11:35PM - Jimmy Kimmel Live! (John Stamos; Michael B. Jordan; Matt & Kim perform)
(R - Apr. 20)
12:37AM - Nightline

CBS:
8PM - 2 Broke Girls
8:30PM - Mike & Molly
9PM - Stalker
9:59PM - NCIS: Los Angeles
* * * *
11:35PM - Late Show with David Letterman (Howard Stern; Don Rickles)
12:37AM - The Late Late Show with James Corden (Mark Harmon; Zoe McLellan)

NBC:
8PM - The Voice (120 min., LIVE)
10PM - The Night Shift
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Charlize Theron; journalist Tom Brokaw; Death Cab for Cutie performs)
12:36AM - Late Night with Seth Meyers (Louis C.K.; TV show host Sharon Osbourne; Joy Williams performs)
1:37AM - Last Call with Carson Daly (Director George Miller; Halsey performs; comic Solomon Georgio)

FOX:
8PM - The Following (120 min.)

PBS:
(check your local listing for starting time/programming)
8PM - Antiques Roadshow: Charleston
9PM - Antiques Roadshow: Washington, DC
(R - May 23, 2011)
10PM - Independent Lens - Born to Fly: Elizabeth Streb vs. Gravity

UNIVISION:
8PM - Amores con Trampa
9PM - Hasta El Fin del Mundo
10PM - Que te Perdone Dios... Yo No

THE CW:
8PM - The Originals (Season Finale)
9PM - Jane the Virgin (Season Finale)

TELEMUNDO:
8PM - Avenida Brasil
9PM - Tierra de Reyes
10PM - El Señor de los Cielos

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Musician John Legend)
11:31PM - The Nightly Show with Larry Whitmore
12:01AM - At Midnight (Kathryn Hahn; Adam Pally; Brett Gelman)

TBS:
11PM - Conan (Jean-Claude Van Damme; Nina Dobrev; music group The Wor)
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Gotta give a shoutout to my friend Molly on her new gig in NY "If you can make it there you can make it anywhere" girl !!

‘Mike & Mike’ adding third voice, will relocate to Manhattan
By John Ourand, Staff Writer

Molly Qerim is leaving NFL Network to move cross-country and join morning radio show hosts Mike Greenberg and Mike Golic. This marks the first time the show has added a permanent third voice since Greenberg and Golic first started working together in 1998, when Greenberg was a substitute host. He became the show’s permanent host in December 1999.

Molly Qerim leaves NFL Network to join “Mike & Mike” this summer. The show plans to move from its current Bristol location to New York City around the Super Bowl. The move, which is said to be pushed by President John Skipper, has the potential to bring higher profile guests into the “Mike & Mike” studio.

ESPN declined to comment. NFL Network acknowledged that Qerim is leaving next month. Executive producer Eric Weinberger emailed: “We’re sad to see Molly go, but we are appreciative of all her hard work for the NFL Media Group. We wish her the best of luck.”

“Mike & Mike” has proved to be a successful franchise for ESPN, which started simulcasting the show on television in 2004. It now is on ESPN2 every weekday morning.

ESPN insiders are looking to tweak the show to ensure that it does not become stale. The addition of Qerim and the move to Manhattan are two steps that will breathe new life into the 15-year-old show.

Qerim is leaving her job as one of the hosts for “NFL AM,” NFL Network’s daily morning show that has gone on hiatus until the preseason starts. Its last show was Friday, and NFL Network executives plan to make some subtle changes to it when it comes back.

Qerim has had on-air roles at CBS and covered the UFC on ESPN, the former Versus and Fox Sports 1

http://www.sportsbusinessdaily.com/J...-and-Mike.aspx

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Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - May 11, 2015

JANE THE VIRGIN
CW, 9:00 p.m. ET
SEASON FINALE:
Jane (Gina Rodriguez) has been working hard all season to maintain her dignity and her unexpected pregnancy, and tonight all her hard labor pays off — with labor pains, as she prepares to deliver her baby.

