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post #18571 of 32473 Old 09-05-2017, 03:34 PM
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Originally Posted by dcowboy7 View Post
Waiting for 8k - not sure if that applies here but really just like saying it.
I'm waiting for 640k. No one will ever need more than that
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post #18572 of 32473 Old 09-05-2017, 04:37 PM
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Originally Posted by lobosrul View Post
I'm waiting for 640k. No one will ever need more than that
Speak for yourself!
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post #18573 of 32473 Old 09-05-2017, 07:56 PM
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Originally Posted by Brian Conrad View Post
Yet of course the shows on cable are 5.1 but AC3 not DD+.
DD+ is AC3, i.e., E-AC3.

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post #18574 of 32473 Old 09-05-2017, 08:52 PM
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Originally Posted by Brian Conrad View Post
Adding HDR won't swell the size of an encode that much at all unlike 4K.
Actually, going from 8 to 10 bits can make the file size decrease, so it's a win on all fronts (except compatibility). Using 8 bits can cause banding artifacts, and the artifacts actually require a higher bitrate to represent than the original input. Using 10 bits to represent the original colour information removes the banding artifacts and allows the compression to be more efficient. On live-action material the difference is often negligible, but in animation in particular, files can be 30% smaller just from using 10 bit colour depth instead of 8.
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post #18575 of 32473 Old 09-06-2017, 07:05 AM - Thread Starter
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TV/Critic's Notes
Fall TV preview: 10 new shows you must watch
By Robert Bianco, USA Today - Sep. 5, 2017

This fall, everything old is old again.

Do you like military shows? There are three, so interchangeable they might as well be called Gun Go Bang. There are three more superhero shows, all from Marvel, and three reboots — Dynasty, S.W.A.T. and Will & Grace — with a fourth, Roseanne, due later this season.

In other words, if you thought last fall's creative standouts This is Us, Atlanta, Speechless and Insecure were going to spur the TV industry to ever greater heights — they didn't. Every season has its high points, but as a whole, this one is shaping up to be far less impressive than the last.

Still, there are some good options out there, spread among broadcast, cable and streaming networks. Finding them in this era of near-daily premieres, however, is the trick — which is why USA TODAY's Robert Bianco offers this guide to fall's 10 best bets, in chronological order. Mark your calendars and plunge in.

The Deuce - HBO, Sept. 10 (Sundays, 9 ET/PT)
James Franco and Maggie Gyllenhaal star in this incredibly evocative series about the birth of the porn industry in a decaying, decadent early-1970s New York City. While that sounds interesting, here's what should put the show on top of any must-see list: It's co-produced by David Simon, who gave us what might be TV's greatest drama series, The Wire. Which means that once the eight-episode season gets going (and it's a somewhat slow starter) you can count on it being about much more than just porn and sex and the '70s, delving deep into where we are as a society today.

The Vietnam War - PBS, Sept. 17 (Sundays through Thursdays, 8 ET/PT, times may vary)
With their latest film for PBS, Ken Burns and Lynn Novick tackle what may be their most controversial topic yet: a war that ripped apart our nation's social and political fabric, creating divisions that exist to this day. For 18 hours over 10 nights, they attempt to explain the war and its effects, offering as many perspectives as possible while trying to answer a question that still haunts so many who lived through the conflict: "How could this have happened?" It's a hard question to face, but the wounds may never heal if we don't.

Star Trek: Discovery - CBS All Access, Sept. 24 (first episode airs on CBS, Sunday at 8:30 ET/PT)
Fans have seen no more than a trailer so far, but that's been enough to thrill many Star Trek devotees while enraging a few others. (The "rage" part mostly comes from those who seem unable to cope with the very idea of a Star Trek series being built around a woman of color, Sonequa Martin-Green.) The trailer is certainly impressive — far more impressive than any new drama airing on CBS — so Discovery probably ranks as the most highly anticipated new series. Let's just hope that anticipation is rewarded.

Young Sheldon - CBS, Sept. 25 (special preview Monday, 8:30 ET/PT; moves to Thursdays, 8:30 ET/PT Nov. 2)
If you're looking for the show that has the clearest path to success, look no further than this Big Bang prequel, narrated by Jim Parsons, that focuses on a 9-year-old version of his Sheldon Cooper (Iain Armitage) and his mother — Zoe Perry, whose real-life mom, Laurie Metcalf, plays Sheldon's in Big Bang. The pilot, while promising, is also a shade underwhelming: It's more sweet than funny, and sometimes more sour than sweet. But there's no one better than producer Chuck Lorre at tweaking a good pilot into a great series, fixing what went wrong as he goes. As he did with Bang.

Will & Grace - NBC, Sept. 28 (Thursdays, 9 ET/PT)
Yes, there are far too many remakes coming — and most for shows that would be better left dead. But this one, well, the time just could be right for Will's return. The stars seem excited and on top of their games; the creators are back on board; and we're all in dire need of a comedy that is laugh-out-loud funny, as Will was at its height. Maybe it will all still go the way of Netflix's dismal Arrested Development return, but as long as optimism remains free, why not be optimistic?

Ten Days in the Valley - ABC, Oct. 1 (Sundays, 10 ET/PT)
I'm not in favor of TV shows coming back to life, but I'm all for great TV actors returning — and few are finer than The Closer'sKyra Sedgwick. This time she plays a TV producer whose daughter is kidnapped, a crime that reveals the secrets of everyone it touches. This 10-episode limited series gets off to a beautifully taut start, and as a bonus, you don't have to worry about being left hanging. The producer promises the main story will be wrapped up in the finale.

The Gifted - Fox, Oct. 2 (Mondays, 9 ET/PT)
Goodness, it's an odd year for Marvel. The company has given its corporate cousin ABC what looks (based on an admittedly incomplete pilot) like the season's worst new series in Marvel's Inhumans, while handing rival Fox the best series it has yet produced. So what sets apart this X-Men offshoot, about a family on the run from anti-mutant agents, from those failures? Stakes. The pilot and the actors immediately make you care about these characters and their plight, and make you eager to see what happens next. For this company's TV division, that's a marvel.

The Mayor - ABC, Oct. 3 (Tuesdays, 9:30 ET/PT)
In a weak season for new sitcoms, this amusing ABC effort stands out on the strength of its appealing cast, led by Brandon Micheal Hall as a young rapper-turned-accidental-mayor and Yvette Nicole Brown as his mom. The premise (he runs for office as a publicity stunt and is dismayed when he wins) comes across as silly, even with its current-events overtones, but that may not matter. The show itself seems to turn on the relationship between the young mayor and his mom, and that looks rock-solid.

Mindhunter (Netflix, Oct. 13)
Charlize Theron and Gone Girl's David Fincher produce this new series, based on Mark Olshaker and famous profiler John Douglas' non-fiction book Mind Hunter: Inside the FBI's Elite Serial Crime Unit. That's pretty much all we know about it, but the source material, Fincher's involvement and that of stars Jonathan Groff, Anna Torv and Holt McCallany are enough to earn the series a spot on your calendar.

Future Man (Hulu, Nov. 14)
Seth Rogen brings his unrestrained sense of humor to this amiable fantasy comedy about a janitor (Josh Hutcherson) whose video-game skills may prove the key to saving mankind — if the game's heroine-come-to-life (Eliza Coupe) doesn't get him killed first. As you might expect from Rogen, Man'sa little on the raunchy side, but underneath it are some good performances and some sly comments on our never-ending affection for violent entertainment.

https://www.usatoday.com/story/life/...day/546179001/
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post #18576 of 32473 Old 09-06-2017, 07:08 AM - Thread Starter
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TV Notes (Cable)
TNT Cancels Young Shakespeare Drama ‘Will’
By Michael Malone, Broadcasting & Cable - Sep. 5, 2017

TNT has canceled drama Will, about a young Shakespeare seeking out his playwriting muse as a young man in London. The show premiered July 10.

