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post #91 of 33998 Old 04-01-2015, 11:20 AM
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I forgot the America part. Still sucks though as I enjoyed their broadcasts.

I really ought to act more like a woman of my advancing years, but I’m growing old disgracefully.
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post #92 of 33998 Old 04-01-2015, 11:48 AM
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WGN = Local television station in Chicago. CW affiliate.
WGN America = cable network that used to be a simulcast of WGN way back in the day. BUT... WGN America cannot carry WGN programming that's syndicated by market. Those programs WGN airs that air on other stations outside of Chicago must be covered on the cable feed by some other program. Over the course of time, this has resulted in essentially a separate entity. WGN television also carries local advertisements. Some things still air on both. I have a memory from back when I lived in Missouri of watching Oprah LIVE on WGN. She'd frequently run over the hour. A couple days later, the same "Oprah" episode would air on our local station nicely edited into a perfect hour.

TBS was once a Superstation called WTCG. Independent television station out of Atlanta. Wasn't long after it launched on cable systems that Ted Turner was covering all the local commercial breaks with national ads on the cable feed. Great way to double dip. I remember being IN Atlanta and watching what is now WTBS and finding it funny that the commercial breaks contained commercials for Atlanta businesses.

Walking the fine line between jaw-dropping and a plain ol' yawn.
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post #93 of 33998 Old 04-01-2015, 01:16 PM - Thread Starter
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NYC's WWOR-TV was also a local station that put its signal on satellites in the early 80's and became a defacto lower-tier cable channel. Back then cable was hurting for content, and having OTA stations from major markets was deemed good-enough to pad the cable package.

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post #94 of 33998 Old 04-01-2015, 01:20 PM - Thread Starter
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TUESDAY'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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post #95 of 33998 Old 04-01-2015, 01:26 PM - Thread Starter
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Nielsen Overnights (18-49)
Limp debut for Fox’s ‘Weird Loners’
New comedy posts a 0.7 in 18-49s, tying for fifth in its timeslot
By Toni Fitzgerald, Media Life Magazine - Apr. 1, 2015

Nobody wanted to hang out with Fox’s “Weird Loners.”

The new comedy drew low numbers in Tuesday night’s debut, losing a good portion of its meager lead-in from the recently renewed “New Girl.”

“Loners” posted a 0.7 adults 18-49 rating, according to Nielsen overnights, 0.2 below “The Mindy Project’s” rating for its season finale last week in the same 9:30 p.m. timeslot.

“Loners” dropped 30 percent of “Girl’s” 1.0 at 9 p.m.

Elsewhere it was a rather slow night on broadcast, with usual top show “The Voice” on NBC airing clips of past episodes rather than a new one. “Voice” drew a 1.9 at 8 p.m.

NBC’s “Undateable” held up okay at 9 p.m. with the lower-rated lead-in, dropping only a tenth from last week to a 1.4.

CBS’s “NCIS” was the top show of the night with a 2.1 at 8 p.m., though that tied a series low.

The miniseries “The Dovekeepers” won its 9 to 11 p.m. timeslot among total viewers and CBS’s target adults 25-54, averaging 8.99 million and a 1.6.

ABC’s “Marvel’s Agents of S.H.I.E.L.D.” posted a series-low 1.4 at 9 p.m., and the 8 p.m. shows “Fresh Off the Boat” (1.3) and “Repeat After Me” (0.9) also slid to new lows.

The CW’s “The Flash” was even in 18-49s to last week, with a 1.2, but it surged 27 percent among men 18-34, finishing as the highest-rated show of the night on broadcast in that demo.

* * * *

Top show of the night in 18-49s:

CBS’s "NCIS," 2.1 rating from 8-9 p.m.

Top show of the night in 25-54s:
CBS’s "NCIS," 3.2 rating from 8-9 p.m.

Top show of the night in total viewers:
CBS’s "NCIS," 16.33 million from 8-9 p.m.


http://www.medialifemagazine.com/lim...-weird-loners/

* * * *

TV Notes
On April Fools’, celebrating the foolers
Count down the very best hoaxes and pranks ever on truTV
By Louisa Ada Seltzer, Media Life Magazine - Apr. 1, 2015

Today is April Fools’ Day.

It bears noting because, if you’re not thinking about it, you’re probably going to be the victim of a trick or two at some point today.

But chances are those pranks will not be nearly as epic as those featured tonight on truTV on back-to-back specials, “Best Hoaxes Ever” and “Best Pranks Ever,” airing at 8 and 8:30 p.m. and hosted by comic Mo Mandel.

The first one focuses on cons pulled on the American public, while the second delves into the best techniques to pull off an awesome prank.

It may be too late for the shows to inform your April foolery this year, but you could get a few ideas for next year.

The specials are part of a day of celebration for truTV, which is aimed at young men. The network has repeats of one of its top shows, “Impractical Jokers,” as well as specials on other funny moments.

Apparently April Fools is a beloved holiday for these young men.

It comes before a big weekend for truTV.

It’s part of the Turner trio carrying coverage of the Final Four games Saturday, and it should get decent ratings for the contests, though it won’t air the main broadcasts of the games.

Instead, it will air streams aimed at fans of Michigan State and Wisconsin. The games should still draw good ratings for the network, which averaged 265,000 adults 18-49 in primetime during third quarter, according to Nielsen, including 150,000 men.

http://www.medialifemagazine.com/on-...g-the-foolers/
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post #96 of 33998 Old 04-01-2015, 01:31 PM
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TV Notes
Classic TV shows get new life on digital airwaves
By Stephen Battaglio, Los Angeles Times' 'Company Town' Blog - Apr. 1, 2015
And the deterioration of image quality continues...
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post #97 of 33998 Old 04-01-2015, 01:46 PM - Thread Starter
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 1, 2015

UMPIRE
Fox Sports 1, 8:00 p.m. ET
SERIES PREMIERE:
With Empire on hiatus, Fox has found a clever way to both maintain the momentum of that hit family drama and squeeze additional revenue from its financial investment in major league baseball rights. This new limited spring series is a fast-paced, juicy prime-time soap opera about a veteran major league umpire, and his three grown sons, who are trying to work their way into the family business of calling strikes and balls. And watching them all carefully from her seat above the dugout is the outrageously emotional, and even more emotionally dressed, family matriarch, Cookie Monster. What keeps them together, despite all the fights and bad calls, is the love of the game. There’s no place like home… plate!

BETTER WRIGHT DWIGHT
NBC, 9:00 p.m. ET
SERIES PREMIERE:
Rainn Wilson hasn’t exactly set the world afire with Backstrom, his current (but not for much longer) Fox detective drama, so this new prequel series, aimed at his fan base who loved him in NBC’s version of The Office, is a much better bet. Better Write Dwight shows Wilson, in his character of Dwight Schrute, toiling at the job he had immediately before joining Steve Carell’s Michael Scott and company at that Scranton paper-goods company. His previous job was involved with paper, too: He worked for the Scranton Times-Tribute as an advice columnist, dispensing Schrute-like wisdom to all who wrote in, and to many who didn’t even bother. And be prepared, because this Office prequel introduces us to Dwight’s even odder older brother: a stay-at-home hoarder, played by David L. Lander (Squiggy from Laverne & Shirley), who believes everything he reads on the Internet. Even this…

THE RUSSIANS
FX, 10:00 p.m. ET
SERIES PREMIERE:
FX has done so well with The Americans, it’s doubling down, presenting this new companion series, set in the present day, about American sleeper agents living in the former Soviet Union. There’s intrigue at the highest levels of government, including attempts to bug and influence the government’s inner circle as they invade the Ukraine, tolerate international sanctions, and act increasingly aggressive on the world stage. Based on the pilot, this is another quality series from a network that has invested strongly, and wisely, in well-written, complex TV dramas. In other words, FX, by Russian to present this overseas spy series, is Putin its money where its mouth is. If you tune to FX tonight at 10 ET, you’ll see The Americans – but if you run your TV through the Enigma code box converter (available at Radio Shack, but only if you act very, very quickly), you’ll be able to see this appropriately top-secret premiere episode.

