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post #21751 of 30418 Old 02-22-2018, 06:50 AM - Thread Starter
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TV Review (Streaming)
Netflix's 'Seven Seconds'
By Daniel Fienberg, The Hollywood Reporter - Feb. 21, 2018

The second episode of Netflix's Seven Seconds was directed by the great Jonathan Demme, who died last April. It would seem that this will be the last credit for the helmer of The Silence of the Lambs, Something Wild, several of the greatest music documentaries ever made and some terrific episodes of television shows including Enlightened and The Killing.

This is not a mere footnote, and it's at least one reason to pay attention to Seven Seconds, a 10-hour-plus drama that might otherwise have been the somber punchline to a joke that begins with, "The Killing, American Crime, The Shield and a mediocre episode of Law & Order walk into a bar…"

Inspired loosely and probably irrelevantly by the Russian film The Major, Seven Seconds was developed for Netflix by The Killing creator Veena Sud as a continuation of her fascination with watching mismatched crime-solving duos investigating murders in inclement weather.

For Seven Seconds, Sud has moved the action from Seattle to Jersey City, New Jersey, and, seemingly having learned a lesson from the "Who Killed Rosie Larsen?" resolution frustration that upset some fans, it's a mystery that isn't really a mystery at all. In the opening scene, police officer Peter Jablonski (Beau Knapp), distracted by a phone call from his pregnant wife and by winter snow, strikes an African-American teen on a bike. At the urging of his squad leader Mike DiAngelo (David Lyons) and colleagues Osorio (Raul Castillo) and Wilcox (Patrick Murney), he's encouraged to leave the boy to die and cover up the crime on the grounds that even an accidental homicide of this type could cause the community to erupt in violence. It's not a whodunit. We know exactly who did it, why they did it and how it was done.

We know things, however, that prosecutor K.J. Harper (Clare-Hope A****ey) and homicide detective Joe "Fish" Rinaldi (Michael Mosley) do not know, and they spend several episodes trying to solve the crime. K.J. and Fish are an archetypal Veena Sud investigating partnership, a coastally transplanted blend of Linden and Holder from The Killing. He's wisecracking, caught up in a custody battle and prone to collecting strays. She's alcoholic, caught up in an inappropriate relationship and prone to singing karaoke. They bicker and butt heads, and some susceptible viewers will want them to fall in love.

Meanwhile, the boy's parents (Regina King and Russell Hornsby) search for solace and for answers, and his uncle (Zackary Momoh) finds himself in a third-rate knockoff of The Wire after returning home from military service.

The old Mark Twain quote about how if you don't like the weather in New England just wait a few minutes also applies to the storytelling for Seven Seconds. Rather than ending episodes with plot-driven cliffhangers, Sud and the writers dragged me along with much larger, "Wait, so what's the series going to be from here?" questions. The answers tend to have grains of texture and intrigue, before being ultimately bogged down by familiarity over whether the show is being a grimy cop procedural, a grim domestic melodrama, a gritty "This squad is the only family you've got!" police corruption thriller or, for the last few episodes, a clunky courtroom drama in which neither participating lawyer ever got that "Don't ask a question if you don't already know the answer" lecture that comes early in basically every legal series. There is some attempt to do city portraiture, some nods to the state of police-community relations in a post-Ferguson world and some critique of the challenges faced by returning veterans, all subservient to the show's genre-switching.

Especially in the courtroom scenes, but really throughout, too much of the forward momentum of Seven Seconds relies on characters doing dumb things only justified by the fact that the typical Veena Sud character is introduced with a prominent self-destructive streak meant to head off any, "Why are you doing that?!?" incredulity. The series starts off in a place of tragedy and, over 10 episodes, wallows along as characters screw things up worse and worse. The moroseness is aggressive and often regressive, as I could point to multiple episodes that needn't be watched at all, and I could even more easily point to the episodic runtimes of the back-half of the season, all episodes over an hour, in which each segment could have benefited from liberal trimming or reshaping or at least somebody in a Netflix development office saying, "Yeah, we know Jersey City has a great view of the Statue of Liberty, but could we have five shots with Lady Liberty in the background instead of 10?"

Following Sud's wallowing are pilot director Gavin O'Connor and an all-star team of cable helmers starting with Demme and continuing with the likes of Jon Amiel, Ernest Dickerson, Ed Bianchi and Victoria Mahoney. The show is all snow and concrete, peppered with browns and grays and, for police purposes, dark blues. From homes to hospitals to diners, every room is only half-lit, as if urban blight were forcing people to save on their power bills. This isn't a palette that makes room for bright colors, and the performances have been directed to match, descending spirals of grief and frustration.

TV shows enjoy making King suffer and she's exceptional at modulating the volume of her misery, never leaning excessively on sobbing or overly external performing. She's got a great foil in Hornsby, who infuses his character with a wounded dignity like something out of an August Wilson play.

Although she struggles a bit with her accent as the series becomes more and more monologue-driven, A****ey does well to hold together a character whose tendency toward self-inflicted wounds becomes repetitive. She works well with Mosley, making the most of the only levity and, frankly, only tonal variation in the entire series, but anybody investing in these two coupling up is watching the show wrong.

Playing refugees from every shady police procedural ever made, Castillo, Murney and Knapp try hard to engender empathy and layers that the plot sometimes forgets to give them, with Lyons as a real standout as the Aussie actor continues a transition from the leading man NBC repeatedly tried to make him into the character actor he clearly wants to be.

Also making strong impressions are Nadia Alexander, as a social media loving teen with a drug problem, and Gretchen Mol, making the most of her part as a steely defense attorney in the show's otherwise ungainly legal detour.

Really, Seven Seconds is full of good performances and interesting, rarely fully developed, ideas, and it changes forms so frequently that I maintained curiosity through the frequent spaces that dragged. It's a grind, but it's the same kind of grind as The Killing, a show with many fans that ultimately tired me out time and time again.

'Seven Seconds'
Premieres: Friday (Netflix)
The Bottom Line: A well-acted wallow in murder and misery.


https://www.hollywoodreporter.com/re...review-1086696
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post #21752 of 30418 Old 02-22-2018, 06:55 AM - Thread Starter
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In Memoriam
Billy Graham November 7, 1918 – February 21, 2018
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Feb. 22, 2018

To all the nice things said about Billy Graham since his death Wednesday morning, we probably should add one more: YouTube star.

The late Rev. Graham, who was 99 and widely eulogized as “America’s Pastor,” is represented today on YouTube by videos from the immensely influential trail he blazed more than a half century ago on television.

If you were to say Graham pioneered televangelism as we know it, you wouldn’t get a lot of argument. More than that, he helped demonstrate the potential of television’s broader power.

So while other discussions on Graham’s life and message continue, let’s also remember how he made himself into a nationally known television personality with the sermons we can watch today on YouTube, thanks to the foresight of the Billy Graham Evangelical Association (BGEA).

I don’t want to overstate his YouTube following. Views range from about 12,000 for his famous 1957 Madison Square Garden crusade to 700,000 for some later rallies that were filmed in color.

Just for perspective, last weekend I joined two granddaughters watching a video by contemporary YouTube star Wengie, titled “15 Toothpaste Hacks You Should Know.” In two and a half months it has 3.36 million views.

Still, I’m guessing the Graham videos may touch a deeper chord, no offense to Wengie, and even though he’s been out of public sight for years, those videos remain the biggest reason Billy Graham became the most popular evangelist of the 20th century.

Television was “by far the most significant [factor] in extending our ministry,” he wrote in 1997.

These days, we take it for granted television has that kind of impact. In 1957, it wasn’t something a lot of people even thought about.

Graham did, to the extent the BGEA bought airtime to telecast its crusades. Exact audience numbers are hard to come by, but the shows had both viewers and buzz. It’s the first show besides Davy Crockett that I remember my family and friends talking about.

So when Graham died, I decided to recall for myself. I went to YouTube and called up a complete hour-long 1958 broadcast from Charlotte.

The black-and-white video has that classic early-TV glare and the images are a little fuzzy. No matter. Within two minutes you know this guy is good.

He speaks well, he knows how to tell a story and he commands the stage. True, he’d been doing crusades for a decade by this point. But what he’s doing takes more than practice.

He starts slow and accelerates into urgent. He knows when to speed up his words and when to let them soak in. He leans back from the podium. Several times he steps away to the side and speaks into the TV camera, addressing the poor, the sinners, the lonely.

The staging says theological royalty. Graham stands on an elevated podium behind several rows of elaborate floral arrangements. The Charlotte Coliseum is packed, 13,000 of the faithful in folding chairs and reverent silence.

The message is a mix of the New and Old Testaments, the love of Jesus juxtaposed with the sharp admonition that if we don’t heed His message, we are all doomed.

The week of Jesus’s crucifixion was the darkest time in human history, Graham declares, and because humans have not stopped sinning today, “We are just as guilty as Judas” of betraying Jesus. “We are on the brink of hell.”