Newcomer Laurie Davidson played Will. TNT described the series as being “told in a bold, contemporary style and played to a modern soundtrack that exposes all of Shakespeare's recklessness, lustful temptations and tortured brilliance.”

Also in the cast were Olivia DeJonge, Ewen Bremner, Colm Meaney, Mattias Inwood and Jamie Campbell Bower.

Craig Pearce created the series.

http://www.broadcastingcable.com/new...ma-will/168354
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post #18577 of 32473 Old 09-06-2017, 07:17 AM - Thread Starter
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Nielsen Overnights (Broadcast)
‘American Ninja Warrior’ Ratings Top Night, Delivers NBC Labor Day Victory
By Dominic Patten, Deadline.com - Sep. 5, 2017

There was some hard physical labor at work on American Ninja Warrior (1.5/6) on Labor Day as the NBC competition series kicked off its national finals to deliver a win to the Comcast-owned network.

Fifth-grade teacher Allyssa Beird was among the 20 hopefuls who completed the grueling course Monday as ANW held even with its August 28 episode in the adults 18-49 demographic. Viewershipwise, ANW dipped a bit from last week to a total audience of 6.23 million.

Matching a season high in the key demo and hitting a season high in viewers, Monday’s results make the 8-10 PM series the night’s top-rated and most-watched show. It also marks the first time ANW has topped Bachelor In Paradise (1.3/5) head-to-head among 18-49s, though the two shows have been tied before.

All of which means, even with Midnight, Texas (0.7/3) down 22% from last week, NBC is top dog for the holiday Monday with a 1.2/5 rating and 5.17 million viewers overall.

Down 19% from the fast-affiliate season high of last week, Bachelor In Paradise was ABC’s only original of the night. Last week’s episode saw an adjustment of a tenth in the final numbers, so there is some traction possible today as well.

As it does most Mondays, Fox had So You Think You Can Dance (0.6/3), which declined 25% from it August 28 airing. CBS’ only original was the CBS Fall Preview (0.8/3) special, with the House of Moonves laying out its new offerings for the looming fall season.

The CW was all encores.

http://deadline.com/2017/09/allyssa-...bc-1202161250/

* * * *

Nielsen Notes (Cable)
‘Power’ Finale Ups Viewership To Season High; Steady With 2016 Despite Leaks

With revenge dripping from its teeth, the Season 4 finale of Power went out with a bang Sunday – and we don’t just mean the pulling of that trigger on the Starz series. As Ghost (Omari Hardwick) and Tasha’s (Naturi Naughton) son Tariq (Michael Rainey Jr.) took down his sister’s killer, the Courtney Kemp-created drama hit a viewership season high.

Having seen the last three episodes of Power’s fourth season leaked last month, the 9 PM airing of the Kemp and Monica Mitchell co-written episode, “You Can’t Fix This,” snagged an audience of 2.0 million. That’s up a notch from the previous Season 4 high of 1.9 million the August 20 broadcast “That Ain’t Me” pulled in against the penultimate episode of the penultimate season of Game Of Thrones. It is also pretty much in line with the 2.01 million scored by the Season 3 finale on September 25, 2016.

In a season that has seen big jumps on the premium cabler’s app usage for Power, which has new episodes available several hours before airing on Starz, the show hit 2.95 million sets of eyeballs overall this past weekend. That’s a 6% viewership uptick over what the Season 3 “In My Best Interest” ender garnered overall.

Numbers for the Power S4 finale and Starz app, as well as more multi-platform viewing, will seep in over the next week or so, but there is some context to draw from recent weeks. Information up until the August 13 “It’s Done” episode has Power hitting 8.8 million viewers per airing this season. That’s a 10% rise over the Season 3 average, a lot of which can be attributed to Power’s audience watching on the app.

And, in the last bit of math, Power’s Season 4 finale was up 19% in first broadcast linear viewers over the Season 4 premiere of June 25. The most watched single episode of the Curtis “50 Cent’ Jackson co-starring an EP’d series remains the 2.26 million who watched the first run of the Season 3 debut of July 17, 2016.

Power is expected to return for its fifth season next summer.

http://deadline.com/2017/09/power-fi...rz-1202162046/
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post #18578 of 32473 Old 09-06-2017, 07:21 AM - Thread Starter
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TV/Critic's Notes
When the Heroine Is Less Than Perfect
By Mike Hale, The New York Times - Sep. 3, 2017

We’ve been living in the age of the television antihero for a while now. Tony Soprano, Vic Mackey, Walter White, Frank Underwood, Don Draper — male murderousness and deception wrapped in charisma has been a dominant trope of the TV revolution.

So where are the antiheroines? Their arrival has been slow and fitful, the problematic female character apparently being a harder sell, a harder creative leap or both. They’re said to have arrived — a representative list might include Claire Underwood (“House of Cards”), Jackie Peyton (“Nurse Jackie”), Patty Hewes (“Damages”), Carrie Mathison (“Homeland”), Olivia Pope (“Scandal”) and Letty Dobesh (“Good Behavior”).

The two groups are separate and unequal, however. The antiheroes, defined by their exercise of power rather than the quality of their relationships, almost never have to say they’re sorry. Their flaws are a given, overshadowed by the more important question of whether and how they’ll triumph.

Troubled female protagonists are more likely to be defined by two things: their spousal and mothering skills and, closely related, their levels of guilt and fear. They spend a lot of time fretting and apologizing.

In truth, the women are seldom truly anti. The makers of television are still, for the most part (the occasional Claire Underwood or Cersei Lannister aside), unwilling to go all the way — to create a female character who freely practices evil and is, at least in dramatic terms, celebrated for it.

What we get instead are compromised heroines. Instead of “Will she win?” the question is, will she overcome her problems and reassure us that women aren’t like men? This is more of an observation than a criticism — the result can be female characters who are more complicated and realistic, if less superficially exciting, than their male counterparts. Several of the more interesting new and returning dramas this fall feature this sort of probationary heroine, on trial in an essentially personal way that male characters rarely are.

ABC’s abduction thriller “Ten Days in the Valley” (Oct. 1), created by the Canadian writer and producer Tassie Cameron (“Rookie Blue”), gets right to the heart of things. Kyra Sedgwick plays Jane Sadler, a high-powered TV writer who’s also the divorced single mom of a young daughter.

In the first episode — no big spoilers here — an emergency crops up at night, when Jane’s without help, and she leaves her daughter alone while she retreats to her backyard studio to write. When she returns a few hours later, the girl is gone.

“Ten Days” is a having-it-all horror story, with a perfect alignment of circumstances to paint Jane as an imperfect mother: divorce, a consuming career, a reliance on drugs to weather all-night writing sessions. What’s interesting about it, in the two episodes available for review, is that while we might sympathize with Jane, we’re not pushed to like her. Her concern for her daughter isn’t appreciably greater than her anger at the ex-husband she assumes is responsible for the abduction and her fear that the police will uncover her drug use.

“Liar,” a British mini-series beginning Sept. 27 on SundanceTV, tackles another paradigmatic situation in which a woman faces suspicion and resistance. Joanne Froggatt of “Downton Abbey” plays a schoolteacher, Laura Nielson, who goes on a date with a handsome widowed doctor (Ioan Gruffudd) and subsequently accuses him of drugging and raping her.