BIG BURGER IN HOLLYWOOD, FL
Food Network, 10:00 p.m. ET

Last week, Comedy Central slipped in the premiere of a new series, Big Time in Hollywood, FL, almost unnoticed. It’s a shame, because that series, which continues tonight at 10:30 ET, is a very amusing, clever and ambitious new comedy series about wannabe filmmakers living in that patch of Florida real estate between Fort Lauderdale and Miami. It should be seen, and can, with its second episode presented tonight. But at the same time, on the Food Network, a counter-programming coup presents a one-shot special (well, even less than that, to be honest) with a similar title: Big Burger in Hollywood, FL. It’s about the tiny little Hollywood “restaurant” called Le Tub – more of a waterfront saloon, really, built mostly on boardwalk-type wooden planks and decorated with tubs, toilets and other detritus farmed from the water by the place’s environmentally-conscious owner. This little place, built decades ago on the site of a former gas station, looks out over the Intra-Coastal Waterway, and serves up a 13-ounce burger that GQ magazine, in 2006, identified as the No. 1 burger in the nation. (That’s no joke, though this Food Network special is.) And as good as that burger is, Le Tub’s French fries and key lime pie are better, and its seafood gumbo is the very, very best. No Fooling...

KEEPING UP WITH THE KARDASHIANS
E!, 11:00 p.m. ET
SERIES PREMIERE:
You’d think E! already has milked every possible moment of profitable TV programming opportunities from the Kardashian family, but we all know, in our heart of hearts, that’s far from the truth. I hate to think, in the next few years, what manner of reality-TV spinoffs this family, and this network, will collaborate to Jenner-ate. Meanwhile, by changing one letter in the title of one of the existing E! franchises, Keeping up with the Kardashians, this latest spinoff can zoom in, quote literally, on the primary asset of this inexplicably popular family franchise. In the winter 2014 issue of Paper magazine, Kim Kardashian bared all – and that was just on the cover (shown here, really), part of an intentionally provocative photo spread that was aimed to show off the celebrity’s most recognizable (and valuable?) feature. Butt I digress. The main point is that if Keeping Up with the Karshashians has been such a lucrative reality-TV franchise, why not present the undiluted version, and focus solely on The Karsdassians?


http://www.tvworthwatching.com/
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post #98 of 33998 Old 04-01-2015, 01:55 PM - Thread Starter
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TV Notes
E! Orders New Kardashian Series; Renews ‘Total Divas’ & More
By Elizabeth Wagmeister, Variety.com - Apr. 1, 2015

E! has ordered three new unscripted series, including another show under the Kardashian empire, “Dash Dolls.”

The cabler also announced Tuesday the renewals of “Total Divas,” “#RichKids of Beverly Hills” and “Christina Milian Turned Up.”

“Dash Dolls,” exec produced by Kris Jenner and Kim, Kourtney and Khloé Kardashian, follows the employees of the famous family’s upscale Dash boutiques. The show will let viewers into the world of the Kardashian sisters’ “young, fun and hot employees, as they navigate the hectic life of a twentysomething in Hollywood, while representing the Kardashian brand.” The series will feature Khloé’s best friend Malika Haqq and her twin sister Khadijah Haqq. Along with Jenner and the Kardashian trio, exec producers are Jonathan Murray, Gil Goldschein, Jeff Jenkins, Farnaz Farjam and Ryan Seacrest. The project, hailing from Bunim/Murray Productions and Ryan Seacrest Productions, is set to premiere this fall with eight episodes.

The “Dash Dolls” order comes after E! inked an extension deal with the Kardashian/Jenners, reportedly worth close to $20 million, for three more years of programming, including new seasons of flagship series “Keeping Up With the Kardashians.”

E! has also picked up new series “Stewarts & Hamiltons” and “WAGS.”

“We are excited to bring viewers more of the buzzy pop culture programming that E! is known for,” said Jeff Olde, E! exec VP of programming and development. “With the return of some of our fan-favorites and expansion into new programming, viewers will be able to dive into a behind-the-scenes peek at the VIP celebrity lifestyle led by these larger-than-life personalities.”

“Stewarts & Hamiltons,” slated to debut this summer, has also been given an eight-episode order. The hourlong series revolves around “a family tree made of true Hollywood royalty” — Kimberly Stewart, daughter of musician Rod Stewart and author and philanthropist Alana Stewart; actor George Hamilton, who is the ex-husband and best friend of Alana; and Hamilton’s reformed bad boy son Ashley Hamilton and his 15-year-old half-brother George Hamilton Jr. Kimberly’s brother Sean Stewart, who starred on A&E’s 2007 series “Sons of Hollywood,” and her half-sister Ruby Stewart will also appear on the series. “Stewarts & Hamiltons” is produced by Bunim/Murray Productions with exec producers Jonathan Murray, Gil Goldschein, Jeff Jenkins, Farnaz Farjam and Chris Ray.

“WAGS,” aka “Women and Girlfriends of Sports,” goes inside the world of today’s hottest professional athletes from the perspective of the women behind them, an exclusive club of spouses and girlfriends. “WAGS,” set to bow this summer, has been handed eight one-hour episodes, and is produced by Machete Productions with Amber Mazzola and Lori Gordon serving as exec producers.

“#RichKids of Beverly Hills” returns for season three on May 24. Morgan Stewart, Dorothy Wang, Roxy Sowlaty, Brendan Fitzpatrick, Jonny Drubel, and EJ Johnson return, along with new cast member Taylor-Ann Hasselhoff, daughter of David Hasselhoff.

WWE hit “Total Divas” returns this summer with Season 5, and freshman series “Christina Milian Turned Up” will be back this fall with a second season.

http://variety.com/2015/tv/news/dash...er-1201464404/
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post #99 of 33998 Old 04-01-2015, 02:52 PM
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Thanks for the WGN info. Still can watch via MLB.TV on the Roku or Tivo.
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post #100 of 33998 Old 04-01-2015, 05:30 PM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 1, 2015


THE RUSSIANS
FX, 10:00 p.m. ET
SERIES PREMIERE:
FX has done so well with The Americans, it?s doubling down, presenting this new companion series, set in the present day, about American sleeper agents living in the former Soviet Union. There?s intrigue at the highest levels of government, including attempts to bug and influence the government?s inner circle as they invade the Ukraine, tolerate international sanctions, and act increasingly aggressive on the world stage. Based on the pilot, this is another quality series from a network that has invested strongly, and wisely, in well-written, complex TV dramas. In other words, FX, by Russian to present this overseas spy series, is Putin its money where its mouth is. If you tune to FX tonight at 10 ET, you?ll see The Americans ? but if you run your TV through the Enigma code box converter (available at Radio Shack, but only if you act very, very quickly), you?ll be able to see this appropriately top-secret premiere episode.
Okay, he got me. In my usual fashion I simply skimmed the article quickly, apparently forgetting what day it is. So I run to my Hopper to check tonight's FX schedule and was somewhat perplexed that there was no show called The Russians on at 10pm. Did I have right day and time? Need to reread to make sure. Oh wait ... yeah, he got me.
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post #101 of 33998 Old 04-01-2015, 06:58 PM
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Okay, he got me. In my usual fashion I simply skimmed the article quickly, apparently forgetting what day it is. So I run to my Hopper to check tonight's FX schedule and was somewhat perplexed that there was no show called The Russians on at 10pm. Did I have right day and time? Need to reread to make sure. Oh wait ... yeah, he got me.
Actually read the whole thing .

I really ought to act more like a woman of my advancing years, but I’m growing old disgracefully.
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post #102 of 33998 Old 04-02-2015, 04:05 AM - Thread Starter
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TV Notes
Best bets on TV this Easter weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Apr. 1, 2015

THURSDAY

Best bet on broadcast
: NBC, “The Slap,” 10 p.m. Season finale.
Prosecuting lawyers obtain photos of the slapping incident.

Best bet on cable: Syfy, “Olympus,” 10 p.m. Series premiere. New mythological drama set in ancient Greece.

Top online offering: ESPN, “College Basketball,” 9 p.m. Call it March Madness light–the championship game of the second-tier National Invitational Tournament.

FRIDAY

Best bet on broadcast
: CBS, “The Amazing Race,” 8 p.m.
The teams go through Bavaria, Germany, during Oktoberfest.

Best bet on cable: E!, “The Grace Helbig Show,” 10:30 p.m. Series premiere. New talk show starring the YouTube personality.

