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post #29941 of 30870 Old 05-23-2019, 08:28 AM - Thread Starter
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TV Notes
Sam Champion to Return to WABC’s ‘Eyewitness News’ as Weather Anchor
By Tony Maglio, TheWrap.com - May 22, 2019

Sam Champion is returning to his old green screen at WABC’s “Eyewitness News.” Starting Monday, June 3, the ABC News contributor will serve as weather anchor for the station’s weekday morning and noon teams.

The Eyewitness News AccuWeather team is chief meteorologist Lee Goldberg, along with Amy Freeze and Jeff Smith.

“Sam has a fascination and passion for weather that is absolutely contagious,” said Debra O’Connell, president and general manager, WABC. “I am thrilled to have Sam join our outstanding Eyewitness News team, bringing with him a tremendous track record for accuracy in weather forecasting along with his genuine care for our tri-state area communities and viewers.”

Champion spent 18 years as a weather anchor on WABC’S “Eyewitness News” from 1988-2006, before joining “Good Morning America” and ABC News.

From 2013-2016, Champion was managing editor of The Weather Channel. There, his “AMHQ” experienced more than its share of problems, and Champion left that show in Fall 2o15.

“It is an extraordinary opportunity to come home and, once again, be a part of the Eyewitness News family,” added Champion. “I have felt the trust and kindness of New York and the tri-state viewers since 1988, and I can’t wait to start our days together again at the No. 1 station in the nation!”

https://www.thewrap.com/sam-champion...eather-anchor/
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post #29942 of 30870 Old 05-23-2019, 08:31 AM - Thread Starter
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Technology Notes (Streaming)
Dolby wants you to experience music in a new way
By Jefferson Graham, USA Today - May 23, 2019

HOLLYWOOD – Dolby, the company most of us know for bringing premium sound to movie theaters and high-end home audio, wants you to listen to music in a different way.

People of a certain age might recall Quadrophonic sound, which brought four-channel sound to recordings. Now try true multichannel, in the home, with immersive sound that goes beyond left and right to come at you from all directions – in front, in back, to the side of you and even over your head, should you chose to install speakers there.

Dolby's Atmos system, popular with high-end TVs and movie theaters for bringing multi-dimensional sound to the cinema, said Thursday it's adding music to its portfolio, and the company hopes to begin releasing tracks for streaming this year. Dolby says the technology lifts "songs with space, clarity and depth as never before."

The San Francisco-based company announced a deal with Universal Music Group, the largest recording label and home of artists ranging from Taylor Swift and Lady Gaga to Abba, Elton John and The Who, to begin re-mastering older and new tracks in Atmos.

Samuel Lindley, better known as "The Legendary Traxster," a producer who has helmed recordings for Mariah Carey, Nicki Minaj and Ludacris, says Atmos is a "new way of expressing yourself in music." Lindley, who now serves as senior vice-president of Universal Music, likes that the music isn't "just in front of me, but it can surround me in a more natural capacity."

(You can hear our complete Talking Tech podcast interview with Lindley by clicking the link at bottom.)

Beyond Universal, Dolby is looking to bring on other labels as well.

At a demo in the historic Capitol Records studio here, Dolby and Universal executives showcased the system, beginning by playing the classic song "What's Going On" by Marvin Gaye, over 16 speakers. The sound was distributed into several of the speakers, with the street chatter that opens the song appearing in front and the conga players in the back of the room.

Fans of listening to streaming music through their smartphones won't get as far with Atmos for mobile and listening on earbuds as they would in a recording studio. Dolby says Atmos just brings "enhanced sound" to mobile. For folks to get the most of it, they'll need to listen on speakers or home soundbars.

The Atmos system has been added to Universal's recording studios, which includes Capitol in Hollywood (where the Beach Boys, Bob Dylan and Neil Young all recorded classic albums) to Abbey Road Studios in London (The Beatles) and Berry Hill Studios (Willie Nelson, Johnny Cash) in Nashville.