The beats of this story, like those of the bad-mother story, are familiar, and the writer-producer brothers Harry and Jack Williams (“The Missing”) hit many of them: Laura’s alcohol intake on the night in question, her jangled emotions and defensiveness in its aftermath and a previous incident that casts doubt on her. In plot terms, keeping her stability and veracity in question is essential to the show’s mystery.

Perhaps no female protagonist in TV is more troubled than Robin Griffin, the Australian police detective played by Elisabeth Moss in Jane Campion’s “Top of the Lake,” which begins its second season on SundanceTV on Sept. 10. (The season’s full title is “Top of the Lake: China Girl.”)

Robin returns to the Sydney police department (after solving a case while on vacation in New Zealand in Season 1) and, while looking into the murders of Asian prostitutes, confronts institutional sexism and indifference that exacerbate the depression she suffers as a result of having been raped as a teenager. She’s also saddled with mother-guilt, having given up the child born after the rape. In classic female-noir fashion, her personal demons both hinder her investigation and give her the empathy and insight she needs to pursue it.

“Ten Days in the Valley,” “Liar” and “Top of the Lake” all use genre-based mystery plots to examine predicaments and pressures that real-life women experience every day, and it may seem backward or reductive to group them on the basis of their problematic heroines.

But it makes sense when you consider there are no comparable male characters. Looking for troubled male leads in the fall’s new dramas, there’s the brilliant autistic surgeon of “The Good Doctor” on ABC and the brilliant, bereaved entrepreneur of “Wisdom of the Crowd” on CBS. Each exists largely above reproach, battling demons that were forced on him. When a male character has issues, they’re much more likely to be addressed through comedy, where judgment is suspended in the name of likability. The fall schedule is full of new comedies featuring men whose foibles and deficiencies are played for laughs: “9JKL,” “Ghosted,” “Me Myself & I,” “Kevin (Probably) Saves the World.”

Actually, one of television’s truest, most cleareyed depictions of the less-than-perfect woman and mother is also a comedy, but not of the slick sitcom variety. Pamela Adlon’s “Better Things” returns for its second season on FX on Sept. 14, chronicling the continuing misadventures of a harried single mom and her three daughters in a way that’s hilarious but also honest about the stresses and potential dangers of that particular family arrangement. Ms. Adlon pulls off the essential trick for a show about her type of heroine: It’s all about judgment, but it’s never judgmental.

https://www.nytimes.com/2017/09/03/a...e=sectionfront
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TV Notes (Broadcast)
Dancing With the Stars Season 25: Frankie Muniz, Debbie Gibson, PLL and Hamilton Stars Among Cast
By Ryan Schwartz, TVLine.com - Sep. 6, 2017

How’s this for “A”-list casting? Pretty Little Liars‘ Sasha Pieterse will compete on Dancing With the Stars this fall.

Good Morning America on Wednesday revealed the full cast line-up for Season 25, which also includes Malcolm in the Middle‘s Frankie Muniz, ’80s pop star Debbie Gibson and, as previously reported, marrieds Nick and Vanessa Lachey.

The Lacheys have a family legacy to live up to on the dance floor. Nick’s brother/fellow 98 Degrees member Drew Lachey took him the Mirrorball Trophy all the way back in Season 2.

Also competing are Grease Live!-turned-Hamilton star Jordan Fisher, WWE’s Nikki Bella, retired NBA all-star Derek Fisher, violinist Lindsey Stirling and Paralympian Victoria Arlen. They join former NFL star Terrell Owens and Property Brothers‘ Drew Scott, whose casting was previously announced ahead of GMA‘s full cast unveiling.

https://tvline.com/2017/09/06/dancin...debbie-gibson/
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TV Review (Broadcast)
Seth MacFarlane’s ‘The Orville’ on Fox
By Maureen Ryan, Variety.com - Sep. 5, 2017

When the dust settles, “The Orville” may emerge as the most inexplicable show of the new season. It certainly never makes a convincing case for its existence. The first impression — that it exists so that creator and star Seth MacFarlane can do elaborate “Star Trek” cosplay — is only reinforced over the course of the tepid trio of episodes that kick off the show.

MacFarlane has said he created “The Orville,” which also serves as the name of the ship its characters use to travel the galaxy, in order to put aspirational sci-fi back on television. He’s not wrong about the fact that too many shows lack both the humanistic optimism that defines “Star Trek” and the structural rigor the franchise’s TV writers displayed at their best.

But the way to pay homage to all things “Trek” (and “Twilight Zone”) is not with derivative storylines that awkwardly mix the frat-bro humor found on MacFarlane’s animated programs with unexceptional space adventures. “The Orville” attempts a mind-meld between classic “Star Trek: The Next Generation” and warmed-over “Family Guy,” but it never really gets there.

That’s not the only issue. On small and large screens, one of “Star Trek’s” most consistent faults is casting good actresses in key roles yet treating their characters with condescending and even sexist attitudes at times. As it dutifully excavates the Federation legacy, “The Orville” imports that deflating habit as well.

Adrianne Palicki’s Kelly Grayson, the ship’s second-in-command, is defined almost completely by the resentment that Ed Mercer (MacFarlane) and his best bro, navigator Gordon Malloy (Scott Grimes), display toward her. Ed and Kelly used to be married, but their relationship went sour: In the opening scene of “The Orville,” Ed finds Kelly cheating on him, and he never misses an opportunity to remind her of that.

And yet, even though her ex and his buddy frequently scold and try to shame her, “The Orville” would have viewers believe she may want to get back together with him. Kelly even says at one point she wants to “atone” for her actions, which is why she pulled strings to be assigned with her ex, who apparently wasn’t a very good husband. Perhaps an alien could find logic in that scenario, but it’s elusive to the human mind.

Palicki, who’s brisk and winning. does her best with the material she’s given, but most of the writing for Kelly and Ed is so flat and predictable that their love lives actually grow less interesting over time.

As an actor, MacFarlane displays basic competence, but he does not have the charisma or chops to carry an entire season of an hourlong drama, nor is he able to set the right tone for the show. Of course, that would be difficult for anyone, given “The Orville’s” inconsistency about what it wants to be. It tries to be light and comedic, except when it’s a morality play or an action hour or a hangout comedy set in space. It doesn’t help that most of the jokes don’t display the liveliness of a batch of Tribbles.

On an aesthetic level, “The Orville” doesn’t make any notable attempts to update the pastel, blue and black palette that various “Star Treks” were addicted to back in the day, which feels like a missed opportunity. All in all, the echoes of other journeys from past eras make for a superficial and undistinguished voyage. There’s a robotic character, scenes set in shuttle bays, clashes with warlike races, among other standard sci-fi elements. Most of the aliens have bumpy foreheads and otherwise resemble dozens of “Trek” races through the ages.

There is an attempt to do something unusual with one species: An officer aboard the Orville named Bortus (Peter Macon) is from a planet populated exclusively by males, as is his mate, Klyden (Chad L. Coleman). The third installment, which is devoted entirely to their efforts to expand their family, is one of the most spectacular and unfortunate storytelling fails of the year.

An air of self-congratulation hangs over the entire hour, as if MacFarlane, who wrote it, couldn’t get over his awe at his own bravery in engaging with a difficult, complex topic. Without giving anything away, suffice it to say that the show takes a big creative swing tackling issues of gender and identity, but it does not connect, and the end result is disastrous. If it’s challenging for “The Orville” to wring laughs from the audience, it’s all but impossible for it to earn the dramatic (and tone-deaf) conclusion it attempts in the third episode.