Top online offering: ESPN, “NBA Basketball,” 8 p.m. Oklahoma City tries to hang onto its playoff position against Memphis.

SATURDAY

Best bet on broadcast
: NBC, “Saturday Night Live,” 11:30 p.m.
Michael Keaton hosts, with musical guest Carly Rae Jepsen.

Best bet on cable: Starz, “Outlander,” 9 p.m. The second half of the first season picks up where it left off, but from Jamie’s point of view.

Top sporting event: TBS, “College Basketball,” 6 p.m. The Final Four in Indianapolis features Duke versus Michigan State and Wisconsin versus Kentucky.

SUNDAY

Best bet on broadcast
: NBC’s, “American Odyssey,” 10 p.m. Series premiere.
New drama has “24”-style action, if not “24”-style quality.

Best bet on cable: HBO, “Sinatra: All or Nothing at All,” 8 p.m. The first half of a new buzzed-about documentary profile of Frank Sinatra.

Top sporting event: N/A


http://www.medialifemagazine.com/bes...aster-weekend/

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post #103 of 33998 Old 04-02-2015, 04:09 AM - Thread Starter
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TV Notes
HBO Heads to Dish Network Streaming Service Sling TV in New Time Warner Deal
By L.A. Ross and Tony Maglio, TheWrap.com - Apr. 1, 2015

As part of a new deal between Dish Network and Time Warner’s Turner Broadcasting and HBO, the satellite company’s streaming service Sling TV will become the first live Internet TV service to offer standalone HBO, TheWrap has learned.

The HBO service will be available across all devices that support Sling TV and launch in time for the premiere of “Game of Thrones” Season 5 on April 12. A specific date has yet to be announced.

Customers who subscribe to Sling TV’s $20 “Best of Live TV” core package can add HBO for $15 per month. The streaming service, which launched in January, offers live, linear content from ESPN, Scripps networks, the Turner group and other networks as well as Video-on-Demand options and access to peripherals like WatchESPN.

Similarly, the new HBO deal will include live programming as well as VOD content and be available on all devices that currently support Sling TV, including Amazon Fire, Roku, Xbox One, Android and iOS devices and computers.

“Sling TV is bringing HBO to our customers on all of our supported devices in time for one of the most important TV moments of the year,” Roger Lynch, CEO of Sling TV said in a statement.

“We’re pleased that the Dish customers we all serve can continue to enjoy Turner and HBO’s popular programming on multiple platforms,” Time Warner said in a statement announcing its distribution agreement Wednesday morning.

Also Read: Cablevision to Offer HBO Now Streaming Service
Sling TV is owned by Dish Network but operates independently of the satellite company.

http://www.thewrap.com/hbo-head-to-d...w-turner-deal/
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TV Review
‘American Odyssey’ rides on a tired plot device
By Rob Owen, Pittsburgh Post-Gazette - Apr. 2, 2015

NBC’s “American Odyssey” (10 p.m. Sunday, WPXI) is one of those tangled web, disparate-characters-around-the-globe-whose-lives-eventually-intersect stories like “Traffic” or “Crash” that relies upon viewer patience.

It’s a format that works well the first time a viewer encounters it because then it’s new and different. But “American Odyssey” is the umpteenth attempt at this format and giving it a conspiracy plot backbone — another tired plot device — only makes the show more pat.

“American Odyssey” tracks three primary plots that entwine global politics, corporate espionage and military secrets.

In Mali, North Africa, U.S. soldier Odelle Ballard (Anna Friel, “Pushing Daisies”) is part of a special forces team that kills a terrorist leader when she finds computer files that appear to suggest a link between a U.S. corporation and jihadis. She survives an attack by U.S. private military contractors (think: Blackwater) that wipes out the rest of her team and then struggles to get back to America, where the military has reported her killed in action despite Internet rumors that she survived.

A former U.S. attorney (Peter Facinelli, “Nurse Jackie”) discovers his new private employer may be involved with the company that helped fund the jihadis.

Political activist Harrison Walters (Jake Robinson, “The Carrie Diaries”) meets a crazy-eyed hacker (Nate Mooney, “The Riches”) who purports to have evidence of a military-industrial-complex conspiracy and e-mail proof that Odelle is alive.

Created by Peter Horton (“Grey’s Anatomy”), Adam Armus (“Heroes”), and Kay Foster (“The Following”), who collaborated on writing the pilot, “American Odyssey” too often lacks the gritty realism of cable series that attempt similar, convoluted plots. It doesn’t catch viewers in a plot that feels real; rather, it feels like a planned, plotted, manufactured-for-your-enjoyment TV show. It’s not a terrible show — but it’s not fresh, original TV that demands to be watched.

‘American Odyssey’
When: 10 p.m. Sunday, NBC.


http://www.post-gazette.com/ae/tv-ra...s/201504020036
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TV Notes
‘Louie’ Season 4 Streaming On FX Now Ahead Of Series’ April 9 Return
By Erik Pedersen, Deadline.com - Apr. 1, 2015

FX stressed that this is no April Fools gag. The network has made the entire fourth season of its Louis C.K. series Louie available for streaming via the FX Now app starting today through the premiere of Season 5 on April 9.

Last season featured the episode “So Did The Fat Lady,” for which Louis C.K. earned a WGA Award and his second writing Emmy. Check out the long final scene — a memorable two-hander with Sarah Baker, who earned a Critics’ Choice nom for the role — to understand why. Season 4 of Louie also snagged the WGA trophy for Episodic Comedy and scored its second consecutive Emmy nom for Outstanding Comedy Series.

http://deadline.com/2015/04/louie-se...-9-1201403026/
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TV Notes
Broadcast TV Finale Dates 2015: The Complete Guide
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Apr. 1, 2015

Summer's approach signals the end of the traditional broadcast season — bringing with it season finales and scores of cliffhangers.

As the 2014-15 broadcast season winds down, The Hollywood Reporter has complied a list of all the season finales on ABC, NBC, CBS, Fox and The CW, with special notes about supersized closers.
THR will be updating this calendar as more finale dates are set, so be sure to bookmark this page and come back for the latest news.
Here is a breakdown of the TV finales for the 2014-15 season. For summer premiere dates, check out THR's complete guide here.

Monday, April 20
9 p.m. Scorpion (CBS)

Thursday, April 30
9 p.m. Backstrom (Fox)
9:30 p.m. Mom (CBS)

Friday, May 1
10 p.m. Blue Bloods (CBS)

Sunday, May 3
8 p.m. Madam Secretary (CBS)

Monday, May 4
8 p.m. Gotham (Fox)

Tuesday, May 5
9 p.m. New Girl (Fox)
9:30 p.m. Weird Loners (Fox)
10 p.m. Person of Interest (CBS)

Wednesday, May 6
9 p.m. Criminal Minds (CBS)

Thursday, May 7
8 p.m. The Big Bang Theory (CBS)

Friday, May 8
9 p.m. Hawaii Five-0 (two hours) (CBS)

Sunday, May 10
9 p.m. The Good Wife (CBS)

Monday, May 11
8 p.m. The Originals (The CW)
9 p.m. Jane the Virgin (The CW)

Tuesday, May 12
8 p.m. NCIS (CBS)
9 p.m. NCIS: New Orleans (CBS), American Idol (Fox)

Wednesday, May 13
8 p.m. Arrow (The CW)
9 p.m. CSI: Cyber (two hours) (CBS), American Idol (Fox)

Thursday, May 14
8 p.m. The Vampire Diaries (The CW)
8:30 p.m. The Odd Couple (one hour) (CBS)
9 p.m. Reign (The CW)
10 p.m. Elementary (CBS)

Friday, May 15
8 p.m. The Amazing Race (CBS)

Sunday, May 17
8 p.m. The Simpsons (Fox)
8:30 p.m. Brooklyn Nine-Nine (Fox)
9 p.m. Family Guy (Fox)

Monday, May 18
8 p.m. 2 Broke Girls (CBS), The Following (Fox)
8:30 p.m. Mike & Molly (CBS)
9 p.m. Stalker (CBS)
10 p.m. NCIS: Los Angeles (CBS)

Tuesday, May 19
8 p.m. The Flash (The CW)

Wednesday, May 20
9 p.m. Supernatural (The CW)

Sunday, May 24
10 p.m. Battle Creek (CBS)

Thursday, June 4
9 p.m. Bones (Fox)

Tuesday, June 9
9 p.m. Hell's Kitchen (Fox)


Keep up with all the renewals, cancelations and new series orders with THR's handy Scorecard.

http://www.hollywoodreporter.com/liv...omplete-785817
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TV Notes
Bob Barker returns to 'Price Is Right' for April Fools' Day
By Ryan Parker, Los Angeles Times - Apr. 1, 2015

It was a sight for sore eyes: Celebrated game show host Bob Barker returned to “The Price Is Right” on Wednesday to host a portion of the show for April Fools’ Day.