Atmos technology currently works with Netflix and Amazon Prime for certain streaming titles and the Apple TV set-top box as well as some 40 soundbars from the likes of Sony, Vizio and Yamaha.

https://www.usatoday.com/story/tech/...ic/1198076001/
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post #29943 of 30870 Old 05-23-2019, 08:35 AM - Thread Starter
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James Cameron pushes his 800 lb. weight around... again!

Technology Notes (Ultra HD)

'Alita: Battle Angel' Bravely Takes On The HDR Format War
By John Archer, Forbes.com - May 21, 2019



A few weeks ago I wrote an article on the latest format war the AV industry has contrived to inflict on consumers. This time the fight is taking place in the high dynamic range arena, with two different premium HDR formats - Dolby Vision and HDR10+ - vying for support from different TV brands and movie studios.

Today has seen an unexpected and, on the surface at least, very positive development in resolving the HDR scrap, though. For tucked away in the disc specification section of 20th Century Fox’s press release for the upcoming 4K Blu-ray release of James Cameron and Robert Rodriguez’s Alita: Battle Angel is the revelation that it will carry the film in both the Dolby Vision and HDR10+ formats. A fact which Fox has confirmed to me isn’t just a press release typo.

This means that no matter whether you have a TV and 4K Blu-ray player combi that supports Dolby Vision or a TV/4K Blu-ray combi that supports HDR10+, you will be able to enjoy Alita: Battle Angel with the extra scene by scene picture information both these so-called dynamic HDR formats provide. Which typically means you will enjoy enhanced contrast, brightness and color performance.

The decision to deliver Alita on 4K Blu-ray disc in both formats is a huge (and welcome) surprise for two reasons. First, it’s only the second title ever released on 4K Blu-ray that’s carried the film in both Dolby Vision and HDR10+ (the other being Lionsgate’s release of the latest Robin Hood film).

Second, Alita marks the very first 4K Blu-ray from 20th Century Fox that’s carried a Dolby Vision master. Previously 20th Century Fox releases have only supported either the industry standard HDR10 ‘static’ HDR format (which doesn’t provide TVs with scene by scene picture information) and, in the case of a handful of recent titles, HDR10+.

In fact, before the Alita announcement today, Fox had seemed during multiple meetings with members of its technology division to be fairly adamantly opposed to Dolby Vision for 4K Blu-ray. Indeed, it was one of the founder members of the HDR10+ Alliance, alongside Samsung and Panasonic. Yet here we are, only a few titles into the studio living up to its long-held HDR10+ promises, also delivering its debut Dolby Vision release.

At this stage we can only speculate on how Alita’s format neutral approach to dynamic HDR has come about (though I have asked 20th Century Fox for more background, and will provide an update if they have anything to share). The most likely answer is that James Cameron insisted that everyone be able to enjoy the film in a ‘best quality’ dynamic HDR format, regardless of which TV and 4K Blu-ray player brand they owned. And if James Cameron insists on something, my guess would be that it usually happens!

It’s also tempting to wonder if this has something to do with Disney’s recent take over of Fox, marking the start of a new format neutral approach to 4K Blu-ray releases. It’s important to stress in this regard, though, that while Disney did support Dolby Vision on a handful of 4K Blu-ray releases in the first half of 2018, it subsequently mysteriously went back to only offering HDR10 on its 4K disc releases.

While I 100% applaud in principle the decision to offer Alita in both premium HDR formats, I can’t help but worry a little that doing so may put pressure on the available 4K disc space, potentially resulting in increased compression and, therefore a softer and less detailed 4K picture.

Dolby maintains that adding Dolby Vision metadata doesn’t increase the potential size of a 4K Blu-ray data file too much, but more than one industry insider has suggested to me that using Dolby Vision really can cause 4K Blu-ray data 'crush' issues - especially if a studio uses a 66GB 4K disc for a film rather than the more expensive 100GB option. And there’s currently no information available on whether Alita will be appearing on a 66GB or 100GB disc.