MacFarlane was part of the team that brought back “Cosmos,” one of the most delightful TV revivals of the last few years. Clearly he cares about space, science and the evolution of the human race, all of which appeal to many TV fans as well (hence the anticipation for CBS All Access’ “Star Trek: Discovery”). TV could always use more space-set shows, but “The Orville” just doesn’t boldly go anywhere worth following.

'The Orville'
Drama; 13 episodes (3 reviewed). Fox, Sun. Sept. 10 8 p.m. and Sun. Sept. 17, 8 p.m., following NFL games. Regular time slot premiere Thurs. Sept. 21, 9 p.m.


http://variety.com/2017/tv/reviews/o...ox-1202544522/
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Technology/Media Notes (Streaming)
Roku begins programming content with the launch of an ad-supported movie channel
By Lizzie Plaugic, TheVerge.com - Sep. 6, 2017

Roku just took its first step into programming with the launch of a free movie channel it’s calling the Roku Channel. Thanks to a series of licensing deals, Roku’s channel will feature movies from major Hollywood studios like Lionsgate, MGM, Sony Pictures Entertainment, and Warner Bros., Variety reports.

The Roku Channel’s available films, like Legally Blonde and The Karate Kid, are easy to find elsewhere, but this is the first time the company has licensed a large number of movies for a Roku-branded channel.

This move is likely part of Roku’s plan to grow its user base and ad business ahead of its IPO. Unlike Amazon or Apple, which make hardware and video content, Roku has, until now, mostly stuck to selling hardware, like streaming boxes and video sticks. As Variety points out, the only other channel operated by Roku previously was one meant to showcase its devices’ 4K capabilities.

Still, the Roku Channel is just licensed content, not originals, which will allow Roku to continue to host streaming competitors like Amazon Instant Video and Netflix, whose original series are often quarantined from other services.

Roku says the channel will roll out in phases “over the coming weeks.”

https://www.theverge.com/2017/9/6/16...-lionsgate-mgm
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TV/Business Notes (Cable)
Scripps-Owned Newsy Becoming a Cable Channel After RLTV Purchase
By Diana Marszalek, Multichannel News - Sep. 6, 2017

Newsy, the E.W. Scripps-owned video news brand, is becoming a cable channel, resulting from the company’s purchase of Retirement Living Television’s carriage contracts.

Under the plan, Scripps will take over RLTV’s carriage agreements, and put Newsy’s existing programming, currently distributed OTT, on the network, the company said. Those carriage agreements reach roughly 26 million subscribers, Scripps said.

The process will start over the next few months, Scripps said. By the end of 2018, Newsy is expected to reach about 40 million cable and satellite subscribers.

Though Newsy cut its teeth as an OTT-distributed offering, it has also locked in some more traditional carriage agreements previously with MVPDs such as Cincinnati Bell and Layer3 TV, as well as newer virtual MVPDs that include Sling TV, Pluto TV, as well as a new TV streaming service from CenturyLink.

Multichannel News technology editor Jeff Baumgartner contributed to this story.

http://www.multichannel.com/news/con...urchase/415036
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post #18583 of 32473 Old 09-06-2017, 07:59 AM - Thread Starter
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TV Notes
On The Air Tonight
WEDNESDAY 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)
From Zap2it.com's TV Grid - Sep. 6, 2017

ABC:
8PM - The Goldbergs
(R - Mar. 8)
8:30PM - Speechless
(R - Apr. 26)
9PM - Modern Family
(R - May 3)
9:30PM - American Housewife
(R - Apr. 18)
10PM - Modern Family
(R - Mar. 29)
10:30PM - The Goldbergs
(R - Feb. 15)
* * * *
11:35AM - Jimmy Kimmel Live! (Dr. Phil McGraw; former professional boxer Mike Tyson; comic Martin Urbano)
12:37AM - Nightline

CBS:
8PM - Big Brother
9PM - Salvation
10PM - Criminal Minds
(R - May 3)
* * *
11:35PM - The Late Show With Stephen Colbert (Liev Schreiber; sportscaster Joe Buck; Sonequa Martin-Green; Sheila E. sits in with Jon Batiste and Stay Human)
12:37AM - The Late Late Show With James Corden (Comic Jim Gaffigan; James Van Der Beek; Liam Payne performs)

NBC:
8PM - America's Got Talent: Results (LIVE)
9PM - Marlon
9:30PM - Marlon
10PM - Hollywood Game Night (Season Finale)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Seth MacFarlane; Elisabeth Moss; "Fallonventions''; Thomas Rhett performs)
12:37AM - Late Night with Seth Meyers (Trevor Noah; Maggie Gyllenhaal)
1:38AM - Last Call with Carson Daly (Nicholas Hoult and writer Danny Strong; Ethan Gruska performs; Chris Geere)

FOX:
8PM - MasterChef (120 min.)

THE CW:
8PM - Arrow
(R - May 3)
9PM - Supernatural
(R - May 4)

PBS:
8PM - Earth's Natural Wonders: Wonders of Water
(R - Oct. 11, 2015)
9PM - NOVA: Killer Landslides
(R - Nov. 19, 2014)
10PM - India: Nature's Wonderland
(R - Sep. 8, 2015)

UNIVISION:
8PM - Enamorándome de Ramón
9PM - Mi Marido Tiene Familia
10PM - La Tierra Prometida

TELEMUNDO:
8PM - Jenni Rivera: Mariposa de Barrio
9PM - Sin Senos Sí Hay Paraíso
10PM - El Señor de Los Cielos

ESPN:
7PM - 2017 U.S. Open Tennis: Quarterfinals (4 hrs., LIVE)

A&E:
9PM - Wahlburgers
9:30PM - Wahlburgers
10:01PM - The Lowe Files

E:
9PM - Total Bellas (Season Premiere)
10PM - Eric & Jessie (Season Premiere)

HISTORY:
9PM - Road to 9/11, Part 3: The Days of Terror (2000-2003) (2 hrs. 3 min.)

USA:
9PM - Suits
10:01PM - The Sinner

FX:
10PM - Snowfall (Finale, 77 min.)

FXX:
10PM - You're The Worst (Season Finale, 64 min.)

SUNDANCE:
10PM - Transparent (39 min.)
10:39PM - Transparent (41 min.)

SYFY:
10PM -Blood Drive (Season Finale)

COMEDY CENTRAL:
11PM - The Daily Show with Trevor Noah (Ambassador Christopher Hill; Lake Bell)
11:31PM - The Daily Show with Trevor Noah (Activist Xiuhtezcatl Martinez)
(R - Sep. 5)

TBS:
10:30PM - Full Frontal with Samantha Bee
(R - Jun. 28)
* * * *
11PM - Conan (The Cast of The Lego Ninjago Movie)
(R - Jul. 22)


http://tvlistings.zap2it.com/tvlisti...000&aid=zap2it
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post #18584 of 32473 Old 09-06-2017, 08:05 AM - Thread Starter
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TV/Media Notes (Broadcast/Digital)
PBS and Independent Lens Launch New Documentary-Driven YouTube Channel
By Sean Burch, TheWrap.com - Sep. 6, 2017

EXCLUSIVE: PBS isn’t just for your grandparents anymore.

The public broadcasting mainstay is continuing to solidify its presence as a digital media player, launching a YouTube channel in collaboration with Independent Lens, an Emmy award-winning indie documentary series. The new channel, Indie Lens Storycast, will debut on Sept. 12 with its first doc, “Iron Maidens,” highlighting an all-girls competitive robotics team from Bronx Science High School.