Graham judiciously sprinkles secular references into the theology. We have terrible problems today, he says: “the race problem, the problem with communism, the problem of crime that gets worse each day.”

He denounces communism and crime. He calls a recent synagogue bombing evil. On “the race problem,” he says it isn’t just a Southern problem. He also says everyone is equal in the eyes of God.

He refers to America as “a Christian nation,” a phrase on which many subsequent televangelists have doubled down. These days, it can be more pejorative.

In any case, the Charlotte Crusade remains a virtuoso performance, though Graham neither invented any or it nor claimed to.

Preachers of all races and religions have employed this style for millennia. Protestant evangelism in particular, back to the Puritans, has never been “I’m okay, you’re okay.” It’s tough love with time running out.

In more modern times, preachers were delivering this ominous message on the radio when Billy Graham was a toddler. Father Coughlin in the 1930s was only the most prominent among hundreds of radio preachers.

Graham himself got his start on radio, delivering sermons on a Christian show called Songs in the Night. In 1950 he started his own program, Hour of Decision, which would run for six decades even after he got too busy to do it in 1954.

Brushing aside the apprehension of some colleagues, Graham enhanced his television profile with regular appearances on talk shows. He was the mystery guest one night on What’s My Line. NBC offered him a network show of his own, which he turned down to continue the crusade sermons we can still see on YouTube.

If you want to understand why Billy Graham’s death was a big deal, watch one.

http://www.tvworthwatching.com/BlogP...x?postId=15850
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post #21753 of 30418 Old 02-22-2018, 06:58 AM - Thread Starter
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TV Review (Broadcast)
‘Good Girls’ Break Bad In An Appealing But Muddled New Drama
By Alan Sepinwall, Uproxx.com - Feb. 22, 2018

NBC’s Good Girls is the type of drama that’s become very familiar in the age of the anti-hero, filled with well-meaning people who make one bad decision, then have to make two more to deal with the unexpected consequences of that first one, then more and more and more, until the story exhausts itself. It’s a quicksand drama, where the more people fight their predicament, the deeper they sink into it.

Through the series’ first three episodes (it debuts Monday night at 10), Good Girls itself winds up facing the same dilemma as its three title characters, fighting against the implications of actions it hasn’t entirely thought through, with plot choices often creating more problems than they solve. It’s fun at times, and has three strong performances by stars Christina Hendricks, Mae Whitman, and Retta, but it’s also kind of a mess.

The leads play three moms in rough financial situations: Hendricks’ Beth discovers that her husband Dean (Matthew Lillard, the go-to guy for playing inherently untrustworthy manchildren) is keeping big secrets from her, Whitman’s Annie is a cashier in a custody fight with her wealthy ex (Zach Gilford, having a busy spring between this show and Sundance Now’s This Close), and Retta’s Ruby is a waitress struggling to get her ailing daughter the expensive medical care she needs. Annie suggests robbing the supermarket where she works, but what’s intended as a one-time heist to generate emergency cash instead gets worse and worse as the women discover who really owns the money they stole, and what they’ll have to do to forgive this new debt.

The prime instinct of the series, created by Shondaland alum Jenna Bans (previously the mind behind ABC’s short-lived Off the Map and The Family), is to keep things relatively light, breezy, and relatable. During the robbery, for instance, Beth can’t resist trying to calm down a frightened little girl she’s temporarily holding hostage by talking about Doc McStuffins, while all three women instantly violate the promise they make to each other about sitting on the money for a bit, making absurdly big purchases when they should be avoiding police attention. Each lead is given a sympathetic reason for veering into a life of crime, with the subplot about Ruby’s daughter — particularly a pair of scenes contrasting the type of doctor she can see before and after her mom’s illicit new fortune — successfully pushing all the desired emotional buttons. (You’ll know you’re being manipulated, but good luck resisting.)

But in order to make this an ongoing series rather than a one-shot, Bans has to keep piling on complications and make some of them dark enough to explain why Beth, Annie, and Ruby don’t simply divvy up the loot and walk away. And what’s necessary to keep the story moving is often wildly at odds with the tone of the rest of the show. One minute, there’s a wacky subplot about Ruby trying to prevent a single woman at church from making a move on her husband Stan (Reno Wilson); the next, guns are being pointed at the women’s heads as they sob and plead for their lives. There’s an attempted rape scene late in the pilot, played with the appropriate level of gravitas and rage, but then the attacker is kept around as broad comic relief. A lot of individual pieces succeed, in part due to the versatility and appeal of the three leads — Whitman’s spent her whole career zipping back and forth between laughs (Arrested Development) and tears (Parenthood), and Hendricks (Mad Men) and Retta (Parks and Recreation) have both on their resumés, too — but too many scenes are at odds with one another. It’s hard to take the threats completely seriously because there were just four jokes, and the jokes in turn are often less funny than intended because of the danger involved.

It’s far from unprecedented to marry comedy and drama in this kind of show. Breaking Bad, the most famous and influential example of it, was often among the funniest shows of its era, as well as the most tragic. But that series was palpably committed to the full dramatic weight of its premise, so that when the punchlines came, they felt only like temporary respite. Good Girls’ heart, on the other hand, seems more in the absurdity of these friends trying to become master criminals, and that’s a more difficult end of the spectrum to lean on while still asking to be taken seriously when necessary.

The stars are strong enough that a lot of it’s more effective than it should be. Bans and her directors understand, for instance, how gifted Hendricks is at conveying information without speaking, and some of the show’s best scenes involve just watching Beth try to think her way out of the latest jam. And the timing for the show feels absolutely right for the #MeToo moment: the attempted rape is later undercut by the need for jokes, but the scene itself is fire, particularly a moment where the retreating attacker tells one of the women not to get upset, to which she indignantly replies, “Oh, do I look upset? Why would I be upset? ‘Cause every man in the world thinks he can do whatever he wants, whenever he wants?”

Good Girls is timely enough, and has been promoted enough during the Winter Olympics, that I wouldn’t be surprised if it’s an instant hit — which will hopefully give the creative team enough time to figure out exactly what kind of show they want it to be, and how to make the individual components fit together better than they do early on.

https://uproxx.com/sepinwall/good-gi...whitman-retta/
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post #21754 of 30418 Old 02-22-2018, 07:04 AM - Thread Starter
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TV Notes
Wendy Williams says she will be taking time off from talk show for health reasons
By Frank Lovece, Newsday.com - Feb. 21, 2018

Wendy Williams announced on her daytime talk show Wednesday that her doctor has prescribed her a three-week break in order to combat a hyperthyroid condition and Graves’ disease.

“I go twice a year to my endocrinologist,” Williams, 53, told her audience in a live broadcast from her stage set. “And to all my doctors, as a matter of fact, because I’m paranoid,” she joked. “Anyway, my thyroid has been totally cattywampus and that is the eye thing that you all have been seeing. You caught it before I did,” she said, referring to fans’ concern over the reason she took three days off last week.

Williams went on to explain that the issue is hyperthyroidism and Graves’ disease, which “squeezes the muscles behind your eyeballs.” In addition, she said, she has experienced weight loss, trouble sleeping, difficulty swallowing, rapid heartbeat and intolerance for heat. “I feel like there are birds swimming around my head,” she said. “Y’know, like a cartoon?”

Saying her doctor has ordered that she take “as of today, three weeks of vacation,” Williams bemoaned that reruns would be scheduled. “Encore performances? Really? Alright. Well, our encores are better than most,” she riffed, as the studio audience applauded. “By the way, as I speak to you, my ears are leaking because the push from the old medication needs to wear off before he prescribes new. … That’s why three weeks, even though I’ve been off for one week. I’m gonna fix that,” she vowed. “I’ll be back in two.”

“Wendy is a true champion and has never missed a day of work,” her representative said in a statement. “But her health and well-being must be put before all else. Wendy has been openly dealing with her Graves’ disease for many years in addition to hyperthyroidism. Yesterday, Wendy’s doctor prescribed a necessary three weeks of rest to get her levels and medication in sync. The show will be in repeats during this unplanned hiatus. A live show was produced today so that Wendy could speak directly to her fans and explain her condition.”

In addition to taking three days off last week for what she called a “bug,” Williams had collapsed on live TV in late October due to dehydration and being overheated in a Halloween costume.

https://www.newsday.com/entertainmen...eak-1.16897539
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post #21755 of 30418 Old 02-22-2018, 07:10 AM
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In an Era of ‘Smart’ Things, Sometimes Dumb Stuff Is Better


A wristwatch vs. Apple Watch

I get the appeal of an Apple Watch, but I much prefer my wristwatch. Plus I have tiny, skinny wrists and just trying to find a watch with a strap that fits is in itself a challenge (FTR none of Apples bands fit me, even the small fits like an XL).

A car mount vs. a smart car console

I sometimes use a (gasp!) regular map. With lines! And numbers! I usually look up routes at home and print them out (I tend to be directionally-challenged), only using my phone if I get truly lost.


An alarm clock vs. Amazon Echo Spot

I have a CD clock radio. I can imagine myself yelling "Shut up Alexa!!" and no one needs that frustration before coffee.