To be fair, Robin Hood still looked pretty crisp on 4K Blu-ray despite supporting both formats and being only six minutes shorter than Alita. In fact, the Robin Hood 4K Blu-ray transfer regularly hits data rates of more than 90Mbps, pushing close to the 4K Blu-ray format’s maximum capabilities.

Also, given Cameron’s well-earned reputation for caring more than most about the way his films look on home video formats, it’s hard to believe that he would do anything that might compromise Alita’s AV quality.

It will still be a relief when the 4K Blu-ray drops July 23rd, though, if it turns out that Alita not only really does support both premium HDR formats, but does so in the sort of spectacular quality fans have come to expect from Cameron releases.

Needless to say, I'll be reviewing the 4K disc as soon as I can get my hands on it.

https://www.forbes.com/sites/johnarc.../#792226b41623
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post #29944 of 30870 Old 05-23-2019, 08:38 AM - Thread Starter
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Nielsen Overnights (Broadcast)
Jimmy Kimmel’s ‘All In The Family,’ ‘The Jeffersons’ Restage Towers Over Wednesday Ratings
By Lisa de Moraes, Deadline.com - May 23, 2019

Jimmy Kimmel’s ambitious star-studded re-staging of two Norman Lear sitcoms dominated Wednesday primetime, scoring a metered-market 7.5 rating/13 share, where the previous week’s Toy Story 2 was hovering around 1.6/3.

The clunkily named Live in Front of a Studio Audience: Norman Lear’s All in the Family and The Jeffersons pushed the first two of NBC’s Chicago trilogy out of the top spot in their hours.

Starring Woody Harrelson, Marisa Tomei, Jamie Foxx, Wanda Sykes among many others, Kimmel’s 8-9:33 PM passion project scored biggest numbers in first half hour, 7.6/14, trickling down to 5.9/10 for its final few minutes. The broadcast ended at 9:33 PM ET.

Fans of Kimmel, Lear, the original comedies, live TV, etc. who tuned in were well treated to Jennifer Hudson’s belting out of The Jefferson’s “Movin On Up” theme song, Tomei’s spot-on Edith Bunker, and Marla Gibbs’ surprise appearance reprising her role as George and Louise Jefferson’s maid Florence Johnston. Foxx had a moment too, but that took flubbing a line and breaking up the cast as he broke character to address.

Anyway, all together, they did Whiskey Cavalier some good, too late – though maybe Whiskey‘s cliffhanger helped. The canceled ABC dramedy’s finale clocked an early 2.8 rating compared to the previous week’s 1.9.

ABC dominated primetime with a 5.6/10, ahead of NBC’s 5.0/9, with CBS (2.9/5), Fox (1.5/3) and CW (0.4/1) in their dust.

https://deadline.com/2019/05/jimmy-k...gs-1202621202/
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post #29945 of 30870 Old 05-23-2019, 08:42 AM - Thread Starter
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TV Review (Cable)
Sundance's ‘The Name of the Rose’
By Robert Lloyd, Los Angeles Times - May 23, 2019

It may be a coincidence that a new television adaptation of Umberto Eco's 1980 medieval ecclesiastic detective novel "The Name of the Rose" begins the same week that HBO's "Game of Thrones" finished its business, just as it may be mere happenstance that "Game" rhymes exactly with "Name," as "Thrones" nearly does with "Rose."

More to the point, this "Name of the Rose" — an Italian-German, English-language co-production that premieres here Thursday on Sundance TV, with a cast headed by John Turturro, Rupert Everett and Michael Emerson — puts on-screen every reference to sex and violence in the text and adds some of its own. (We open on a battlefield.)