Independent Lens Executive Producer Lois Vossen told TheWrap the nascent series aims to find dynamic stories that will appeal to a younger audience.

“Indie Lens Storycast is our latest digital innovation with the launch of an online channel showcasing entertaining short stories with big impact,” said Vossen. “The four docu-series premiering this fall share the same DNA of our feature docs but take advantage of digital storytelling formats to attract Gen X audiences who want to engage with smart storytelling about vital contemporary issues.”

With Indie Lens Storycast, PBS is doubling down on its strong Youtube foundation, where it has more than 12 million subscribers across its myriad of channels. And beyond YouTube, PBS has looked to budding forms of storytelling to bolster its credentials as a digital media destination. Network staple “Frontline” has been creating many of its renowned investigative documentaries in virtual reality, and promoted its new-school approach earlier this summer with a #VRWeek push on social media.

http://www.thewrap.com/pbs-launches-...utube-channel/
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post #18585 of 32473 Old 09-06-2017, 08:12 AM - Thread Starter
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Sep. 6, 2017

MR. MERCEDES
AT&T Audience Network, 8:00 p.m. ET

Harry Treadaway and Brendan Gleeson have proven to be very well-matched adversaries in this Stephen King drama. Treadaway is a killer with several twisted streaks, and Gleeson is the retired detective still haunted by the killer’s previous murder spree. And slowly but surely, Mr. Mercedes has proven itself one of the best TV shows of the later summer, heading into fall – and its momentum seems destined to continue.

CLASSIC ALBUMS
AXS TV, 9:00 p.m. ET

Another new edition spotlighting a classic album, this time from the Sixties: 1967’s Disraeli Gears, the second album by supergroup trio Cream. Guitarist Eric Clapton, bassist Jack Bruce, and drummer Ginger Baker were the only musicians necessary to create this particular wall of sound, resulting in not only the iconic psychedelic hit “Sunshine of Your Love,” but also “Strange Brew,” “Tales of Brave Ulysses” and the ultra-odd “Mother’s Lament.”

YOU'RE THE WORST
FXX, 10:00 p.m. ET
SEASON PREMIERE:
Season 4 of this comedy series picks up after the disastrous cliffhanger that ended Season 3, when Jimmy (Chris Geere) proposed to Gretchen (Aya Cash) – and then walked away, immediately and without explanation. The new season begins with both characters reeling in the aftermath – she’s wondering why he proposed then fled, while he’s hiding from life in general, and her in particular, by living in a retirement-village trailer park. And that’s where Season 4 begins…


http://www.tvworthwatching.com/

* * * *

TV Review (Cable)
‘You’re the Worst’ Returns for Season 4
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Sep. 6, 2017

Jimmy and Gretchen never took the good times particularly well on FXX’s You’re the Worst. You can imagine how they’re coping with the bad times.

You’re the Worst, TV’s darkest romantic comedy and one of its best, returns Wednesday at 10 p.m. ET to kick off Season 4 with a double episode.

This season starts with something of a jarring reset, but then, that was also true of last season, when we learned that Gretchen (Aya Cash) had been formally diagnosed with clinical depression.

No surprise there, though it did temporarily put a damper on the wild, raucous, and irresponsible behavior in which she and her boyfriend Jimmy (Chris Geere) had been gleefully engaging since the beginning.

The show was still built, however, on the shared lie that Gretchen and Jimmy really don’t care about each other. That they’re each too selfish to care about anyone else. That they don’t need anyone else or want any of the traditional trappings of a committed relationship. That they only hang out because they’re both interested in meaningless sex and getting high and, you know, stuff like that.

That’s all rationalized, self-protective nonsense, and by the end of last season, they seemed to have punched a few holes in those barriers. F’rinstance: Jimmy proposed marriage.

Gretchen seemed more than amenable. Then Jimmy climbed into his car and drove away. Gone, like a cool breeze.

This season opens some three months later, and naturally, it updates us on what they have both been up to.

The answer won’t surprise fans of the show. Gretchen is a wreck, though her trauma takes a different form than some fans might expect. Without spoiling anything, let’s just say she’s not curled up in the fetal position refusing nutrition.

Jimmy, on the other hand, has found a place to keep a low profile. Won’t spoil that one, either, since the location is a pretty funny gag.

Furthermore, unlike Outlander, You’re the Worst probably isn’t going to keep Jimmy and Gretchen apart indefinitely.

For one thing, their separation doesn’t carve out a lot more screen time for alternative plotlines, including those that involve the show’s other two main characters, Edgar (Desmin Borges) and Lindsay (Kether Donohue).

That’s not a reflection on Edgar and Lindsay. Their new storylines are amusing and promising, as they’re each at least temporarily going in directions they never expected – and which, to be honest, we viewers won’t be at all sure they can maintain.

The point is that they don’t eclipse our concern about Jimmy and Gretchen, whose quiet and sometimes unquiet desperation forms the bed of nails on which You’re the Worst tosses and turns.

It’s equally true, however, that You’re the Worst isn’t a show that makes you want to turn off the TV and walk into the ocean. The fact these characters survive themselves and make it to the next day offers an ongoing ray of hope to everyone.

With luck, Season 4 won’t let that ray disappear.

http://www.tvworthwatching.com/BlogP...x?postId=14708
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post #18586 of 32473 Old 09-06-2017, 08:36 AM
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TV/Business Notes (Cable)
Scripps-Owned Newsy Becoming a Cable Channel After RLTV Purchase
By Diana Marszalek, Multichannel News - Sep. 6, 2017

Newsy, the E.W. Scripps-owned video news brand, is becoming a cable channel, resulting from the company’s purchase of Retirement Living Television’s carriage contracts.

Under the plan, Scripps will take over RLTV’s carriage agreements, and put Newsy’s existing programming, currently distributed OTT, on the network, the company said. Those carriage agreements reach roughly 26 million subscribers, Scripps said.
Are they still going to have the OTT service? Newsy is one of my Haystack TV news sources. I'd hate to lose it.
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post #18587 of 32473 Old 09-06-2017, 08:39 AM
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Who woulda thought Mike Francessa would last longer than him....

WFAN’s Craig Carton arrested in concert ticket Ponzi scheme

By Daniel Prendergast and Lia Eustachewich September 6, 2017

“Boomer and Carton” co-host Craig Carton was arrested by feds Wednesday morning on charges he ripped off millions of dollars from investors by peddling bogus concert tickets in order to cover his own gambling debts, according to court papers.

Carton, 48, and business partner Joseph Meli are accused of running a Ponzi scheme in which they used funds from new investors to repay earlier investors and other debts, according to the complaint filed by the US Securities and Exchange Commission.

Together, Carton and Meli, 43, ripped off at least $3.6 million from two investors, while on his own, Carton misappropriated another $2 million from one of the same two investors.

The two solicited investments in ticket reselling enterprises they claimed bought tickets to Katy Perry, Justin Bieber, Roger Waters, Metallica, Barbra Streisand and Adele shows and resold them at huge profits.

“Carton falsely claimed to investors that he — sometimes on his own and sometimes through Meli —had access to millions of dollars’ worth of concert tickets at face value,” the complaint said.

The married father of four allegedly forged documents showing purported ticket-sale “agreements” between his and Meli’s entities and concert promoters – when none actually existed.

Carton turned to the ticket scam in the middle of 2016 as a result of accruing “millions of dollars’ worth of gambling-related debts to casinos and other third parties,” according to court papers.

In a Sept. 7, 2016, email to Meli and another associate, Carton wrote that he was “around $3 M in the whole [sic]” and that he “risked and lost $700 of investor money” — referring to a $700,000 loss — and that he owed [$825,000] ASAP” to the person. He also indicated that he owed “a total of $500 on the 12th” to two casinos, referring to a $500,000 debt, the complaint detailed.