A kitchen timer vs. Amazon Echo

Having been a chef I have a variety of timers and use them often, sometimes all at once, depending on the meal. I have used Siri for reminder timers though and it works well for that.

A piece of paper vs. a tablet

My name is Nayan and I am a paper-hoarder, especially recipes . I do use my tablet too though, I just cover it with a piece of plastic-wrap if things are going to get messy but I admit I use it more for viewing than actual cooking.
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post #21756 of 30418 Old 02-22-2018, 07:21 AM - Thread Starter
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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)
From Zap2it.com's TV Grid - Feb. 22, 2018

ABC:
8PM - The Bachelor: Winter Games (Season Finale, 120 min.)
10PM - The Bachelor Winter Games: World Tells All
* * * *
11:35PM - Jimmy Kimmel Live! (Oprah Winfrey; Timothee Chalamet; Andra Day and Common perform)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
(R)
8:31PM - Young Sheldon
(R)
9:01PM - The Big Bang Theory
(R)
9:31PM - Mom
(R)
10PM - S.W.A.T.
(R)
* * *
11:35PM - The Late Show With Stephen Colbert (Christine Baranski; Constance Zimmer; Bon Jovi performs)
12:37AM - The Late Late Show With James Corden (Gary Oldman; Greta Gerwig; Bruno Major performs)

NBC:
8PM - 2018 Winter Olympics: Figure Skating, Short Track (4 hrs., LIVE)
* * * *
12:35AM - 2018 Winter Olympics: Women's Freestyle Skiing; Women's Biathlon (85 min., LIVE)

FOX:
8PM - Gotham
(R)
9PM - 9-1-1
(R)

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

PBS:
8PM - The This Old House Hour
9PM - Victoria on Masterpiece
(R)
10PM - Antiques Roadshow: St. Louis
(R)

UNIVISION:
8PM - Premio Lo Nuestro 2018 (Special, 3 hrs.)

TELEMUNDO:
8PM - José José, El Príncipe de la Canción
9PM - Al Otro Lado del Muro
10PM - Enemigo Intimo

NBCSN:
7PM - 2018 Winter Olympics: Olympic Ice, Figure Skating (LIVE)
10PM - 2018 Winter Olympics: Women's Biathlon, Men's Nordic Combined, Bobsled (concludes at 2:30AM, LIVE)

TNT:
8PM - NBA Basketball: Washington Wizards at Cleveland Cavaliers (LIVE)
10:30PM - NBA Basketball: Los Angeles Clippers at Golden State Warriors (LIVE)

CMT:
9PM - Nashville (66 min.)

BBC AMERICA:
10PM - Premier League Darts (90 min.)

BET:
10PM - Death Row Chronicles

IFC:
10PM - Portlandia

COMEDY CENTRAL:
11PM - The Daily Show with Trevor Noah (Lupita Nyong'o)
11:31PM - The Opposition w/Jordan Klepper (Comic Ali Siddiq)

TBS:
11PM - Conan (Kumail Nanjiani; news commentator Van Jones; Judah & the Lion performs)
(R)


https://tvlistings.zap2it.com/?aid=gapzap

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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Feb. 22, 2018

2018 WINTER OLYMPIC GAMES
Various Networks, 2:40 a.m. ET

The big event covered today on the cable networks covering the Olympics is on NBCSN, where live coverage of the ladies’ free program in figure skating is provided from 8-10 p.m. ET. But also, because I’m obsessed with curling, let’s not that the men’s curling semifinals are covered on two different networks today: On NBCSN from 1:45-4:45 p.m. ET, and on CNBC from 5-8 p.m. ET.

2018 WINTER OLYMPIC GAMES
NBC, 3:00 p.m. ET

And on NBC, the major Olympic event tonight, perennially one of the most popular televised events, occurs during the network’s 8 p.m.-midnight ET block, with live coverage of the ladies’ gold medal final in figure skating.

LIP SYNC BATTLE
Paramount, 9:30 p.m. ET

I presume this is going to sound as weird to you as it does to me, so here goes. Tonight in an unusually cast celebrity Lip Sync Battle, one contestant is John Cho, who lip-syncs to “Do Ya Think I’m Sexy?” And the other, which is even harder to comprehend, is Ben Kingsley, who does his version of Elton John’s “Rocket Man.”

PORTLANDIA
IFC, 10:00 p.m. ET

On tonight’s new episode, in this final season of Portlandia, Tracee Ellis Ross guest stars as a “photo booth coach.” Whatever that is.


http://www.tvworthwatching.com/
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Technology/Critic's Notes
In an Era of ‘Smart’ Things, Sometimes Dumb Stuff Is Better
It still feels magical to light up your living room by saying “Alexa, turn on the lights.”

The Clapper is quicker.

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post #21759 of 30418 Old 02-22-2018, 12:08 PM
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TV Review (Streaming)
Netflix's 'Seven Seconds'
By Daniel Fienberg, The Hollywood Reporter - Feb. 21, 2018

We know things, however, that prosecutor K.J. Harper (Clare-Hope A****ey)
OK, this automatic censoring of text needs to be fixed. Declaring a person's name, even just a portion of it vulgar, is going overboard.
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post #21760 of 30418 Old 02-22-2018, 12:44 PM
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OK, this automatic censoring of text needs to be fixed. Declaring a person's name, even just a portion of it vulgar, is going overboard.
If you want to write the algorithm that can discriminate between her surname and someone who misses a space describing a****ty television show, then be my guest.

Even if we had a "smart" filter, as soon as someone figures out what it's letting through, they'll substitute that for the filtered swear word and we're back to square one. We've already had to increase the filtering to include swearing that uses dollar signs, exclamation points and the number 1. You'd think people would get the hint salty language isn't permitted, but no, they just go back and edit their posts so they can get their swearing in. Never understood the need for it on a technical forum like AVSF, but there you go.

Given the fact there are fewer instances of a misapplied filter than not, it's not worth the trouble.

Walking the fine line between jaw-dropping and a plain ol' yawn.

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Originally Posted by mrvideo View Post
OK, this automatic censoring of text needs to be fixed. Declaring a person's name, even just a portion of it vulgar, is going overboard.
While I agree with you that this site's censoring is completely overboard I think we all have to remember that this site is not here for your benefit, it's here to make money for the owners. You, me, DrDon and everyone else that comes to this site are merely the product. The owners of this site sell us to the advertisers and if some vulgarity keeps away a few pageviews then the owners lose money, hence the filtering.

I do agree that the censoring of a person's name is absolutely stupid and shows a lack of effort on the developer's part. But again, their pageviews($$$$$) are way more important than treating someone's name with respect.
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if some vulgarity keeps away a few pageviews then the owners lose money, hence the filtering.
Oddly, I don't think the pageview count would change much. Our issue is twofold: One, staying off of company filtering lists. I had to petition my former employer TWICE to regain access to AVSForum at work. "Profanity and nudity" were the reasons I was given. That doesn't seem to happen as often as it used to, though.

Secondly, AVSForum is viewed in a lot of mixed-environment workplaces. We don't want anyone viewing the site to lose a job because of a complaint from a co-worker. Remind me to tell the story of the Muslim woman in a tour group, sometime. THERE's half a day of my life I'll never get back.

And I won't get into the emails I've had to handle from mothers and ministers.

With the somewhat heavier filtering and member reporting, that's decreased quite a bit. Still happens, though. If this were, say, Fark, I'd tell them to pound sand. But it's a technical forum that really should be free from all of that.
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post #21763 of 30418 Old 02-22-2018, 06:29 PM
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I was putting my TV audio thru my stereos long before VCRs came around, even though it was in mono.
TV’s had audio outputs back then?
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TV’s had audio outputs back then?
Some Sony Trinitron models did. But those TVs that didn't, I added my own jack that tapped the speaker wiring. A 1/8" jack with a "switch" to cut out the speaker when I connected the cable. I even did it to a TV I rented in Scotland when I was there in late 71 thru Nov 73.

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TV Notes (Cable)
HBO Is Building a Real Westworld
SXSW attendees who want to visit Westworld can register for an appointment by visiting DiscoverWestworld.com starting today.

Westworld Season 2 premieres April 22 at 9/8c on HBO.

http://www.tvguide.com/news/hbo-buil...eal-westworld/
OMG.
(note my location )

[EDIT]

In keeping with the series - this is for BADGE HOLDERS - rich industry people with $1000 badges (locals (and bands) get wrist bands). I guess, as a fan of the show.. I am okay with that, if a little disappointed. Maybe I can get a gig as a disgruntled robot 😈

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Nielsen Overnights (Broadcast)
Olympics Draws 16.4M Total Viewers, Lowest Weeknight Result Of 2018
By Dominic Patten, Deadline.com - Feb. 22, 2018

It took 20 years and a shootout, but Team USA finally beat Team Canada to take the Olympics gold medal in Women’s Hockey late last night. However, for NBC, victory was not on the ice as the ratings for the second Wednesday of the PyeongChang games slide to their second worst result yet.