BATES MOTEL
A&E, 9:00 p.m. ET
SEASON FINALE:
Norman Bates (Freddy Highmore) and his mother Norma (Vera Farmiga) have never been closer, but that’s because Norman has been absorbing more parts of her personality of late. Tonight, after being presented with incontrovertible evidence about what he’s wearing, saying, and doing in his private hours, Norma confronts her son. For her sake, let’s hope it’s not at the top of the stairs. Or in the cellar. Or the shower…

THOUGHT CRIMES: THE CASE OF THE CANNIBAL COP
HBO, 9:00 p.m. ET

This documentary by Erin Lee Carr, a first-time feature filmmaker whose shorter work includes the Vice short film on 3-D printed guns, explores another high-tech, Internet-era issue in which culpability and guilt are difficult to assess. In Thought Crimes, it’s the story of New York cop Gilberto Valle, who was convicted in 2013 as “the Cannibal Cop,” charged with conspiracy to abduct, torture, cook, and eat many women, including family friends, former schoolmates and his own wife. He was caught, tried, and convicted before he could carry out any of his despicable plans — but were they actual plans, or just twisted fantasies described and shared on the Internet? The question of when, and whether, a person should be prosecuted for what he thinks is at the heart of this study, which keeps flipping to the other side of the coin, and should keep you thinking until, and after, the end.

THE RETURNED
A&E, 10:00 p.m. ET
SEASON FINALE:
I gave up on this A&E revised miniseries remake a while ago — but if you’re still on board, tonight is the show’s season finale. And it could be the finale, period, because at this point, A&E has yet to announce whether The Returned will be… returned.

LATE SHOW WITH DAVID LETTERMAN
CBS, 11:35 p.m. ET

This is the last full week of shows for Late Show with David Letterman (the final three installments are presented next week, and will take us through the end of the May sweeps ratings period Wednesday night). The guests tend to get more special, at least for Dave, as the nights count down, and tonight’s guests are two of his long-time favorites, and fellow Dispensers of Outraged and Outrageous Honesty: Howard Stern and Don Rickles. Here’s hoping Letterman persuades them to appear at the same time…


http://www.tvworthwatching.com/
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TV Notes
Grammys move to a Monday in 2016
By Bill Keveney, USA Today - May 11, 2015

The Grammy Awards are changing at least one tradition in 2016. The annual musical honors will run on a Monday instead of a Sunday.

CBS and The Recording Academy Monday announced The 58th Annual Grammy Awards will take place Feb. 15, 2016 (8 p.m. live ET/delayed PT), at Staples Center in Los Angeles. It's not just any Monday, however. Feb. 15 is Presidents' Day and will mark the end of a three-day weekend for many viewers.

Television's biggest honors, the Emmy Awards, also moved from a Sunday to a Monday last August on NBC. That had to do with avoiding conflicts with NFL coverage and the MTV Video Music Awards.

February's Grammy ceremony averaged 27 million viewers, the lowest number since 2011. It faced heavy competition from the midseason premiere of AMC's The Walking Dead and the premiere of Breaking Bad spinoff Better Call Saul.

http://www.usatoday.com/story/life/t...2016/27114363/
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Quote:
Originally Posted by Dmon4u View Post
The People who think OTA should be fantastic for all are probably in the same group as the ones that constantly wonder why their wireless Router is not a perfect device/system.
Even in the populous San Francisco Bay Area where there are many TV stations there are many areas where you can't receive any of them due to the hills and valleys. It's been a gold mine for the cable and satellite companies.
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[QUOTE=dcowboy7;34136442]Gotta give a shoutout to my friend Molly on her new gig in NY "If you can make it there you can make it anywhere" girl !!

‘Mike & Mike’ adding third voice, will relocate to Manhattan
By John Ourand, Staff Writer

Molly Qerim is leaving NFL Network to move cross-country and join morning radio show hosts Mike Greenberg and Mike Golic.



I loved her on the ESPN NFL fantasy football show on Sunday mornings. It doesn't sound like Golic and Greenie are going to be together much longer. Hope it works out for her. She needs to be on TV. Far too good looking for radio.

Last edited by Elvis Is Alive; 05-11-2015 at 12:15 PM. Reason: typo
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