In addition to the SEC charges, Carton is charged, along with another business associate Michael Wright, with wire and securities fraud by prosecutors in Manhattan federal court.

One of their investors was an unidentified hedge fund partner, who Carton first met in September 2016 at a charity event.

In October 2016, Carton texted Wright and Meli — identified as “co-conspirator 1” in the Manhattan federal court complaint — saying he struck gold.

“Guys. I’ve done it,” Carton wrote. “One investor ready committed $10m liquid and $40m LOC [line of credit] with $50m if needed. I need some info. List of shows we can 100% prove access to tickets. How many when and how it’s returned and predicted success.”

The radio host allegedly used the hedge fund investments to pay off his casino debts.

Carton, who was arrested at his Tribeca home, is one-half of the popular “Boomer and Carton” sports radio show on WFAN along with former Bengals quarterback Boomer Esiason. The show has been on air since 2007.

Esiason was mum on Carton’s arrest on Tuesday’s show but took a couple of digs at his co-host for texting that he was “under the weather.”

“If you hear me starting the show, that means numb nuts is under the weather and he’s not here. And basically what will be the longest week,” Esiason said.

Carton generally kicks off the 6 to 10 a.m. morning show.

Esiason continued complaining about his packed scheduled this week, quipping, “My partner decides, ‘Oh I don’t know, I don’t want to show up this morning because I don’t feel good'” — though it’s unclear whether he’s actually aware of Carton’s arrest.

Esiason and his fill-in co-host then joke that Carton has a “Yankee flu” following the Bombers’ 7-6 bust to the Baltimore Orioles Tuesday night.
“We are aware of the situation and are cooperating with authorities,” a CBS Radio spokesperson told WPIX.

http://nypost.com/2017/09/06/wfan-ho...rested-by-fbi/

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post #18588 of 32473 Old 09-06-2017, 09:18 AM
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"Cheating with an Apple Watch is the closest MLB has ever come to trying to market to millennials."

Red Sox reportedly used Apple Watch to steal Yankees' signals
Jon Fingas

The Cardinals aren't the only Major League Baseball team accused of using technological cheats. According to the New York Times, the league has determined that the Boston Red Sox cheated in numerous games against the New York Yankees (who filed a complaint) and other teams by using the Apple Watch to relay the hand signals that catchers and pitchers use to communicate intended pitches. Investigators learned that Red Sox trainers received signals from video replay staff and used the smartwatch to quietly relay that info to the team.

It's legal to watch hand signals and send that info to the team. However, teams aren't allowed to use equipment to speed up this process -- the watch was an illegal shortcut.

The Red Sox have reportedly owned up to the practice in private, but they've apparently returned fire by filing their own complaint accusing the Yankees of using a camera from their own TV network, YES, solely for the purpose of stealing pitch signs. Either way, it's likely that MLB will do something. While the parties involved are declining to comment, it's hard to imagine the league simply letting the status quo persist. Right now, it would be all too easy for other teams to follow in the Red Sox's footsteps -- we wouldn't be surprised if the MLB banned smartwatches in the dugout to be on the safe side.

https://www.engadget.com/2017/09/05/...nkees-signals/

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NFL week 1 TV schedule. http://506sports.com/
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post #18590 of 32473 Old 09-06-2017, 12:31 PM
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DD+ is AC3, i.e., E-AC3.
E-AC3 is a little different animal though from AC3. There is also 6 channel AAC which is also considered "non free". AV1 will support libopus which can handle up to 255 channels and it's royalty free.
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post #18591 of 32473 Old 09-06-2017, 12:47 PM
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Technology/Media Notes (Streaming)
Roku begins programming content with the launch of an ad-supported movie channel
By Lizzie Plaugic, TheVerge.com - Sep. 6, 2017


Roku says the channel will roll out in phases “over the coming weeks.”

https://www.theverge.com/2017/9/6/16...-lionsgate-mgm
I just got the email from Roku on this and they said they will have half the ads of regular TV. The best model on free ad supported streaming I've seen so far is VUDU's "movies on us" though the last I watched it was last fall. Some shows with a big advertiser only had one ad at the start and other movies I watched might have one ad every twenty minutes or so. Sorta like a time machine for how TV was 40-50 years ago. I will be checking out this new channel to see how it goes.
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post #18592 of 32473 Old 09-06-2017, 01:45 PM
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E-AC3 is a little different animal though from AC3. There is also 6 channel AAC which is also considered "non free". AV1 will support libopus which can handle up to 255 channels and it's royalty free.
At its heart, E-AC3 is AC3. The only thing that makes it different is the added bits for the sub-channels to carry the added channels. What is done wrong by a lot of places is that there is no AC3 core. Since the E-AC3 isn't being placed onto a Blu-ray release, the rules about having a core aren't followed.

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TV Notes (Streaming)
Ryan Murphy’s Nurse Ratched ‘Cuckoo’s Nest’ Origin Series Starring Sarah Paulson Scores Netflix Order; Michael Douglas EPs
By Nellie Andreeeva, Deadline.com - Sep. 6, 2017

EXCLUSIVE: In very competitive situation, Netflix has landed Ratched, a marquee new drama series from Ryan Murphy, with Sarah Paulson set to star as a younger version of the diabolical Nurse Ratched from One Flew Over the Cuckoo’s Nest, and the film’s producer Michael Douglas set to executive produce alongside Murphy. In one of the biggest deals of the year, which I hear followed a bidding war among Netflix, Hulu and Apple, Ratched scored a two-season, 18-episode, straight-to-series order at Netflix. Production on the drama, from Fox 21 TV Studios, is slated to begin sometime in mid-2018, with Murphy directing the opening episode as he does on all of his series.

Like he has done before, Emmy winner Murphy is taking a chance on a newcomer writer with Ratched. The project was created by Evan Romansky who, fresh out of film school, penned the script on spec. It was slipped to Murphy by CAA agent Joe Cohen. Murphy took it in, attached one of his muses, Emmy-winning American Horror Story and American Crime Story star Sarah Paulson, to play the title character and spent a year securing the rights to the character and the participation of the Saul Zaentz estate and Douglas.

Ratched is an origins story, beginning in 1947, which will follow Ratched’s (Paulson) journey and evolution from nurse to full-fledged monster. The series will track her murderous progression through the mental health care system.

Executive producing Ratched are Murphy, Douglas, as well as Aleen Keshishian, Margaret Riley and Jacob Epstein of Lighthouse Management & Media, which manages Romansky. They are joined by Romansky, who will co-executive produce. Paulson will be a producer alongside Paul Zaentz of the Saul Zaentz Company, which owns the rights to the Cuckoo’s Nest feature. Fox 21 is the studio, producing via Murphy’s 20th Century Fox TV overall deal.

Douglas and Paul Zaentz’s late uncle, Saul Zaentz, produced the classic 1976 One Flew Over the Cuckoo’s Nest movie, winning together a Best Picture Oscar in 1976. The film, based on Ken Kesey’s novel, introduced audiences to the character of Nurse Ratched, who instantly became one of the most mythical pop culture villains of all time. Ratched was played in the movie by Louise Fletcher who won a Best Actress Academy Award for the role, one of five Oscars for Cuckoo’s Nest, along with Best Picture, Best Director (Milos Forman), Best Actor (Jack Nicholson) and Best Adapted Screenplay (Lawrence Hauben and Bo Goldman).