[CLICK LINK AT BOTTOM TO SEE CLIP]

It was as though the 91-year-old Barker had never left the CBS show.

When current host Drew Carey was introduced, Barker walked out instead, suited up and ready to go with his microphone. The audience went nuts.

“What a welcome,” Barker said. “I have never had a welcome like that.”

Barker said he was hosting a portion of the show because he was selected to be its April fool.

“I know the world is full of fools, but I am a carefully selected fool,” he said.

Barker started hosting "The Price Is Right" in 1972 and retired from the job in 2007. On Wednesday's show, he handled the first item up for bid and the subsequent game, Lucky $even.

Carey resumed hosting after the first commercial break.

This wasn't Barker's first recent television appearance. A few weeks ago, he reunited with comedian Adam Sandler for an onscreen rematch of their fistfight in "Happy Gilmore." The sketch was part of Comedy Central's "Night of Too Many Stars," a telethon that raises money to support programs and services for people with autism.

http://www.latimes.com/entertainment...401-story.html
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TV Notes
On The Air Tonight
THURSDAY 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 - Grey's Anatomy
9PM - Scandal
10PM - American Crime
* * * *
11:35AM - Jimmy Kimmel Live! (Jason Statham; sports analyst Jalen Rose; Brian Wilson performs)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
8:30PM - The Odd Couple
9PM - The Big Bang Theory
(R - Oct. 13)
9:30PM - Mom
10PM - Elementary
* * *
11:35PM - Late Show with David Letterman (Kelly Ripa; author Aasif Mandvi; Fat White Family performs)
12:37AM - The Late Late Show with James Corden (Jeff Goldblum; zookeeper Rick Schwartz)

NBC:
8PM - Dateline NBC: Lethal Weapon
9PM - The Blacklist
10PM - The Slap (Season Finale)
* * * *
11:34AM - The Tonight Show Starring Jimmy Fallon (First lady Michelle Obama; Matthew Morrison; Smashing Pumpkins perform)
12:36AM - Late Night with Seth Myers (Jesse Eisenberg; Rob Huebel; Years & Years perform)
1:37AM - Last Call with Carson Daly (Christina Ricci; Above & Beyond performs; director Alex Garland)

FOX:
8PM - Bones
9PM - Backstrom

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour (R - Feb. 12)
9PM - Rx: The Quiet Revolution (90 min.)
10:30PM - Mustang: Journey of Transformation
(R - Nov. 18, 2009)

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

THE CW:
8PM - The Flash
(R - Feb. 10)
9PM - The Flash
(R - Feb. 17)

TELEMUNDO:
8PM - La Biblia
9PM - Tierra de Reyes
10PM - Dueños del Paraíso

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Rob Corddry)
(R - Mar. 12)
11:31PM - The Nightly Show with Larry Wilmore: Slut Shaming
(R - Mar. 25)
12:01AM - At Midnight (Mark Normand; Seth Herzog; Nikki Glaser)
(R - Mar. 10)

TBS:
11PM - Conan (Aubrey Plaza; Ron Funches; Calexico performs)
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TV Review
With Olympus, Syfy plays the game of thrones and loses
By Scott Von Doviak, AVClub.com - Apr. 2, 2015

On paper, Olympus isn’t the worst idea for a fantasy series designed to ride the sword-and-sandals boom and pull in some small but profitable fraction of the Game Of Thrones audience. Set in 2014 B.C., the Syfy series created by network staple Nick Willing bypasses the creation of its own mythology by going straight to the source and incorporating Greek gods and monsters into its narrative. These Greek myths have stood the test of time, but it remains to be seen whether they can survive one of the shoddiest fantasy productions in recent memory.

Tom York stars as our hero, known as Hero in the credits and never called by his true name because those who speak it aloud turn to stone. In practice this means everyone in the premiere episode, “The Temple Of Gaia,” refers to him as “the mercenary” or “the marshal” or “you there,” which is just the first of many missteps in this initial hour. Creating identification with a lead character is crucial, and hard enough to pull off without adding to the degree of difficulty by not giving him a name. (York’s colorless, instantly forgettable performance doesn’t help much either.)

When we meet Hero, he’s trapped in a cave, prisoner of the fearsome Cyclops. To its credit, Olympus doesn’t go for the standard-issue one-eyed giant from a children’s illustrated book of Greek myths. This Cyclops is a blue-ish beastie covered in pink pustules, with a single eyeball fixed in the middle of its mouth. It’s a gruesome enough creation, but the first question that springs to mind when it appears is, “How does this poor sucker eat?”

Hero escapes the Cyclops and continues his mission, which is to retrieve the escaped Oracle (Sonya Cassidy) and bring her back to the Temple Of Gaia. Although he encounters obstacles along the way, including two decoy Oracles and a pair of wild boys (one of whom turns out to be the Oracle’s brother Theo) who ambush him on the road, all of them are easily overcome thanks to his mastery of rope tricks. The Oracle escapes Hero at least twice only to be immediately recaptured. In one scene, the Oracle and Theo fool Hero by making a circle of footprints to conceal their true destination; in the next scene, with no explanation, he’s found them in the forest. It’s as if Olympus can’t be bothered with the most rudimentary attempt at crafting suspense or even basic storytelling.

Back in Athens, King Aegeus (Graham Shiels) is frustrated with his army’s efforts against the superior forces of King Minos. “No more cowardly schemes to hide men inside wooden horses! I need something bold!” He and wife Queen Medea (Sonita Henry) seek to harness the power of the Lexicon, the “riddle of the gods” that allows humans entry to Olympus. Medea believes this secret lies within her son Lykos (Wayne Burns), but the prophecies he offers up are largely worthless. Meanwhile, some of Aegeus’ trusted advisors, including his brother Pallas (John Emmet Tracy), are plotting against him.

When Hero gets the Oracle back to the temple, it turns out he isn’t on any great mission or quest; he simply has a personal question to ask her. (She informs him that he could have asked her at any time and needn’t have bothered dragging her all the way to the temple, but what’s done is done.) “Why was I brought up in hiding?” The answer: He is the bastard son of King Aegeus, and the Lexicon lies within him.

Nick Willing has made at least half a career out of directing re-imagined versions of classic fantasy tales for Syfy, including Alice, Neverland, and Tin Man, a steampunk-flavored take on The Wizard Of Oz. None of these are fondly remembered masterpieces, but they at least achieved a basic level of competence and a modicum of cleverness in conception. The same can’t be said for Olympus, the entire cost of which probably doesn’t add up to the horse feed budget on Game Of Thrones. Penny-pinching is nothing new when it comes to Syfy productions, but when you’re trying to create an entire fantasy world from scratch, the limitations are painfully apparent. The major battle in the first episode involves roughly a half-dozen combatants clanging swords on a digital wall. The city of Athens as a whole is weirdly underpopulated, which only adds to the unreality of the CG environments.

It’s a given that any large-scale fantasy production these days is going to involve tons of green-screen work, but that’s never been so obvious as it is here. Some of the designs are promising, such as the giant crumbled statues that litter the landscape, but put the actors in front of them and they appear to be exactly what they are: backdrops, with no sense of depth or immersion. The whole production is airless and stagy; the sound design is so bad, you can hear the actors’ voices echoing off the sound stage walls. Olympus evokes the unreality of a high school play, but it isn’t going for campy laughs like the Sharknado movies. Good acting and strong writing might help it overcome its very visible flaws, but neither is in abundance in the premiere episode. Maybe Olympus will stumble upon a workable tone at some point; for now, it’s just another poor reproduction of something that will be back on your television soon enough anyway.