The 3-2 win for America against its Northern neighbor and longtime hockey rival couldn’t help the broadcaster as the South Korea played game was shown live at 11 PM – 2 AM ET last night, out of primetime. As it is, Jocelyne Lamoureux-Davidson’s game winning goal was the capper on what looks to be NBC Sports Network’s best ever late night rating of 2.06 in metered markets.

However, it was not to be a best ever for the primetime coverage on NBC and NBCSN.

With a 11.1/6 in metered market results, last night’s coverage is the broadcasters’ worst weeknight result so far and only 7% ahead of the low of the XXIII Winter Games of February 17, the second Saturday out of PyeongChang. Wednesday to Wednesday, last night tumbled 15% from what NBC and NBCSN snagged on Valentine’s Day 2018, which was a low for the XXIII Winter Olympics at the time. Pushing in a bit tighter, last night’s coverage fell 17% in metered market results from what the February 20 AKA Tuesday’s primetime did on NBC and NBCSN.

Facing some competition from Big Brother: Celebrity Edition (1.4/5) and The Amazing Race (0.9/3) season finale on CBS plus Match Game (0.4/2) on ABC, the combined NBC and NBCSN rating of the second Wednesday of the 2018 Games was also down 17% from the comparable night of Sochi 2014. That February 19, 2014 coverage was only shown on NBC itself as was the second Wednesday of the XXI Winter Olympics out of Vancouver – which last night declined 18% from.

In the final numbers, the NBC-only broadcast second Wednesday of Sochi drew 20.2 million viewers, a tiny rise from 2010. A feat unlikely to be replicated when we get the final numbers from last night later today in what is increasingly looking to be the least watched and lowest rated Olympics ever.

Though we live in a time when many of the media metrics of just four years ago are increasingly feeling antiquated, the NBC’18 to NBC’14 comparison sees last night’s Olympics coverage falling 28% in the early numbers from Sochi.

Elsewhere, the Big Brother spinoff was up a tenth among adults 18-49 over last week. The two-hour Amazing Race Season 30 ender was steady with its February 14 performance and up a tenth in the key demo from the Season 29 finale of June 1 last year. On ABC, a 10 PM Match Game took a downturn of a tenth from its last original.

As I said earlier, we’ll update with final Olympics numbers later. As we await those results, here’s your peak stat from last night: the combo NBC and NBCSN coverage hit its second Wednesday of the PyeongChang games with a 12.5/21 metered market rating from 10-10:15 PM ET during the women’s alpine skiing event.

Oh, and BTW, in case you missed it: [CLICK LINK AT BOTTOM]

UPDATED, 4:30 PM: The late-night battle between an ultimately victorious Team USA against Team Canada for the gold medal in Women’s Hockey might be the most-watched midnight-hour program in NBC Sports Network’s history, but Wednesday’s primetime Olympics coverage was not a winner for NBC.

The 11 PM-2:15 AM ET redemption on ice for the U.S. women scored 2.9 million viewers on NBCSN, but the primetime total audience delivery for the second Wednesday of the XXIII Winter Games drew 16.4 million sets of eyeballs. Pulling from NBC, NBCSN and digital platforms, that’s close to the lowest viewership of the PyeongChang Games to date and the weeknight low so far.

Airing on the second Saturday of the Winter Olympics, the February 17 primetime broadcast was the Games-low so far with 16.1 million TAD viewers. Wednesday to Wednesday, the February 21 Olympics coverage took a 15% fall from February 14.

Putting the XXIII Winter Olympics up against the comparable night of the XXII Winter Olympics in Sochi, last night’s primetime slid 19% in viewers from 2014. The tape-delayed last Winter Games of over four year ago were only shown on NBC.

Looking at NBC-only viewers last night, the tumble was more than 30% compared with what NBC captured on February 19, 2014.

Snagging an average of 20.8 million viewers overall going into the last days in PyeongChang, the live-across-all-U.S.-time-zones Olympics is down 8% from Sochi 2014 at the same juncture. If that trend continues, the XXIII Winter Games will be the lowest-rated ever regardless of broadcasters and platforms.

http://deadline.com/2018/02/hockey-g...bc-1202299380/
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TV Notes
Why more TV shows are looking to God for relatable, religious-themed comedy
By Patrick Ryan, USA Today - Feb. 22, 2018

God is everywhere and in everything — including your favorite comedies.

The unexpected breakout star of winter TV is none other than the Lord himself, whose divine presence is felt in a number of cable and network shows this season.

Friday (8 ET/PT), Disney Channel airs an episode of coming-of-age dramedy Andi Mack that's set entirely at a lead character's bar mitzvah. On Monday, CBS premieres sitcom Living Biblically (9:30 ET/PT), which follows a man named Chip (Jay R. Ferguson) who decides to live his life strictly in accordance with the Bible after his best friend dies and wife Leslie (Lindsey Kraft) becomes pregnant.

Comedies including HBO's Crashing (Sundays, 10:30 ET/PT), CBS' Young Sheldon (Thursdays, 8:30 ET/PT) and Fox's The Mick (Tuesdays, 9:30 ET/PT) also have tackled topics of church, faith and spirituality in new episodes.

So why are more TV characters being born again?

"The reason that so few shows have been done about religion until right about now is it's scary, it's intimidating," says Living Biblically creator Patrick Walsh (Crashing). "People feel so strongly in what they believe and don't like it talked about. For whatever reason, this topic that unites so many people in the world is kept quiet."

As sitcoms wade into more serious subject matter such as politics and race, "this is a great time to take things that are important to people, show them as they really are and use them for storytelling and not for joke-telling," says Andi Mack creator Terri Minsky (Lizzie McGuire, Less Than Perfect). "People are just freer to tell stories, and religion is an important part of people's lives."

That's certainly true for Cyrus (Joshua Rush), best friend to Andi (Peyton Elizabeth Lee), who has spent the second season preparing for his bar mitzvah. The idea was pitched by Rush, who, like Minsky, is Jewish. Much of the character's bar mitzvah, filmed in a Salt Lake City synagogue, is inspired by the actor's real-life celebration: Rush wears the same traditional tallit (shawl) as he did for his own initiation ceremony, and he reads the same Hebrew passage from the Torah. The traditional song Hava Nagila and hora "chair dance" also are featured in the episode's party scene.

"It had all the hallmarks of a real bar mitzvah — I might as well have just gotten the certificate while I was at it," Rush says, laughing. Ultimately, the goal is to "give kids at home a chance to see another person's culture. The more that we see and understand each others' culture, the more accepting we are of each other."

Walsh similarly hopes to inspire conversations among people of different faiths with Biblically, loosely based on Esquire editor A.J. Jacobs' non-fiction book The Year of Living Biblically. The show mines laughs from the modern-day struggles of trying to closely follow Scripture as Chip gives up false idols (his smartphone and social media) and tries to pray away his problems (getting stuck in an elevator and appeasing his atheist mother-in-law).

While some of that humor was apparent in the book, "it's a (network) comedy for a broad audience, so tonally, it was very tricky," Walsh says. But taping in front of a live audience every week, "I found that people were starved for this kind of conversation. Particularly in some of the later episodes that dig deeper into theology," such as one that finds Chip and Leslie sparring over the Bible's outdated ideals of a submissive wife, and ultimately concluding that they're equals.

To accurately portray the rabbi (David Krumholtz) and priest (Ian Gomez) who make up Chip's advice-giving "God Squad," Walsh called on Jewish and Catholic consultants to read scripts. He also enlisted a spiritually diverse team of writers, ranging from non-believers to the devout.

"It just lent to much more interesting conversations than you generally get in a writers' room, and I hope a pretty balanced portrayal of religion and faith," Walsh says. Although Chip attends a Baptist church, the idea is "to bring in other religions and explore other churches" if the show is picked up for future seasons.

After years of "sword and sandals" epics and saccharine family fare, modern consumers of faith-based entertainment are eager for fresh perspectives like these.

"I think most of us know people — sometimes really close friends and family members — that don’t share our beliefs, but we still love and cherish and want to share our lives with (them)," says Paul Asay, senior associate editor of Focus on the Family's Christian pop culture site Plugged In. "Some of these shows reflect that tension, the desire for connection and even sometimes the beautiful interactions that can result."

In the second-season premiere of Crashing, for instance, recently divorced comic Pete Holmes (playing a version of himself) has a chance encounter with magician and atheist Penn Jillette, who makes him question his belief in God. He continues to wrestle with faith in later episodes after testing the waters of raunchier stand-up material and having his first one-night stand.

"Pete's love for God in Season 1 was very conditional, meaning he loved God because everything was going his way," Holmes says. "But in Season 2, Pete is trying to reconcile his understanding of some sort of divine source, in light of all the loss and pain we all undergo. He's going out and meeting people, and trying to get a richer understanding of the divine — not just a bodyguard in the clouds he can ask favors."