Ratched marks Murphy’s first streaming series. It brings the prolific producer’s portfolio to six on-air series, joining his Fox and FX stable of shows American Horror Story, American Crime Story, Pose, Feud and 911.

It also makes for a Hollywood fairytale story for Romansky, a first-time writer whose script became a big package and landed a two-season order.

Paulson, coming off an Emmy win for Murphy’s The People Vs OJ Simpson: American Crime Story, returns to his American Horror Story franchise with a starring role in the Cult installment, which premiered last night. She will segue to Ratched after filming the lead in the Katrina installment of American Crime Story, based on the book Five Days at Memorial, in the spring. She also has three high profile movies coming up, including the star-studded Ocean’s Eight and Steven Spielberg’s The Post.

The origin story of another famous film villain, Psycho‘s Norman Bates, was recently explored in the well-received A&E series Bates Motel.

Murphy, Paulson and Romansky are repped by CAA. Douglas is with UTA.

http://deadline.com/2017/09/ryan-mur...st-1202162878/
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post #18594 of 32473 Old 09-07-2017, 07:03 AM - Thread Starter
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TV Notes (Cable)
HBO's 'Veep' will end after Season 7 in 2018
By Bill Keveney, USA Today - Sep. 6, 2017

Veep's term in office is coming to an end.

HBO's Emmy-winning comedy, which stars Julia Louis-Dreyfus, will finish its run after Season 7 in 2018.

In Veep, which has won the Emmy for best comedy series the last two years, Louis-Dreyfus plays Selina Meyer, who started as vice president of the United States, rose to president and then found herself unceremoniously dumped from office in the most recent season. She has won five acting Emmys for the role.

In a statement, HBO program chief Casey Bloys called the decision to end the political satire "bittersweet."

"We love the show and everyone involved but respect the producers’ choice to bring Selina Meyer's journey to its conclusion after an extraordinary run of critical and award-winning acclaim," he said. "Julia Louis-Dreyfus's comedic brilliance infused Selina with a dynamic presence and a vibrant wit which will ensure her a place in the history of television's most iconic comedic characters. We look forward to producing the seventh and final season."

Both the series and Louis-Dreyfus are in the running for Emmys at this year's ceremony on Sept. 17.

https://www.usatoday.com/story/life/...end/640291001/
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post #18595 of 32473 Old 09-07-2017, 07:07 AM - Thread Starter
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TV Notes (Cable)
Blood Drive Cancelled After One Season
By Matt Webb Mitovich, TVLine.com - Sep. 6, 2017

As goes Heart Industries, so goes Blood Drive.

Series creator James Roland announced on Wednesday night, after the freshman finale had aired on the East Coast, that the envelope-pushing splatterfest had been cancelled at Syfy.

“I found out not too long ago, but have been trying to think of a way to tell you guys since I felt it was up to me to let the fans know,” Roland said in a post to his Midnight Grindhouse blog. “Ultimately I decided to wait until after the final episode aired so the news did not taint your experience. It simply didn’t seem right to burst the bubble so early, especially with how the last episode plays out.”

“Obviously the ratings were low” — Season 1 averaged 470,000 live weekly viewers, fewer than Syfy’s recently cancelled Dark Matter but on par with the renewed Wynonna Earp— “but it was also a very noisy show on social media (thanks to you guys!) and a very well-reviewed show with critics as well,” Roland noted. “This I do know: despite canceling us, Syfy was the only network with the steel to make the show in the first place… and for that I’m forever grateful.”

Roland says the series’ future, perhaps via another outlet, is “unclear,” adding: “There’s definitely no Season 2 in the immediate future, but I remain cautiously optimistic there’s more story to tell in this world.”

Indeed, the close of Wednesday’s season finale — SPOILER ALERT! — suggested a new Blood Rock prison setting for at least bare-naked Arthur, whom Grace had forced through a blood gate to safety, as Heart HQ collapsed on top of her, Karma, a dying/dead Slink, a dying/dead Christopher and a tearful Aki.

http://tvline.com/2017/09/06/blood-d...syfy-season-2/
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post #18596 of 32473 Old 09-07-2017, 07:11 AM - Thread Starter
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TV Notes (Broadcast)
‘LA Confidential’ Series in Works at CBS
By Ryan Gajewski, TheWrap.com - Sep. 6, 2017

CBS is developing an “L.A. Confidential” series based on James Ellroy’s 1990 novel.

Jordan Harper (“Gotham,” “The Mentalist”) is writing the drama that hails from New Regency, Lionsgate Television and CBS Television Studios.

The project, based on Ellroy’s noir novel of the same name, centers on the intersecting paths of three homicide detectives, a female reporter and a Hollywood actress amid the scourge of a serial killer in 1950s Los Angeles.

Harper is executive producing with New Regency’s Arnon Milchan.

The novel spawned a 1997 Oscar-winning film from director Curtis Hanson that starred Kevin Spacey, Russell Crowe, Kim Basinger and Guy Pearce. A pilot for a TV adaptation was filmed in 2003 but not picked up to series.

“L.A. Confidential” is part of Ellroy’s “L.A. Quartet” series of crime-fiction novels that includes “The Black Dahlia” (1987), “The Big Nowhere” (1988) and “White Jazz” (1992).

http://www.thewrap.com/la-confidenti...es-ellroy-cbs/
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post #18597 of 32473 Old 09-07-2017, 07:14 AM - Thread Starter
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TV Notes (Cable)
Real Time With Bill Maher renewed through 2020
By Derek Lawrence, EW.com - Sep. 6, 2017

Bill Maher has earned more time at HBO.

The network has ordered two additional seasons of Real Time With Bill Maher, extending the weekly talk show through 2020, which would be the 18th season. In addition, more Maher content is coming to HBO in the form of a show retrospective and stand-up special.

“We are incredibly proud to continue our longstanding relationship with Bill Maher,” HBO programming president Casey Bloys said Wednesday in a statement. “As part of the HBO family for nearly 30 years, Bill’s distinctive point of view, coupled with his passion and commitment to insightful and informative entertainment, has remained unparalleled.”

Maher added, “I’m extraordinarily grateful to HBO for one of the great relationships of my life, and I applaud their efforts to fight ageism by signing me to this extended deal.”

The two-season renewal comes three months after Maher drew criticism for using the N-word during a June episode. HBO immediately denounced the “completely inexcusable and tasteless” action. The host soon apologized, saying, “The word was offensive and I regret saying it and am very sorry.” Maher didn’t miss any shows, but the controversy led to Senator Al Franken canceling his appearance, only to eventually join the program two months later.

http://ew.com/tv/2017/09/06/real-tim...-renewed-2020/
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post #18598 of 32473 Old 09-07-2017, 07:21 AM - Thread Starter
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TV Review (Cable)
Top of the Lake: China Girl Is a Disappointing Follow-up
By Matt Zoller Seitz, Vulture.com (New York Magazine) - Sep. 6, 2017

Top of the Lake: China Girl is a disappointing follow-up to its predecessor, and there’s no reason why it should have been: The core of the production brings back many of the same artists who made the original a success, including executive producer, director, and co-writer Jane Campion and her leading lady Elisabeth Moss, reprising the role of detective Robin Griffin, who investigated a murder in her rural hometown and confronted her own past as sexual-assault survivor along the way. Many of the narrative and rhetorical elements that made the original memorable are in place here as well, including an ambitiously interwoven series of parallel stories that deal directly with gender-wars subject matter in a fashion so straightforward that it verges on a parable. The original’s primordial scenery, a mix of forested mountains and fog-shrouded bodies of water, had an Edenic feel that suited dialogue rife with blunt Biblical allusions: Misogynist he-man Matt Meacham’s seaside compound was called Paradise, and Matt himself was described as a snake. This continuation, which returns Robin to Sydney, revolves around another investigation with gender-wars overtones: A murdered Asian sex worker’s body is stuffed inside a hard-plastic suitcase by an unknown assailant and dumped into the harbor. But this one lacks the original’s intuitive sense of rhythm and organization, and often seems more scattered and digressive than multilayered. And instead of letting feminist themes emerge organically from its situations, it stuffs them into every nook and cranny of every scene, mostly via dialogue instead of the sorts of hypnotically intense, even primal images that distinguished the original.