‘Olympus’
Thursday, April 2, at 10 p.m. on Syfy


http://www.avclub.com/review/olympus...d-loses-217029
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TV Notes/Q&A
'Outlander' showrunner Ronald D. Moore on the end of The Droughtlander
'Battlestar' veteran talks sex scenes, flashbacks and shifting POVs
By Daniel Feinberg, HitFix.com - Apr. 1, 2015

The Droughtlander is nearly over.

After more than six months away, "Outlander" is finally returning to Starz on Saturday, April 4. Fans have been champing at the bit since September 27 to get the resolution of the cliffhanger involving Claire, Black Jack and the just-in-time arrival of Jamie.

Almost immediately upon the return, fans will notice something different. The premiere features Jamie's voiceover, a big deviation from Diana Gabaldon's book. The change in POV makes a large difference when it comes to The Important Thing That Happens in the premiere, an event that fans of the book have been waiting for all season.

Back in January at the TCA press tour, I sat down with "Outlander" showrunner Ronald D. Moore to discuss the impact of the POV swap, as well as the expanded role of Frank and how changes from the book have shaped the first season. [In the PaleyFest video above, Moore tells me a bit about Gabaldon's involvement in the series.]

We also talked about the well-regarded "The Wedding" episode and why it was important to have that episode written and directed by women (Anna Foerster and Anne Kenney, respectively) and whether or not it has been difficult to keep Claire from becoming too steadily a damsel-in-distress.

Check out the full Q&A below, as well as my PaleyFest interviews with stars Sam Heughan, Caitriona Balfe and Tobias Menzies.

Note that there are some spoilers here if you haven't read the book. Not huge, but some.

HitFix: I want to start with Episode 9 and the first thing that immediately of course jumps out, which is it's a Jamie voiceover episode. And you're working from a book that is entirely not in that point of view, what was the thought process on deciding to give Jamie that POV for that episode?
Ronald D. Moore:
It was a couple of things. As we got into the season we knew that eight was going to be the cliffhanger obviously because that was the perfect cliffhanger for the show. And then as we started talking about developing 109, we said, "Alright this is also restarting; people have been away from the show for a while; let's restart the episode, let's not just pick up in real time where we left off. How do we sort of start again?" And then we started talking about the fact that a lot of the story was going to be about Jamie and the things he was going to do, so maybe it was an opportunity to shift point of view for an episode and try something new. And it would also aid us as we got into the series overall, because ultimately all the books and then the show will be about Claire and Jamie so it was a way to sort of then broaden the point of view to include him, it's now about the two of them. So in subsequent episodes, I can start cutting to Jamie and see what's happening in his life, even though Claire wasn't technically in those scenes. So it was like a nice way to pivot and open up the show going forward, in addition to sort of just giving us an interesting way to just kick off the second half.

HitFix: So this opens the door going forward for more of that?
Ronald D. Moore:
Mmm-hmm.

HitFix: Okay. And how much of it had to do with the specific big event that happens in the last two-thirds of the episode and sort of giving a different perspective, I guess on, that then, which you don't to get in the book??
Ronald D. Moore:
Yeah. He's the one doing it so I thought it was important, "Let's get his perspective. Let's understand why this is happening." And I felt like this is a scene about justice, this is a scene about balancing scales. It's not a scene about domestic abuse; it's not a scene about anger, it's about the mores of the time, doing what he felt was the right thing in the context of the situation. And it just felt there was something right about then, "Well let's go be with him. Let's understand why this has happening and why he's doing this and who he is."

HitFix: Well, I'm not going to lie, reading the book it reads an entirely different way to me. And so I was wondering if you had a calculated sense that there were certain things you needed to not correct, but put your perspective on it I guess?
Ronald D. Moore:
No. Not so much. It's how you translate that. It is the different reading it in the book than seeing it on screen so you know right away it's going to affect you as a viewer in a different way than it affects you as a reader. So already it's a different sort of challenge. It's not just about lifting the dialogue or not, it's also how you portray it and what you're asking the audience to emotionally understand. And being in his perspective was easier to understand why he's doing this and where he's coming from. If you stuck with her perspective then this guy just walks in the door and you're sort of trying to understand why that other person outside of you is doing these things. And this was an easier way to tell the scene and tell what I think is the truth of the scene because it's really, it's his moment really, it's not really hers.

HitFix: And do you talk with Diana in advance when you do something like that?
Ronald D. Moore:
I don't remember if we talked with her, talked with her. She saw the story outlines and the scripts and the early cuts so she knew along the way what we were doing, yeah.

HitFix: What are her reactions to things like that?
Ronald D. Moore:
She liked it. I mean she thought it was in keeping with what she had established and what the story was and she liked it.

HitFix: I'm just curious about the process from your point of view, the de-damselizing and de-stress Claire, because she is fairly frequently either being captured by someone, the threat of rape is used on multiple occasions against her, but you obviously don't want her to just be the woman tied up to the railway track. So what is the thought process from your point of you of not going to the well too many times for dramatic purpose?
Ronald D. Moore:
It's usually just balancing those moments of jeopardy with moments of action and how often she also saves of the story. In the second half of the book or, actually the latter part of the book, Jamie is captured and taken and then she is going to rescue him. So when you look at the season overall there were ups and downs, there are places were each of them was in jeopardy and each of them actually got rescued by the other over time, so I wasn't too concerned about it being a one note -- She's always in danger, she's always the damsel -- because I knew there were plenty of other opportunities that we could play where you were seeing a different aspect of her.

HitFix: Sure. Now a couple of people on Twitter since they knew that this was happening today have been referring to something called "The Droughtlander," which I had not heard of before about an hour ago. Looked back on doing this eight-and-eight thing, how would you say it benefited you or the storytelling and how did it maybe not? And what you would do differently next season?
Ronald D. Moore:
The only way it really affected the storytelling was that I knew that I had to come up with a good cliffhanger for the eighth episode and then, like we talked about, how do you restart into the ninth episode. Beyond that it didn't really affect anything else because, again, we had the book so we knew what the story was. And whether you ran them consecutively or took a two week break or took a month long break it was still going to be basically the same story.

HitFix: But in this case it's...
Ronald D. Moore:
In this case there is a significant break.

HitFix: Yeah, a rather long break. How does that change your perspective for next season then?
Ronald D. Moore:
Well, next season we have a different episode order. It's 13 instead of 16 so I think it's going to run probably in a different way.

HitFix: So you're anticipating not needing to do this again?
Ronald D. Moore:
That's what I'm anticipating. Yeah.

HitFix: It's a strange process also because the first half of the book is sort of the emotional establishing and then a bunch of stuff happens in the second half so you've got a disproportionate...
Ronald D. Moore:
Yeah they are two different halves. They really are. So there was a natural break point anyway.

HitFix: Still, what were the challenges of arcing out of those first eight episodes where less happens than in the last eight where a good deal more from an "event" a point of view happens?
Ronald D. Moore:
It was interesting in that it gave us time. You had time to sort out sink into the world, which is the journey that she takes you on in the book as well. You get to know the character more; you get to know the period more; you get to sort of understand the dynamics of all the different relationships more. It's not so concerned with, "Oh my God, boom, boom, boom" hitting the next plot point. And so you have this nice journey and then you can kind of pivot and suddenly thing start moving like this. And it was great just narratively to lay it out like that because, again, you're sort of giving the audience something that they're not used to seeing, which is always kind of cool.

HitFix: Well, how quickly do the Starz people understand that is a distinction? Because everyone wants more bang for their buck and they want it up front because they have to hook an audience in the first week or two.
Ronald D. Moore:
I got to tell you, What Starz would say to us pretty consistently was, "Slow down; you don't have to go so fast." I was, "Really? Who says that? I don't get that note." You don't get to that note. In first drafts in the first couple episodes they were like, "At's alright. Take your time. You can go slower than this. We're not worried we trust of the story." They were fans of the book. They read the book, which I gave them enormous credit for, before they bought it. And they all became sort of fans and they were like, "No, no, no that's alright. We're not worried. You don't have to do cliffhangers at the end of every episode; these smaller ones are fines and we'll just trust that it's going to work." So it gave us a lot of freedom that we could spend more time, we could do an entire episode that's like a two-man play with Claire and Jack in that room and just have them just talking through that whole show. We could do a whole episode for The Wedding. And so it gave us a lot of freedom because they weren't concerned about, "Got to go, got to go, got to go."