It's a complicated yet funny spiritual journey that's mirrored in Biblically as Pete and Chip realize there's no such thing as a perfect Christian.

"We have characters misinterpreting the words of Christ as 'Like everybody.' You don't have to like everybody," Holmes says. "Look at all the comedy that we can find from people misinterpreting these ancient, beautiful, spiritual texts. I think that's why it's fun."

https://www.usatoday.com/story/life/...edy/361683002/
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No political comments, please.

Nielsen Notes (Cable)

CNN's Town Hall Draws Nearly 3 Million Viewers
By Michael O'Connell, The Hollywood Reporter - Feb. 22, 2018

CNN put together a town hall on guns in America Wednesday night, allowing students and parents affected by the horrific mass shooting at Marjory Stoneman Douglas High School to engage with GOP senator Marco Rubio and NRA spokeswoman Dana Loesch.

The two-hour event led cable news while it aired, averaging nearly 3 million viewers and topping typical rivals MSNBC and Fox News by all measures.

Not only did the coverage lead among total viewers, it scored an easy win in the adults 25-54 demographic — doubling its rivals with 1.1 million viewers in the group. The special also achieved a rare lift for the old-skewing cable news among adults 18-34, earning 310,000 younger viewers. (Fox News Channel, by contrast, fetched fewer than 50,000 viewers in that demo during the same time period. MSNBC did little better with 74,000 viewers.)

Coverage began with a memorial for the 17 victims of the shooting and a call for action to stem the trend of gun violence in schools and other public places. Democratic officials spoke of the need to take assault rifles off the streets, while people like Rubio described a more nuanced situation while fielding questions from victims.

https://www.hollywoodreporter.com/li...iewers-1087408
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TV/Business Notes (Cable)
Liz Gateley Out as Lifetime’s Head of Programming, Tanya Lopez and Gena McCarthy Promoted
By Reid Nakamura, TheWrap.com - Feb. 22, 2018

Lifetime’s head of programming Liz Gateley has stepped down after three years, the network announced on Thursday.

Citing personal issues, Gateley announced in a memo to staff that she would be leaving the network to focus on her family, but will remain on board for a few “exciting passion projects” which have yet to be announced.

In her place, Lifetime has promoted Tanya Lopez to executive vice president, giving her oversight of movies, limited series and movie acquisitions at Lifetime and LMN.

Gena McCarthy, currently executive vice president of programming at sister network FYI, has expanded her role to include head of unscripted programming at Lifetime.

Joanna Klein will continue to oversee scripted series at the network.

“I would like to thank Liz for her enormous contributions to Lifetime, and I am glad she will continue to lend her expertise on some upcoming projects for us,” Nancy Dubuc, A+E Networks president and CEO, said in a statement. “I deeply respect her choice to spend more time with her family. I also echo Liz’s delight, and I am personally proud that three strong women will be leading Lifetime’s programming teams. Congratulations to Tanya and Gena on their promotions.”

“We are incredibly excited to have Tanya, Gena and Joanna heading up our programming efforts for Lifetime,” said Paul Buccieri, president of A+E Studios and A+E Networks Portfolio Group, and Rob Sharenow, president of programming at A+E Networks, in a joint statement. “The passion and creativity they bring to the table is unmatched, and their track records speak volumes, as this team has brought some of the biggest hits in women’s entertainment to Lifetime throughout their careers.”

Gateley assumed her role as head of programming at Lifetime in 2015 and helped usher the cable network into the scripted series space with shows like “UnREAL” and “Mary Kills People,” as well as the upcoming series “YOU” and “American Princess.”

Read Gateley’s full memo below:

Many of you know what has been going on in my life in the past several months. With the sudden passing of my beloved nanny of 16 years, a new nanny being a no-show and ghosting me, having stressed-out teenage kids and having to lift my dog to the curb because he has a slipped disk (I kid you not!), there have been some very clear signs from the universe to focus on my family and truly be present every day for my kids and husband, who have very generously supported a career choice that required me to fly across the country every other week for the past three years. So it is with a heavy heart that I must say that I have decided to leave my position at Lifetime. This was a dream job for me: to come back to the brand I love, where I started out 17 years ago as Assistant to the Head of Programming, and to BE the Head of Programming. It was my Working Girl moment. I am so grateful to Rob and Nancy for this opportunity.

During my three years here, I had the privilege to launch UnREAL, making the (at the time) scary decision during my first week here to launch the first three episodes digitally and then lobby for and develop three more seasons of the hit Peabody-winning show. I also had the luck to work with Meghan Hooper White and Sharon Bordas on another show that landed on every “Top 20 of the Year” list: Mary Kills People. With Joanna Klein leading her amazing team, I am proud to have attracted showrunners like Greg Berlanti, Sera Gamble and Jenji Kohan, solidifying Lifetime as a premium scripted destination. I cannot wait for the world to see the upcoming YOU and American Princess.

I am also excited that, with the leadership of Tanya Lopez and Meghan, Lifetime Movies has taken on new levels of brave storytelling (and success in the ratings!) with the award-winning and inspiring true stories like Flint, Surviving Compton, Cocaine Godmother, I Am Elizabeth Smart and Faith Under Fire. I’ll never forget Lifetime’s proud coverage of the historic 2016 Election Live with The View, the launch of unscripted hits like TheRap Game, events like Billboard Women in Musicand zeitgeist moments likeGlam Masters. My favorite failure, Date Night Live, was a proud galvanizing moment while Project Runway in its 16th season embraced body diversity with“models of all sizes” for the first time. I know Brie Bryant will do amazing things to launch her inspiring vision in the next chapter of Unscripted at Lifetime.

I also love the new faces of Lifetime — Laverne Cox, Penn Badgley, Shay Mitchell and Catherine Zeta-Jones (and don’t forget Meghan and Harry!) — but perhaps my favorite thing in the world is to give people their first chance at something. This job gave me the opportunity to give deserving WOMEN their first chances: Shiri Appleby and Constance Zimmer directing episodic television (and they did a damn good job), Stacy Rukeyser showrunning, Kyra Sedgwick directing Story of a Girl and getting a DGA nomination, and finally, presenting what had to be the first ever 100% all-female series creator panel at TCA.

I am so happy to have had the opportunity to work with Rob Sharenow and Paul Buccieri to establish the structure of Lifetime’s programming team going forward. I am excited that Tanya Lopez will continue to oversee all the movies including our originals and will be adding acquisitions to her purview. Gena McCarthy will return to Lifetime to lead Unscripted Programming, and Joanna Klein will continue to oversee Scripted Series. I love that Lifetime’s programming future will be controlled by three powerful women who love the brand as much as I do.

And here’s to the F word. For me, this letter conjures up many fond words.: Fempire. Flint. Faith Under Fire. Our muse: the “Fireheart.” But most importantly, the incredible Friends I’ve made here and will miss. Keep fighting the fight for #MeToo and #TimesUp, as we have always been the leaders of equality for women. In fact, there are some exciting passion projects of mine in this space that we are about to announce, for which I may stay on board.

You have and will change the world, Lifetime. You have changed mine.


https://www.thewrap.com/liz-gateley-...gena-mccarthy/
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Technology/Critic's Notes (Gaming)
The Nintendo Switch has me playing games I’d otherwise ignore
By Andrew Webster, TheVerge.com - Feb. 23, 2018

A year ago, if you had told me I’d be spending my evenings playing Payday 2 on a tablet, I wouldn’t have believed you. Yet, here I am, plugging away at a heist game that came out five years ago. Such is the power of the Nintendo Switch.

As I’ve written multiple times before, the Switch is a device that fits into my life more than any gaming system before it. It seamlessly shifts from being a home console to a portable device, essentially eliminating the distinction between the two. Super Mario Odyssey isn’t a game I can play either at home or on the go; it’s just a game, and I can play it however I want. This benefits a lot of different kinds of experiences, whether it’s a sprawling epic like Breath of the Wild or a competitive multiplayer shooter about teen squids.

But it has also had an unintended side effect: games that I would otherwise have very little interest in suddenly become a lot more appealing on the Switch.

Payday 2, which is available on Nintendo’s tablet today, is just the latest example. I played the original Payday when it first came out way back in 2011, and I enjoyed its Michael Mann-esque take on co-operative heists. It was unique and challenging, but I felt pretty satisfied with the one game. A sequel didn’t seem necessary, so I never dabbled in the follow-up. But on the Switch, the idea of more Payday is much more enticing. The games are divided into a series of missions, as you work as part of a criminal group to pull off increasingly daring heists. Each one is like a thrilling, self-contained story. I’ve been playing through a single one by myself in the game’s offline mode each night before bed this week. Yes, it’s an older version of an already old game, but the freedom to play it wherever makes it a pretty fair trade-off for me.

Other games that similarly weren’t on my radar have since become experiences I’ve really enjoyed on the Switch, like the paranormal point-and-click adventure game Darkside Detective or the stylish Metroid-style adventure Dandara. I’ve even found myself playing games a second time just because they’re on the Switch, most recently with Dragon Quest Builders, a Minecraft-esque take on the classic role-playing series. Before that, it was LA Noire and Skyrim.