There’s also an emphasis problem: After an initial hour directed and co-written by Campion, which establishes the brothel where the murdered woman lived and worked, as well as Robin’s employment as a junior Sydney homicide detective, her anxiety over an impending civil suit for shooting her roofie-using, youth-exploiting supervisor at the end of the last mini-series, and many ancillary stories, China Girl shifts the Asian characters into the background and focuses on a contrived story that never quite convinces. It turns out that the pimp who runs the aforementioned brothel, a pretentious German named Alexander “Puss” Braun (David Dencik), has a white teenage girlfriend named Mary (Alice Englert, Campion’s daughter), and Mary just happens to be the same child that Robin gave up for adoption 18 years earlier. (Shades of Moss’s Peggy on Mad Men, who also gave a child up for adoption.)

China Girl then devotes an increasing percentage of its screen time to Mary’s conflicts with her adoptive parents, Julia (Nicole Kidman, made up with distractingly prominent freckles and what look like fake teeth) and Pyke (Ewen Leslie, a standard-issue scruffy, intellectual “nice guy”). Mary’s first big move in the story is to invite her pimp boyfriend home to meet her parents, and after they all fight at the dinner table over Puss’s casually sexist provocations, take him to her room to have sex. Once Robin enters this exceptionally dysfunctional picture, China Girl threatens to turn into a Todd Solondz movie with Kiwi, Aussie, and English accents; there’s even a flashback at the start of episode two to an aborted wedding that features a cheating groom who ends up behind bars and a group of revelers burning a wedding dress on a huge pyre.

If the mini-series had leaned into the absurdity of its central situation — the heroine’s daughter is in love with the man who might be responsible for the murder of the woman whose corpse she photographed in the morgue — China Girl could have succeeded as a kind of fever dream with police-procedural elements. But too much of it plays flat because Campion and her filmmaking collaborators seem uncomfortable working a grim yet still broadly comedic mode. She’s much better at doing Gothic earnestness with heavy symbolism and bursts of expressionist pain and violence, plus occasional sick humor. She and her fellow directors never quite get a handle on the tone here, which means that a lot of the situations and dialogue end up playing like something out of a bad late-period Woody Allen movie — the kind where you’re reasonably sure that Allen didn’t do any rewriting and nobody on set had the nerve to suggest that he should. “You should hear him talk about Dostoevsky!” Mary tells her father while her much-older beau sleeps in her childhood bed, facedown and buck naked. Worse still are the cutaways to a bunch of young johns who gather in a coffee shop to rate sex workers on a Yelp!-type website. Nearly everything in these scenes — from dialogue like “I transcended the friend zone, mate” and “[The sex workers] are like plants, you gotta water ‘em with your ****!” to a debate over whether a waitress likes one of them or is just being professionally polite — has an amateurish, position-paper quality. The overall clumsiness of the show’s articulation of theme damages the more astute political observations, in particular the way that upper-middle-class, college-educated activists tend to romanticize and exaggerate the autonomy of sex workers like the ones who work in the German’s brothel.

China Girl feels like the second installment in a bid to create something in the vein of the original Prime Suspect, which told the story of a tough but damaged policewoman carving out a space for herself in a male-dominated job and world. But the dip in quality is so pronounced that its relationship to the original may conjure up not-fond memories of seasons one and two of True Detective. Almost everything that felt uncannily assured the first time out feels forced here, the racial and sexual politics are ineffectively articulated (with a few exceptions), and the show’s comfort with pushing the story of the brothel workers deeper into the background makes it feel like an example of the same societal tendencies that characters like Robin keep rightly railing against. It’s worth seeing for Elisabeth Moss or Jane Campion completists, and for fans of Game of Thrones’ Gwendoline Christie, who gives a superb supporting performance as the heroine’s new partner, a pregnant policewoman who’s taller than most basketball players yet carries herself with a wide-eyed, Diane Keaton–esque goofiness. When China Girl shows Christie and Moss walking side-by-side, their extreme height difference evoking the poster for Midnight Cowboy, acing the buddy-cop rituals and somehow talking past each other even when making eye contact, the production nails the tricky balance of tones that otherwise eludes it.

Top of the Lake: China Girl
Begins Sunday at 9 p.m. on Sundance TV


http://www.vulture.com/2017/09/top-o...rl-review.html
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post #18599 of 32473 Old 09-07-2017, 07:25 AM - Thread Starter
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TV Notes (Cable)
Antonio Banderas to Star as Pablo Picasso in Genius Season 2
By Sadie Gennis, TVGuide.com - Sep. 6, 2017

National Geographic has found its Pablo Picasso. Antonio Banderas will star as the legendary painter in Genius' second season.

"The life story of Pablo Picasso has long since fascinated me and I have so much respect for this man, who also comes from my birthplace Málaga," said Banderas. "I am thrilled to work with National Geographic, Brian [Grazer], Ron [Howard], Ken [Biller] and the rest of the Genius team to tell an authentic story of one of the most innovative painters in the world."

Genius' upcoming Season 2 will chronicle all aspects of Picasso's life, including his tumultuous marriages, political alliances and the ways his innovative artistic career left a profound impact on the world.

Banderas was previously set to play Picasso in the film 33 Dias, but the movie never got made. The Spanish actor is best known for his film roles, including The Mask of Zorro, Desperado, Take the Lead and Spy Kids.

Genius' first season focused on Albert Einstein and netted Nat Geo 10 Emmy nominations, including a nod for Lead Actor in a Limited Series for star Geoffrey Rush.

Genius will return to Nat Geo in 2018.

http://www.tvguide.com/news/genius-s...pablo-picasso/
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post #18600 of 32473 Old 09-07-2017, 07:28 AM - Thread Starter
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TV/Business Notes (Retransmission Consent)
Hearst/Cox Reach Retrans Deal
By John Eggerton, Broadcasting & Cable - Sep. 6, 2017

After contentious statements earlier in the day, Hearst and Cox Communications have struck a retransmission consent deal that restores Hearst TV stations to Cox sytsems in five markets, including Orlando as Hurricane Irma looms.

The stations had been off since late Tuesday night, Sept. 5, when the previous contract expired.

Stations returning to the Cox systems are WESH-TV, Orlando and WDSU-TV, New Orleans, both NBC affiliates; and ABC affiliates KOCO-TV Oklahoma Cityand KETV Omaha; and KHBS-TV/KHOG-TV Fort Smith/Fayetteville, Ark., according to Cox and Hearst.

“We are thankful for the patience of our viewers,” said Jordan Wertlieb, Hearst Television president, in a statement. “We appreciate that both parties recognized the heightened sense of urgency to resolve these negotiations both fairly and quickly so that our respective viewers and customers could be once again served by our stations.”

“We’re pleased to have reached an agreement and appreciate our customers being patient as we worked through the process,” said Andy Albert, Cox Communications senior VP of content acquisition and programming.

http://www.broadcastingcable.com/new...ns-deal/168395
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