HitFix: In contrast, was it hard to find room to breathe in the last eight episodes?
Ronald D. Moore:
Not so much. It really was easy. I mean the whole process of breaking book one was fairly easy. I mean it just kind of broke down into its 16 components relatively simply. You kind saw how each hour would kind of be carved out and they laid out on the board pretty easily and it didn't feel like there was so much going on in the latter half of the season that we weren't going to work it in, it felt like it was going to give it a certain amount of pace. There was still going to be places we could stop. Like we'd stop. We go to Lallybroch. We'll be there for a couple episodes, so that gives gave us some breathing room between the hectic stuff of the first half of the second batch and then the finale there's a nice little interlude where you can kind of take your time a little bit more, get to know his family, what Lallybroch is like, you know, can you go home again and play those sort of lower dramatic kind of chords and then really take off into the end.

HitFix: Let's talk a bit about that wedding episode. How important, looking back on that episode, was it that you had a woman writing the episode and a woman directing the episode.
Ronald D. Moore:
I thought it was important at the get-go. I just thought, "Let's do this. I think this is an important thing" and I just wanted to do it so we just decided to do it early on. And from everyone's reaction I think it brought another perspective to how we played those scenes, the character scenes and the sexual scenes and all that kind of stuff and it just sort of allowed it more texture and feeling in a way.

HitFix: For you personally, you said you hear from people that it gave it a different feeling, but when you actually looked at how those episodes came out that Anna directed, what was your reaction? Was there anything where you said okay I would not have necessarily thought of that? This feels like a different writer or whatever?
Ronald D. Moore:
Not particularly. No. After the initial decision I just sort of conceptually wanted a woman director and a woman to write that, it didn't feel like as I was watching it like, "Oh this is completely new. Who would've thought of such things?" I just felt like we were so into it and we had such long discussions about what the intention was of those scenes. I had long discussions with Anna and then the cast about the sex scenes, about making them true and trying to make it about how people actually have sex as opposed to TV sex, which I find kind of boring and uninteresting and not erotic and all and not trying to sell the eroticism in a sexuality and just play, you know, really how these things would happen. And I was very pleased that we were able to capture the sort of sense of authenticity, that it really felt real and that was what was the most important aspect of it to me.

HitFix: From the perspective of what I do, it feels almost like a subversion of everything that Starz has done over the years, because Starz is a network that has, you know, occasionally had a raunchy sex scene or two and sometimes they feel exploitative. And in that particular case it didn't, again I think that had a lot to do with it probably. I was just wondering how conscious you were of avoiding exploitation I guess?
Ronald D. Moore:
Yeah. It was important for me not to do that and it felt like given the style and the mood of the show that we had established, if we had gone for something like that, it would've felt really out of character for the show, it would've pulled you out of the series because it would of felt like, "Wow where is this all this coming from?" So to keep going in the same tone that we had set up in the first six episodes, it kind of had to play out like this. You had to take the time, you had to feel the awkwardness between these two people who had never been naked in front of each other, now they're married and have their first sexual encounter be not-so-satisfying. Then go to a more conversation and intimacy and go to a deeper place and then finally get to love by the end of it. That was a nice one-two-three aspect of this show that we just kind of held to all the way through, that that was the arc the episode. And none of that lended itself to sort of being particularly exploitive. You would have blown it. It just wouldn't have worked if you would have overplayed any of that stuff, if you had really tried to make it super-sexualized or what have you. It was more about staying in the mood, staying in the moment. There's no jeopardy in that show and there's no danger. The redcoats don't kick in the door, it really lives and dies on just what happens between these two characters in this one room. So it had to have a certain feeling, it had to have a certain sort of momentum internally in order for it to work.

HitFix: It's obviously a long book. The instinct naturally is to make trims. As you were going through the first season where were you finding you had maybe more interest than Diana had where you were actually adding things to flesh out consequences?
Ronald D. Moore:
I think we added, you know, we played much more of Frank. The flashbacks are not in the book. I liked warming up to him a little bit more, having a little bit more empathy for his situation. I really liked cutting to him in Episode 8 and seeing that he has been searching for her and I really liked the crosscutting between the past and the present in that episode, which wasn't in the book. The Jack Randall/Claire episode where they're just in that room together is just a couple of pages in the book but it was such a memorable moment in reading it that we were always surprised when you go back to it and realize how short it was; it was very impactful. And I like the opportunity to just really expand that and really get inside Jack's head and understand what he's about and what was his perspective on Jamie's flogging and to really get under his skin a little bit. And so that was a really great opportunity for us.

HitFix: How much is Tobias an inspiration? Because among those things you mentioned, pretty much all of them are putting him more in this show. So how much was it sort of seeing what he did at the beginning and wanting to find a way to make him more of a regular part of this?
Ronald D. Moore:
You just saw the opportunity. You saw it right in the pilot, he was able to draw these two different men very differently and without radically different voices or eye patches or anything to distinguish them. He was just different. And we knew that, "Wow he could go a lot of places with this. We can keep playing this." And so we had more confidence and we got into that Jack and Claire episode that we could really go somewhere with him and then we could revisit him with Frank and that that would be a lot of fun because we just knew he could handle it.

HitFix: Now you said the voice over in the ninth episode allows for more of Jamie voiceover, did the going back to the 1940s in the eighth episode, does it allow for more of that going forward or was that kind of a one off?
Ronald D. Moore:
We just do that one time in the first season.

HitFix: Okay. And will it be something more going forward?
Ronald D. Moore:
We won't see Frank again this season. We will see Frank again in the second season.

HitFix: Well, how hard is it to keep him as a concept? Because she has to have a reason to want to go home, or to consider wanting to go home, and if he's not there and if all we're seeing is Black Jack, who's obviously a repellent...
Ronald D. Moore:
Well, the story, I mean we have a story. So that's good. In the first season she's made a choice in Episode 10, 11, I can't keep the numbers straight, she makes a decision to stay. So at that point she's not flashing back to Frank anymore and so he's not in the rest of season one. Not in the second book, the second book suddenly we're back in the 20th Century for a big chunk of the story and Frank is an important part of what happened there so then we get to revisit Frank again.

http://www.hitfix.com/the-fien-print...-droughtlander
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TV Notes
HBO documentary unearths 'Sinatra' material
By Bill Keveney, USA Today - Apr. 1, 2015

HBO's Sinatra: All or Nothing at All came to life as an archaeological find of sorts.

Frank Marshall, producer of the Indiana Jones, Back to the Future and Bourne Identity film franchises, discovered a trove of Frank Sinatra recordings and material, some of it not previously shown in public, at his daughter Tina's house. The find fortifies the two-night, four-hour documentary on the legendary performer (Sunday and Monday, 8 ET/PT).

"There were all these film boxes stacked in a bedroom. It was sort of like finding the Ark of the Covenant. We opened the door and this glow came out of the room," says Marshall, exaggerating in the way a Raiders of the Lost Ark producer might. "I slowly opened one of the boxes, hoping that it wasn't dust. And when I looked inside, there it was, pristine, well-preserved, 16-millimeter film."

The big discovery was film from a 1971 Los Angeles performance billed as Sinatra's "retirement" concert — ultimately it wasn't — that becomes the backbone of the film, timed to the 100th anniversary of the singer's birth in 1915. He died in 1998.

"It was this magnificent footage, not shot in a traditional, glitzy way that you would normally do for a TV special," says director and Oscar winner Alex Gib

ney, who also directed last week's HBO documentary Going Clear: Scientology and the Prison of Belief. "Frankly, that's its charm and power. There's an intimacy and authenticity in it and also a bit of amateurishness."

The 11 songs picked by the singer, then 55, "serve an important narrative function," says Gibney.

"Sinatra never wrote an autobiography, so it was my interpretation that this retirement concert was, up to that moment in time, his way of telling his own story in song."

The film traces many highs — along with some definite lows — of Sinatra's life, from his boyhood in Hoboken, N.J., to meteoric pop star fame; a health-related rejection from service in World War II; home life with a growing family; a singing-career slump; a movie career that includes an Oscar (From Here to Eternity); and a prolific and tumultuous love life that included marriages to Ava Gardner and Mia Farrow.

Having the cooperation of Sinatra's family, including first wife Nancy — "still a pistol" at 97, Gibney says — and the couple's children, Nancy, Frank Jr. and Tina, was "super-important. They provided materials we wouldn't have been able to get otherwise," including early photographs and recordings of the singer talking about his life.