This behavior reminds me a lot of when the original Nintendo DS came out. Over the course of that handheld’s life, it was home to a huge range of strange, unexpected experiences. And I played just about all of them. I took virtual pets for walks in Nintendogs and ventured through multiple iterations of Dracula’s castle in Castlevania. I played games about singing secret agents, unqualified defense attorneys, and I caught an unhealthy number of pokémon. I even managed to turn sudoku into a daily habit for almost a year, thanks to Brain Training.

These games weren’t all amazing, though many of them were. (Seriously, where is my Elite Beat Agents sequel, Nintendo?) But they had the benefit of being on a system that I absolutely loved to play and that I took with me just about everywhere. The same is increasingly becoming true of the Switch. Its games aren’t as wildly inventive as the best DS releases, but because of the flexibility of the Switch, I have so many more opportunities to explore so many different kinds of games. Sure, I’ll usually default to finding a few more moons in Odyssey, but sometimes it’s nice to put on a clown mask and rob a few banks.

https://www.theverge.com/2018/2/23/1...st-hidden-gems
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TV Review (Broadcast)
‘Living Biblically’ on CBS
By Sonia Saraiya, Variety.com

It seems entirely possible that “Living Biblically” exists just to set up the elaborate one-liner at the end of the pilot: “A priest, a rabbi, a lapsed Catholic, and a nonbeliever walk into a bar…” But like the joke, the sitcom’s setup is labored — and the payoff is yet to be seen. “Living Biblically” follows the moral quandaries of Chip (Jay R. Ferguson), a film critic who decides to live by the letter of the Word after his best friend suddenly dies. His wife, Leslie (Lindsey Kraft), an atheist, is unimpressed with his new trajectory, but tolerant — and without further ado, Chip’s life becomes a series of theological puzzles. No lying, no taking God’s name in vain, but also, no mixing fabrics, and an exhortation to stone adulterers? Chip’s confused, but cheerfully determined. (Leslie, to her credit, draws a line when Chip suggests Beyoncé is a false idol: “There is nothing false about Beyoncé.”)

Believe it or not, there is something quite charming about the sitcom. It centers Christianity in a way that is never examined, but manages to do so in a way that feels rooted in Chip’s particular journey. Faith is a tricky topic for pop culture, so most entertainment outright avoids it — even though nine out of 10 Americans believe in God, according to Gallup, and fully 70 percent identify as Christian, according to the Pew Research Center. It’s refreshing to see a show tackle the puzzle of American Christian belief, and although “Living Biblically” is quite lightweight, the questions of worship in the first three episodes are recognizable —can I trust this ancient book, or how and when do you pray, or is my phone making me a worse person?

But in the same way that “Living Biblically’s” depiction of a film critic living in Brooklyn is hilariously inaccurate, the sitcom’s presentation of Chip’s religious life is a little too removed from reality, even for a multi-camera sitcom. Chip could do with a smidge more cynicism about the world, because his sudden devotional embrace of the full text of the Bible doesn’t make sense based on his background as either a Catholic or a film critic. Ferguson is an able lead, but the sitcom’s structure forces him to do way too much narrative exposition — about the Bible, about other characters, about the essential plot of the show. Rather than opening credits, the show has to rely on voiceover from Chip explaining what the show is about. And yet when Chip abandons or embraces certain elements of his journey, he doesn’t elaborate; by the second and third episodes, it seems that he’s accepted mixing fabrics, but no one tells the audience why — and meanwhile, Chip keeps following other detailed rules.

The strangest element of the whole endeavor is Chip’s “God Squad,” comprised of Father Gene (Ian Gomez) and Rabbi Gil (David Krumholtz). He regularly meets them for drinks to go over his non-crises. Krumholtz has been preparing to play a curmudgeonly rabbi ever since he was a young child, and he and Gomez have a nice rapport with each other. But they’re basically in a different show from Chip and Leslie, who are themselves in a different show from Chip’s workplace, a Manhattan publication headed by Ms. Meadows (Camryn Manheim). By the end of the third and strongest episode, “False Idols,” everyone meets everyone else, so maybe the show will improve as it coheres. But it’ll have to straighten out more of its premise before we figure out where this effortful setup is going.

'Living Biblically'
Comedy, X episodes, (3 reviewed): Mon. Feb. 26, 9:30 p.m. 30 min.


http://variety.com/2018/tv/reviews/l...on-1202701164/
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post #21772 of 30418 Old 02-23-2018, 07:08 AM - Thread Starter
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TV Notes (Streaming)
David Chang’s new Netflix series explores the ugly side of delicious
By Mahita Gajanan, EW.com - Feb. 23, 2018

David Chang digs right into some meaty matters on his new show.

Chang’s docuseries, Ugly Delicious, which hits Netflix Feb. 23, shows the celebrity restaurateur traveling the world with guests like acclaimed chef René Redzepi, food writers Jonathan Gold and Ruth Reichl, comedian Ali Wong and actor Gillian Jacobs to explore the ties between food and culture. Each episode uses a single type of food like “BBQ” or “Tacos,” as a lens to examine everything from immigration and racism to the complicated nature of cultural appropriation.

“It allowed us to go down that hole that a lot of people want to shy away from, because it’s wildly uncomfortable to talk about,” Chang told TIME. “Food, in some ways, is a very powerful tool to use as a vehicle to talk about the things that are sort of f—ed up.”

In one episode, Chang visits South Philly Barbacoa, whose owner Cristina Martinez is an undocumented chef from Mexico facing the challenges of keeping her business together while fighting for the rights of thousands of undocumented food workers in the U.S. In another, Chang highlights Houston and its emerging Viet-Cajun style as America’s next great food city. He goes high- and low-brow: uncovering proper Neapolitan-style pizza in Japan — but still celebrating Domino’s back in the States by shadowing a deliveryman during his route.

Chang also dives into food in the United States that comes loaded with history. The episode “Fried Chicken” tackles the racist history of the popular, ubiquitous food, detailing how chickens were initially kept by slaves but then became a stereotype tying black people to fried chicken in popular culture.

Fried chicken is also one of several dishes that brings Chang back to the subject of authenticity and appropriation. He brings up Hattie B’s, a fried chicken joint in Nashville that specializes in the region’s hot chicken, a style that involves spice blends guaranteed to make your eyes water. The restaurant, opened in 2012 and run by a white family, has received criticism for appropriating a dish traditionally served in Nashville’s black communities. Hattie B’s is now commonly credited for putting hot chicken on the national map, despite longtime hot chicken spots like Bolton’s and Prince’s feeding Nashville’s black neighborhoods for about 70 years.

The people behind Hattie B’s, including owner Nick Bishop Jr., “own up to” the criticism, Chang said, noting multiple generations of the Bishop family have been involved in the restaurant industry in the area. Chang said if his family took a similar trajectory, he could have ended up in the same position.

“It’s easy to criticize someone that is doing something from another culture,” he said. “Had I been raised in Nashville, eating all this amazing hot fried chicken, I probably would have also opened up a hot fried chicken stand.”

Chang’s views on appropriation still change as he learns more about what draws people to certain foods. The son of Korean immigrants, Chang in one Ugly Delicious episode talks about his instinctive dislike of anyone non-Korean who makes kimchi. While kimchi has only recently gained steam in the U.S. alongside the growing popularity of Korean cuisine, the fermented cabbage dish was an everyday staple in Chang’s house growing up, something he felt he had to hide from kids in school.

But Chang has since come around on such issues. He suggests that a non-Korean person wanting to make kimchi because it’s trendy might seek out a tutorial, and end up eventually learning about Korea’s culture and history. It may take time, but writing that person off for cultural appropriation would be a mistake because they were introduced to something totally new, he said.

“How do you actually do it in a way that’s meaningful? That’s the question that’s presented to all of us — telling a story that is respectful,” he said. “Sometimes, you just gotta let it play out. Part of it is letting people make mistakes.”

Chang has gone from feeling shame about his background to becoming actively proud of his heritage. The meals he’s accustomed to have become the “ugly delicious food” he wants to start serving to customers — something he explores in particular on the “Home Cooking” episode, which includes an appearance from his mother.

“The older I get and with the sheer passage of time, the more comfortable I am — not just comfortable, the more I admire where my parents came from,” he said. “And the things I was ashamed or even embarrassed about, I’m not anymore. I’m more willing to not only make those foods but to reconcile who I was and where I came from.”

http://ew.com/tv/2018/02/23/david-ch...gly-delicious/
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TV Review (Streaming)
Hulu’s ‘Looming Tower’ a 9/11 prelude with no heroes
By Matthew Gilbert, Boston Globe - Feb. 22, 2018

Watching “The Looming Tower” is like watching a catastrophe unfold in tortoise-like slo-mo, from some first vague quavers to the collapse of our country’s foundation. The 10-episode limited series takes a scripted look back at the deep rifts between the CIA and the FBI leading up to the events of Sept. 11, 2001, exploring how that ego-driven antagonism undermined the possibility of prevention. It’s like watching Tom and Jerry play a testosterone-fueled game of cat and mouse while a venomous snake quietly slithers past them in a suicide vest.