Gibney, who had final cut of the film, says the family's involvement never constrained him in any important way from telling Sinatra's story. "There were times we had disagreements as they saw cuts, (but) I think we've come out of it in a pretty good place," he says. "It's a birthday celebration. It's not an investigative film. I feel it's a good portrait of the man in terms of his life and times."

The film goes over his relationships with dangerous mobsters and relates how he sent a lawyer to end his relationship with Farrow. "He could be rough and tumble. He was passionate and he could be cruel," Gibney says.

The film also features Sinatra talking about the technical elements of singing, including mouth movements and word phrasing, and how he took lessons and worked hard to become a better performer.

"You see some great athletes, like LeBron James or Roger Federer or Magic Johnson. They come up and they're great, but they're really disciplined and focused. They make themselves better and better," Gibney says. "That was Sinatra. He was determined."

Sinatra's music will remain popular for years to come, Gibney says.

"We now live in a sampling culture. One of the great things about a sampling culture is the past has a way of being very present," he says. "I think people will understand there's a kind of romance and lushness and emotional authenticity in his best songs, particularly in the ballads. He's a poet of pain, in some ways."

Marshall, whose father Jack, a jazz guitarist, worked with Sinatra on two albums and two movies, says he hopes the film will appeal to everyone from longtime fans to people who are just discovering the "one-of-a-kind" performer.

"The music is timeless. There's nobody else out there who tells stories in the way he phrases and sings them," he says. "He also was a guy who had his ups and downs and always came back. He epitomized what it was like to be an American."

http://www.usatoday.com/story/life/t...tory/70653034/
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TV Review
With Olympus, Syfy plays the game of thrones and loses
By Scott Von Doviak, AVClub.com - Apr. 2, 2015


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post #113 of 33998 Old 04-02-2015, 02:16 PM - Thread Starter
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WEDNESDAY'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 (18-49)
‘Black-ish’ hits a five-month high on ABC
New comedy posts a 2.4 in 18-49s, up 14 percent from last week
By Toni Fitzgerald, Media Life Magazine - Apr. 2, 2015

ABC’s new comedy “black-ish” jumped to its best rating in nearly five months Wednesday night.

The show posted a 2.4 adults 18-49 rating, according to Nielsen overnights, up 14 percent from last week and its best rating since early November.

Of course, the show has benefited the past two weeks from no longer airing opposite Fox’s “Empire,” the No. 1 entertainment show on broadcast, which aired in the same timeslot. “Empire’s” done for the season.

ABC had the night’s top two shows with “black-ish” and “Modern Family,” which drew a 2.9, even to last week.

Earlier in the night, “The Middle” (1.7) and “The Goldbergs” (1.9) were both off 0.2 from last week.

NBC’s “Law & Order: Special Victims Unit” was also up over last week, shooting up 15 percent to a 1.5 at 9 p.m. That helped boost lead-out “Chicago P.D.” at 10 p.m. to a 1.6, up a tenth from last week.

CBS’s “Survivor” posted a 2.1, tying a series low, but it still won its timeslot at 8 p.m.

The CW’s “Arrow” (0.8) and “Supernatural” (0.6) were both off from last week, and the latter tied a series low in the demo.

Fox’s “American Idol” was even to last week’s 1.7 from 8 to 10 p.m.

* * * *

Top show of the night in 18-49s:

ABC’s “Modern Family,” 2.9 rating from 9-9:30 p.m.

Top show of the night in 25-54s:
ABC’s “Modern Family,” 3.8 rating from 9-9:30 p.m.

Top show of the night in total viewers:
CBS’s “Survivor,” 9.47 million from 8-9 p.m.


http://www.medialifemagazine.com/bla...h-high-on-abc/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Apr. 2, 2015

THE BIG BANG THEORY
CBS, 8:00 p.m. ET

Sheldon and Leonard take a road trip that finds them on the grounds of Skywalker Ranch, the northern California home base of their Star Wars creator-hero, George Lucas. This may or may not result in a Lucas cameo appearance, because these guys might not get anywhere near the actual owner of the Ranch. In fact, even in the promos, Sheldon gets tasered as Leonard watches from the car, so it’s even money…

AMERICAN CRIME
ABC, 10:00 p.m. ET

Carter and Aubry reunite in tonight’s episode, but it’s not exactly a smooth reunion for the down-and-out lovers. He’s out on recognizance, with an electronic ankle-bracelet monitor – and while he’s sleeping, she cuts it off. (The bracelet, not the ankle, but it’s still a bold, bad move.)

THE SLAP
NBC, 10:00 p.m. ET
SERIES FINALE:
If you’ve stayed with this American remake of the Australian miniseries throughout, this is your final reward. Well, it’s the final episode, anyway.

ARCHER
FX, 10:00 p.m. ET
SEASON FINALE: Part 2 of 2.
Even in miniaturized form, Archer and company can get into some big trouble. Exhibit B: This concluding portion of the season finale.

LIP SYNC BATTLE
Spike, 10:00 p.m. ET
SERIES PREMIERE:
Jimmy Fallon’s “Lip Sync Battle” started on Late Night with Jimmy Fallon, the brainchild of guest John Krasinski, his wife Emily Blunt, and their friend, Office co-creator Stephen Merchant. When Fallon inherited The Tonight Show, he brought the “Lip Sync Battle” concept with him, and it’s been a huge hit on YouTube, as exemplified by this sample, presented last month on TVWW’s Video Worth Watchingp. And now, those segments have turned into a spinoff show, with Fallon and his co-conspirators all making early appearances as guests, and with Grammys host LL Cool J doing the same here. This time around, there are costumes and backup dancers, but it’s still the same old silliness – which means it might be worth your while to find out if you have Spike, and where it is on your cable or satellite roster. Two episodes are shown tonight back-to-back, and in the first, Fallon himself is a contestant, going head to head with Dwayne Johnson. Both take on anthems from female pop stars: Fallon lip-syncs to Madonna’s “Like a Prayer,” and Johnson, a.k.a. The Rock, to Taylor Swift’s “Shake It Off.”


http://www.tvworthwatching.com/

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post #116 of 33998 Old 04-02-2015, 02:54 PM - Thread Starter
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TV Notes/Q&A
Future Aquaman Jason Momoa on The Red Road, Game of Thrones, and Representing the Justice League Franchise
'Battlestar' veteran talks sex scenes, flashbacks and shifting POVs
By Kenny Herzog, Vulture.com (New York Magazine) - Apr. 2, 2015

Jason Momoa is about to be huge, in every meaning of the word. The 35-year-old Iowa native of Hawaiian descent, who now resides with wife Lisa Bonet (yes, that Lisa Bonet) and their two children in California, is in the midst of training for the second of three turns as DC Comics superhero Aquaman in 2017’s The Justice League Part One (next year’s Batman v. Superman is in post-production, while ’18’s Aquaman has been officially announced). By the time shooting commences, he’ll be a more or less perfect physical specimen — no small feat for a guy who’s already flashed plenty of muscle as the title character in 2011’s Conan the Barbarian remake and Game of Thrones’ Khal Drogo.

But in terms of worldwide recognition, he’ll be simply massive. That ubiquity will signify the culmination of nearly two decades toiling in television and film, from a teenage Baywatch role up through his starring turn as thoughtful killer and wayward Native American tribe member Phillip Kopus in Sundance Channel’s meditative crime drama The Red Road, whose second season premieres April 2 at 10 p.m. On the phone from his manager’s L.A. office, the laid-back mountain-climbing enthusiast and auteur (he directed, wrote, and starred in 2014’s Road to Paloma, produced through his own Pride of Gypsies company) discussed bracing for mainstream impact, playing vengeful son to Tom Sizemore’s sociopath father on The Red Road, and why, despite what Sizemore says, he’s not Marlon Brando.

Is it nice to flex your acting muscles on Red Road before stepping into Aquaman’s tights?
I’d rather play characters than play someone who’s close to myself. The things I’ve done this year that [Red Road creator] Aaron Guzikowski wrote, I’ve never experienced that personally in my life, nor have I ever experienced that as an actor. Kopus is a very, very dark character that’s just fun to play. Even in acting class, I never went to these places, so it was a big challenge emotionally for me, and that’s an honor. It’s what I wanted for my career; it’s what I want to be doing. And I get to be a superhero too? Awesome.

Has it been hard to figure out where Kopus fits in among TV’s trend of morally ambiguous leads?
Not for Aaron. [Laughs.] He’s amazing at it. For me, there are certain moments in this season I’m trying to find these places within myself, reasoning with what [Kopus] was doing and these choices that he’s made. [Aaron] writes it, and it’s totally justifiable, and you go, “I have to go to these places,” and that’s a dream. It’s like when I first started Game of Thrones, you did not like Drogo, and now it’s the fifth season and people still love him. Same thing with Kopus. I went and talked to people and was like, “You are not gonna like me. You are not gonna like this character. He’s a bad example of his people.” But at some point, he’s gonna turn and he has to go that full circle, and you’re gonna see it in this season. It’s so exciting.

Is Kopus inherently bad or have circumstances molded him?
That’s what I love about him. He’s been sucker-punched by life. You find out this year why his mom left him and why she would leave her son with a father like that. Jason Momoa was raised in a beautiful household, and I’m like, “What would happen if I was a product of that environment and then made those choices?” You get to see him break people, and then when he’s around his dad, he’s just a little boy and you sympathize with him, and then watch him turn into a beast again. I think that’s why he’s a beautiful, colorful character.

Are you worried you’re going to have to monitor your personality once you’re representing the Justice League franchise?
Yeah, I have to now, and it’s a real bummer, and it’s also my duty now. I’m obviously in the light and people care what I say, so I’m like, “All right, well, they’re not gonna get my sense of personality.” It’s pretty much gonna hurt the fans. It just closes you off. As an actor, I’m a pretty open person and I love having fun. But you just have to smile and nod and don’t get to open up as much, so it’s a bit of a bummer.

You also have The Bad Batch, by A Girl Walks Home Alone at Night’s Ana Lily Amirpour, coming up with Jim Carrey and Keanu Reeves. Is it intimidating to think about working with such big names?
[Sylvester] Stallone’s probably the biggest guy I worked with [in Bullet to the Head], but I don’t know, I’m pretty relaxed and down-to-earth and cool. I don’t get up in anyone’s space. I’m a pretty extreme character, so I’m not gonna really be Jason Momoa walking around set. We’ll be doing our own things, for sure. If you’re really committed to doing something on this scale, you’re living the character for a while.

Can you say anything about the tone of the movie?
Oh, that’s the great part about it. I love Lily. She’s a phenomenal woman, and A Girl is me and my wife’s favorite, so it’s an honor to be working on [Bad Batch], and I know she wants to keep everything for herself to release to the world, so my only thing is it’s just great being a part of it.

Being of Hawaiian descent with some Native American heritage, do you feel like you’re part of a growing movement of inclusion in casting?
I’m native Kānaka Maoli, but I was raised in Iowa. My mom’s Irish-German. She’s got some native in her, too, but I was raised in a very white farm town in Iowa. I don’t think of myself as just Hawaiian or just white, so it’s one of those things [like] where people try to put you in that box of, “I’m just an action guy,” and that’s why I went with my friends and made Road to Paloma, and then it got us The Red Road and we tried to change that perspective. I just don’t really think about those things.

Are you worried about having time for producing projects like Paloma?
That’s all I do have time for, and that’s what I want to spend the rest of my life doing. There’s too many stories I want to be a part of that maybe I’m not right for, so I don’t just look forward to the acting. I look forward to the storytelling. I love being behind the camera. After Paloma, we’ve already had our next [script], and I’m gonna wait till Justice League comes out and go make my dream project, my Dances With Wolves for the Hawaiian people.

Is there an actor who’s balanced physicality and creativity you feel kindred with?
I don’t really model myself after anyone. I’m inspired by all different types of artists. I want my kids to see their father happy, doing things he loves to do. I strive for it and maybe strike out, but right now it’s hitting.

What about Sizemore’s suggestion that you’re Marlon Brando–esque?
[Mocks tuning out.] Dude, that ain’t me. It’s just Jason Momoa trying to find Jason Momoa.

http://www.vulture.com/2015/04/jason...d-aquaman.html
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post #117 of 33998 Old 04-02-2015, 04:17 PM
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TV Notes
Best bets on TV this Easter weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Apr. 1, 2015

THURSDAY

Best bet on broadcast: NBC, “The Slap,” 10 p.m. Season finale. Prosecuting lawyers obtain photos of the slapping incident.

Best bet on cable: Syfy, “Olympus,” 10 p.m. Series premiere. New mythological drama set in ancient Greece.

Top online offering: ESPN, “College Basketball,” 9 p.m. Call it March Madness light–the championship game of the second-tier National Invitational Tournament.

FRIDAY

Best bet on broadcast: CBS, “The Amazing Race,” 8 p.m. The teams go through Bavaria, Germany, during Oktoberfest.

Best bet on cable: E!, “The Grace Helbig Show,” 10:30 p.m. Series premiere. New talk show starring the YouTube personality.

Top online offering: ESPN, “NBA Basketball,” 8 p.m. Oklahoma City tries to hang onto its playoff position against Memphis.

SATURDAY

Best bet on broadcast: NBC, “Saturday Night Live,” 11:30 p.m. Michael Keaton hosts, with musical guest Carly Rae Jepsen.

Best bet on cable: Starz, “Outlander,” 9 p.m. The second half of the first season picks up where it left off, but from Jamie’s point of view.

Top sporting event: TBS, “College Basketball,” 6 p.m. The Final Four in Indianapolis features Duke versus Michigan State and Wisconsin versus Kentucky.

SUNDAY

Best bet on broadcast: NBC’s, “American Odyssey,” 10 p.m. Series premiere. New drama has “24”-style action, if not “24”-style quality.

Best bet on cable: HBO, “Sinatra: All or Nothing at All,” 8 p.m. The first half of a new buzzed-about documentary profile of Frank Sinatra.

Top sporting event: N/A

http://www.medialifemagazine.com/bes...aster-weekend/
No Ten Commandments this year? I always end up watching some of it, when ABC airs it, even though I have the Blu-ray Disc.

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post #118 of 33998 Old 04-02-2015, 04:45 PM
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No Ten Commandments this year? I always end up watching some of it, when ABC airs it, even though I have the Blu-ray Disc.
It will air on Sunday, April 5 (Easter) as it has in the past.
http://www.channelguidemagblog.com/i...nts-on-easter/
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post #119 of 33998 Old 04-03-2015, 02:53 AM - Thread Starter
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^^^ Actually, it's first time since the mid-2000's that "The Ten Commandments" will air on a Sunday. Back when "Desperate Housewives" was the hottest primetime show on TV ABC relegated "Ten Commandments" to Saturdays so that its annual airing wouldn't affect the network's Sunday schedule. "Ten Commandments" have been doing OK on Saturdays, but not as well as it used to do on Sundays. Now that ABC's Sunday primetime schedule is a shadow of its former self (i.e. "Once Upon A Time" and "Revenge" are barely coasting on average-to-low ratings) the annual movie tradition for Easter Weekend is back on Sundays to give the low-rated primetime block a break. How the mighty have fallen.
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TV Notes
‘The Last Ship’, ‘Proof,’ Eight More TNT Series Get Summer Launch Dates
By Patrick Hipes, Deadline.com - Apr. 2, 2015

TNT will air 10 original series this summer and has set premiere dates all of them including for its three new series. The Jennifer Beals-Matthew Modine drama Proof premieres June 16 at 10 PM with veteran Rizzoli & Isles as its lead-in. Cold Justice: Sex Crimes, the spinoff of Cold Justice from Wolf Reality and Magical Elves, will follow the 9 PM season premiere of the mothership series on July 31. And the 1960s-set police drama Public Morals, from Edward Burns and executive producer Steven Spielberg, will bow August 17 at 9 PM.

The trio of new shows join new seasons of Major Crimes and Murder In The First, which will bow at 9 PM and 10 PM, respectively on June 8; last year’s top new cable series The Last Ship, which returns June 21 at 9 PM with a two-hour season premiere; the fifth and final season of Falling Skies on June 28 and Legends which rounds out the summer slate with an August 25 bow.

http://deadline.com/2015/04/tnt-summ...ls-1201403637/
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