You keep thinking the men — in particular Jeff Daniels’s FBI special agent John O’Neill and Peter Sarsgaard’s CIA analyst Martin Schmidt — will check themselves in time, find a way to collaborate, and share intelligence without bruising their professional vanity. You keep hoping that the inevitable isn’t, that they’ll stop Osama bin Laden as he gains global sway with the 1998 Kenyan embassy and 2000 USS Cole bombings. You keep envisioning a happy movie ending, with Al Qaeda in chains, the wars in Iraq and Afghanistan merely disasters averted, and a few US heroes honored.

But of course the limited series, which premieres Wednesday on Hulu, heads unstoppably into the worst case. There are no heroes in “The Looming Tower,” at least in the first three episodes available for review, just smart but flawed individuals like O’Neill and Schmidt up against the terrorists, the complacency of their agencies regarding jihad, and, perhaps most of all, their own pigheadedness. If you’re expecting “The Looming Tower” to celebrate those who fought bin Laden, however unsuccessfully, you will be disappointed. Based on the Pulitzer Prize-winning nonfiction book “The Looming Tower: Al Qaeda and the Road to 9/11” by Lawrence Wright, it does not go easy when it comes to assigning blame.

It’s a testament to “The Looming Tower” that the story is as gripping as it is, given that we know where it’s all going. Co-created by Dan Futterman and Alex Gibney, it plays a bit like “Homeland” before “Homeland” got played out, as the agents fly in and out of the Middle East, encountering tension-and-release close calls and dealing with their personal demons. In Daniels’s hands, O’Neill is full of himself, a tacky womanizer who uses the same lines on each of his lovers. And Sarsgaard’s Schmidt is prickly and smug. In a meeting with counterterrorism honcho Richard Clarke, played by Michael Stuhlbarg, the two men are like an embittered and bickering couple in therapy.

None of the players knows just how awful the inevitable attack on American soil will be, a truth that makes them a little less dislikable along the way. But the only truly sympathetic guy in “The Looming Tower” is Ali Soufan, one of only eight FBI agents able to speak Arabic. Working with O’Neill, Soufan is played by Tahar Rahim as a gentle, skilled Muslim agent who isn’t part of the power struggle that afflicts the careerists around him. Rahim’s mild manner is welcome in this mano-a-mano atmosphere, and I’d love to see him get more leading-man work. Do we need a somewhat feeble subplot about Soufan’s efforts to court a woman named Heather (Ella Rae Peck), efforts foiled thanks to the distractions of his job? Probably not. Likewise O’Neill’s affairs, which aren’t developed beyond cliché early on. Fortunately, the half-baked romances don’t trip up the series’ steady pace.

As if to remind us of innocence lost, as well as of the naivete of the CIA and FBI agents before 9/11, “The Looming Tower,” which opens in 1998, features a few scenes in which a background TV is airing news about Monica Lewinsky. Our country is captivated and divided by the case, unaware that a nascent but far greater danger is heading our way. We’re fighting over that blue dress, all while that snake quietly sneaks by.

THE LOOMING TOWER
On Hulu, premiering Feb. 28.


http://www.bostonglobe.com/arts/2018...mmI/story.html
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post #21774 of 30418 Old 02-23-2018, 07:21 AM - Thread Starter
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TV/Legal Notes (Syndication)
Jerry Springer Show Star Steve Wilkos Charged with DUI After Terrifying Crash
By Karen Mizoguchi, People.com - Feb. 22, 2018

Steve Wilkos, the talk show host and former security director on The Jerry Springer Show, was arrested on charges of operating under the influence in connection with a car crash.

On Jan. 21, Wilkos, 53, was involved and injured in a one-vehicle crash in Darien, Connecticut, but it wasn’t until Wednesday evening when he turned himself in at the Darien Police Department after learning that there was a warrant out for his arrest.

Authorities confirmed his bail was set by a judge at $1,500, which Wilkos posted, and was released the same day. Medical records indicated that his Blood Alcohol Content was .29% and over the legal limit when he crashed his vehicle, according to police.

Wilkos, a veteran of the United States Marine Corps and a former law enforcement officer with the Chicago Police Department, was transported to Stamford Hospital for further evaluation and treatment due to the severity of the incident.

A rep for Wilkos did not immediately respond to PEOPLE’s request for comment.

At the time of the incident, Wilkos reportedly said he was distracted as he reached for his glasses and lost control of the vehicle before he crashed.

On Wednesday, he told TMZ that his previous statement was a lie.

“Over the course of my life, I have been struggling with bouts of depression and on the day of my accident, I had a complete lapse in judgment which resulted in me drinking and getting behind the wheel of my car,” Wilkos said.

“This experience reinforces my commitment to get the professional help that I need and I have recently completed an intensive medically supervised program,” he concluded.

Wilkos is due in Stamford Superior Court on March 5.

http://people.com/tv/steve-wilkos-ch...i-after-crash/
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TV Review (Streaming)
A police cover-up fuels the drama in Netflix’s ‘Seven Seconds’
By Rob Lowman, Los Angeles Daily News - Feb. 21, 2018

Here’s the setup: A white New Jersey police officer, who’s late to meet his pregnant wife at the hospital for her sonogram, is speeding through a desolate park when his car hits a black teenager on a bicycle.

It’s an accident, but the officer – Peter (Beau Knapp) – calls his fellow cops, and no one calls for an ambulance.

The cover-up is the opening of “Seven Seconds,” a new 10-part dramatic series on Netflix that drops Friday. Its executive producer, Veena Sud (“The Killing,” “Cold Case”), has said that the series is an attempt to look behind the headlines involving racially charged incidents like the death of Freddie Gray, the Baltimore man who died in police custody in 2015.

“Don’t you read the news? There are no accidents anymore,” one cop tells Peter later, justifying their cover-up. “Chicago, Baltimore, every white cop who has killed a black kid….” He doesn’t have to finish the sentence.

“Seven Seconds” can be a bit obvious at times – a shot of blood in the snow with the Statue of Liberty seen off in the distance – but ultimately it settles into a worthwhile character-driven crime thriller.

As former president Richard Nixon learned, a cover-up can snowball and become worse than the original crime. That rapidly becomes the case in the series. The story is about people under pressure trapped in an impossible dilemma that grows deadlier. Tamped-down prejudices, family secrets, and fears eventually boil over.

British actress Clare-Hope A****ey plays low-level prosecutor K.J. Harper. She is desperately unhappy, buried in paperwork, drinking and singing karaoke (badly) at a club. She’s given the hit-and-run case of the teen, who lies unconscious in a hospital.

She is partnered with a detective, Joe “Fish” Rinaldi (Michael Mosley), a white cop who isn’t interested in digging into the case, pegging the victim as a gang member because he has an expensive bike.

In fact, Fish is ready to charge a suspect supplied by Peter’s cohorts, but after K.J. finds inconsistencies in the story he reluctantly helps her pursue other leads.

No one in “Seven Seconds” is without guilt. Nor is anyone completely awful. Even the head of a narcotics unit, Mike (David Lyons), who is also the leader of the cover-up, can be seen as making the best of untenable situations – both within his department and on the streets.

The always-reliable Regina King leads the series’ strong ensemble as the victim’s distraught mother; Russell Hornsby (“Grimm”) plays the father. Their elder son (Zackary Momoh) is a soldier stationed in Afghanistan, having escaped to the Army to get away from the gangs.

K.J. is only able to investigate the case because she convinces her politically ambitious boss that the victim’s family are churchgoers from the black community and likely voters. “Seven Seconds,” meant to be an anthology if it’s picked up, is similar to recent network series like “American Crime” and “Shots Fired” in that it explores social and racial tensions in a personal way. At its best, the new series is more nuanced than the others because its premise grows out bad decisions more than bad intentions. Dramatically, it takes about two to three episodes for the series to kick in. Fish, who prefers dogs over people, and K.J., who comes from an affluent black family, are an odd couple but with some nice twists.

“Seven Seconds” may not be the type of series to binge, but once you’re into it, you are likely to stay around. The series’ virtue is that it offers a different – and often thoughtful –take one of the biggest hot-button issues of the day.

Seven Seconds
When: Available Friday.
Where: Netflix.


https://www.dailynews.com/2018/02/21...seven-seconds/
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post #21776 of 30418 Old 02-23-2018, 07:29 AM - Thread Starter
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TV Notes (Broadcast)
Margaret Brennan named host of CBS' 'Face the Nation'
By Brian Stelter, CNN/Money.com - Feb. 22, 2018

Margaret Brennan will succeed John Dickerson as the moderator of "Face The Nation," CBS announced on Thursday.
"Face the Nation" is one of the highest-rated Washington discussion programs on television. And one of the longest-running: It was started in 1954.

There was considerable speculation about who would take over when Dickerson moved to New York last month to co-host "CBS This Morning."

Brennan is currently the White House and senior foreign affairs correspondent for CBS News. She will give up the White House beat but will retain the foreign affairs beat.

Brennan will begin hosting "Face" this Sunday.

Thursday's announcement was well-received among the press corps, with many colleagues and rivals praising her reporting chops and curiosity.

Jake Tapper, who hosts CNN's "State of the Union," tweeted to her, "Congrats and welcome to Sunday morning!"

NBC's chief White House correspondent Hallie Jackson tweeted, "We will miss you in the briefing room front row -- but what a well-deserved promotion."

In college, Brennan interned at CNN. Later, she became a producer for CNBC, then a correspondent for CNBC and an anchor for Bloomberg Television. Her first beat at CBS was the State Department.

"Margaret's coverage of the White House and the world make her the ideal moderator for this legendary CBS News franchise at this moment in time," CBS News president David Rhodes said in a statement.

http://money.cnn.com/2018/02/22/medi...ion/index.html
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Feb. 23, 2018

2018 WINTER OLYMPIC GAMES
Various Networks, 2:40 a.m. ET

The men’s curling final is televised late into the night, at 3 a.m. ET Saturday, which is where you can watch the Cinderella USA men’s team take on Sweden for the gold. (So quit making fun of me for pushing curling from the start – this team is guaranteed to finish with either silver or gold, making it the highest-finishing men’s curling team in Olympics history.) Other events on cable networks today, tonight and early tomorrow include the gold medal final in the men’s biathlon 4x7.5km, televised from 8 p.m.-midnight ET on NBCSN. And, of course, live coverage usually can be found on NBC’s Olympics website.

THE TICK
Amazon Prime Video, 3:00 a.m. ET
MIDSEASON PREMIERE:
This new live-action reboot of The Tick is back with new episodes – six more, bringing the output to date to an even dozen. The humor is broad but funny – one of these new, sci-fi-flavored episodes is titled “My Dinner with Android” – and Yara Martinez from Jane the Virgin, as one of the show’s recurring villains, is a standout. Peter Serafinowicz stars as the blue-costumed superhero.

MUTE
Netflix, 3:00 a.m. ET
MOVIE PREMIERE:
This new Netflix film is another in its current spate of futuristic dystopian dramas. This one is set in a postmodern, post-today Berlin, with flying cars and robotic exotic dancer. Alexander Skarsgard, from Big Little Lies and True Blood, plays Leo, a bartender who suffered a boat accident as an Amish child, and has lived his adult live unable to speak. Seyneb Saleh plays Naadirah, a blue-haired worker at the nightclub where Leo works – and the two of them seem to have quite a connection, even though he never says a word. Which, I guess, is a Mute point.

UGLY DELICIOUS
Netflix, 3:00 a.m. ET
SERIES PREMIERE:
Famed Momofuku celebrity chef David Chang comes to Netflix with his own series, which is focused on two things: internationally mixed flavors, and home-style cooking. He has celebrity guests in each episode, but it’s the dishes that are the real stars.

2018 WINTER OLYMPIC GAMES
NBC, 3:00 p.m. ET

In prime time tonight, starting at 8 p.m. ET, NBC presents live coverage of two gold-medal final events: the team event in alpine skiing, and the big air final in men’s snowboarding.

GREAT PERFORMANCES: "MOVIES FOR GROWNUPS"
PBS, 9:00 p.m. ET

The AARP has been giving out its “Movies for Grownups” awards for quite a while – tonight marks its 17th annual such celebration – but this is the first one to be televised. The full title of this Great Performances special is Movies for Grownups Awards with AARP the Magazine. Recorded earlier this month, this special features host Alan Cumming, who provides a parody musical number (take that, Oscars!). Helen Mirren gets a Career Achievement Awards, and nominees in all categories must be AARP-age-appropriate. Check local listings.

THE GRAHAM NORTON SHOW
BBC AMERICA, 10:00 p.m. ET

Tonight’s new episode makes room on Graham Norton’s couch for one very interesting pair of guests: From I, Tonya, it’s Margot Robbie and Allison Janney.


http://www.tvworthwatching.com/
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post #21778 of 30418 Old 02-23-2018, 07:57 AM - Thread Starter
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TV Notes
On The Air Tonight
FRIDAY 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 - Feb. 23, 2018

ABC:
8PM - Movie: Wreck-It Ralph (2012)
10PM - 20/20
* * * *
11:35PM - Jimmy Kimmel Live! (Saoirse Ronan; Kyle Chandler; Joey Dosik performs)
12:37AM - Nightline

CBS:
8PM - Big Brother Celebrity Edition (120 min.)
10PM - Blue Bloods
(R)
* * *
11:35PM - The Late Show With Stephen Colbert (Journalist Anderson Cooper; Maz Jobrani; Margo Price performs)
(R)
12:37AM - The Late Late Show With James Corden (Model Tyra Banks; Matt Smith)
(R)

NBC:
8PM - 2018 Winter Olympics: Alpine Skiing, Snowboarding, Bobsled, Speed Skating (3 hrs., LIVE)
* * * *
11:35AM - 2018 Winter Olympics: Men's and Women's Snowboarding (85 min., LIVE)

FOX:
8PM - Showtime at the Apollo (120 min.)
(R)

THE CW:
8PM - The 3rd Annual Howie Mandel Stand-Up Gala (Special, 90 min.)
(R)
9:30PM - Whose Line Is It Anyway? Malcolm Goodwin
(R)

PBS:
8PM - Washington Week
8:30PM - Hashtag MeToo, Now What? The Culture of Complicity
9PM - Great Performances: Movies for Grownups Awards With AARP The Magazine (120 min.)

UNIVISION:
8PM - El Rico y Lázaro
9PM - Papá a Toda Madre
10PM - Caer en Tentación

TELEMUNDO:
8PM - José José, El Príncipe de la Canción
9PM - Al Otro Lado del Muro
10PM - Enemigo Intimo
* * * *
11:30PM - Boxeo Telemundo (90 min.)

DISNEY:
8PM - Andi Mack (60 min.)

ESPN:
8PM - NBA Basketball: Minnesota Timberwolves at Houston Rockets (LIVE)
10:30PM - NBA Basketball: Dallas Mavericks at Los Angeles Lakers (LIVE)

NBCSN:
8PM - 2018 Winter Olympics: Men's Biathlon, Women's Curling (LIVE)
11PM - 2018 Winter Olympics: Men's Speed Skating, Men's Bobsled (LIVE)
* * * *
1AM - 2018 Winter Olympics, Men's Curling: Sweden vs. U.S. (LIVE)

SHOWTIME:
9PM - The Trade

WE tv:
9PM - Mama June: From Not to Hot
10PM - Love After Lockup (Season Finale, 87 min.)

BBC AMERICA:
10PM - The Graham Norton Show (Saoirse Ronan; Eric McCormack and Debra Messing; comic Rob Beckett; singer Keala Settle)

CINEMAX:
10PM - Strike Back: Retribution

HBO:
10PM - Real Time with Bill Maher (Anna Deavere Smith; Vicente Fox, former president of Mexico; authors Fran Lebowitz and Salman Rushdie)
(R)
* * * *
11PM - High Maintenance
11:30PM - 2 Dope Queens (Season Finale)

TBS:
10PM - ELEAGUE: Road to the Boston Major- Becoming Legends

LIFETIME:
10:02PM - The Rap Game (Season Finale, 76 min.)


https://tvlistings.zap2it.com/?aid=gapzap
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post #21779 of 30418 Old 02-23-2018, 08:17 AM
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Originally Posted by mrvideo View Post
Some Sony Trinitron models did. But those TVs that didn't, I added my own jack that tapped the speaker wiring. A 1/8" jack with a "switch" to cut out the speaker when I connected the cable. I even did it to a TV I rented in Scotland when I was there in late 71 thru Nov 73.
I was doing something similar as far back as 1971. Radio Shack sold a device used to record telephone conversations by attaching a suction cup to the earpiece area of the handset and plugging the other end into a cassette recorder. Placing the cup on a TV housing near the audio section of the control board would pick up the signal just fine. I never listened to anything but the news through the TV speaker again.

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Originally Posted by danlshane View Post
I was doing something similar as far back as 1971. Radio Shack sold a device used to record telephone conversations by attaching a suction cup to the earpiece area of the handset and plugging the other end into a cassette recorder. Placing the cup on a TV housing near the audio section of the control board would pick up the signal just fine. I never listened to anything but the news through the TV speaker again.
I bought and built a Heathkit model in 1969 that had an independent line level audio jack. I replaced it with another Heathkit, which also included the jack, in the late 70s. That set was replaced by a Sony XBR in the 90s. It didn't offer much of an advantage until the late 70s when AT&T upgraded their network audio infrastructure to produce Hi-Fi quality audio. When stereo audio was launched, Heathkit offered an upgrade kit that included a Zenith decoder box and I took advantage of that,
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