Even more to the point, it has created a new character, named Anya — sorry, Anna (Greta Scarano) — a dark-haired, bow-and-arrow-toting girl, sometimes passing for a boy, who is out on a mission of revenge. Both stories are set in a medieval-type world of stone and skulduggery (and some actual skulls). There are secret doors, secret passages, secret codes, secret writing. There is fire!

It is by no coincidence, however, that Eco's hero (Turturro), a Franciscan friar, resembles Sherlock Holmes; he is British, his name is William of Baskerville, as in "The Hound of," and he begins the adventure with one of those detailed deductions that look to the outsider like magic. ("There is always a sinful pleasure in being proved right, I've found,” says William, who is less bothered than some here by the words “sin” and “pleasure.”)

Like the Holmes stories, "Rose" purports to be the writing of the detective's sidekick, here a German novice monk named Adso (Damian Hardung, a little bland but athletic when necessary). And as the story of an amateur sleuth who just happens to be a guest at a place where murder is happening — William has traveled to a conference at a remote abbey to argue for the survival of his order, which has offended the property-loving Catholic establishment by advancing poverty as a clerical virtue — it also has elements of Agatha Christie; and as in Christie, one death is rarely enough.

If we want to beat this analogy to paper-thin pulp, we may consider the pope's inquisitor, Bernard Gui (Everett), as the officious official detective who gets in our hero's way. But Bernard is more of a villain here, with a fanatical hate of heretics and witches and such and an affinity for setting them on fire.

Like most detectives, William will get it wrong before he gets it right.

There is, of course, a tradition of clerical detectives that predates "Rose," including G.K. Chesterton's Father Brown, Harry Kemelman's "Rabbi" novels; and Ellis Peters' "Cadfael Chronicles," which, like Eco's novel, centers on a mystery-solving medieval monk.

"Rose" is something more literary and philosophical and political, and the miniseries retains some of these elements, which are tightly woven into the plot – are the plot, really. It’s also a book about books: At the heart of the abbey, and the story, is a massive, literally labyrinthine library, "spoken of in all the abbeys of Christendom," whose secrets (and shelving system) are known only to its two librarians.

Where the adaptation follows the original text, it does so generally well, finding the salient points in pages of discussions. The sensational interpolations — the "Game of Thrones" stuff — are less successful, though I am sure they will please a substantial portion of the crowd. And while Turturro's performance is a model of intelligent equanimity, other actors — including Emerson as the abbey's abbot, Stefano Fresi as the Caliban-Quasimodo figure Salvatore, and Fabrizio Bentivoglio as Remigio, a monk with a dark past — push their parts to the edge of the parapet and sometimes over. The more intense the action, the more risible the series becomes.

Following Sean Connery, who starred in Jean-Jacques Annaud's 1986 film of the book, Turturro – who also shares a writing credit — is great fun as the intellectual hero. (There are times, as when delivering a line like "The presence of soldiers at a theological debate is never a sign of good will or of neutrality," he sounds uncannily like Peter Dinklage as Tyrion Lannister.) William is a relatively nonjudgmental, somewhat modern figure — "I lack the courage to investigate the weaknesses of the wicked, because I discovered they are the same as the weaknesses of the saintly" — who believes in light and learning, and (a key theme in the story) laughter, though he doesn't do all that much of it himself, other than tell a joke or two.

Apart from its taking advantage of your "Game of Thrones" withdrawal, the series is timely in other ways, with the current real-world pope taking St. Francis as his name and inspiration; in attacks on the reliability of torture; and in an attempt to give some respect, history, agency and psychology to its female characters — hey there, “GoT” — of which there are now two, the invented Anna and Eco's "the girl" (Nina Fotaras), who here becomes a traumatized war refugee.

That the series comes in eight parts is doubtless a commercial consideration and one reason the action has been expanded beyond the abbey — because, heaven forbid you should be stuck with monks for eight hours — into the field, where hooves may thunder and soldiers scamper and a completely irrelevant naked couple be dragged out of hiding. While the book is long, it is because discussions go on for pages and pages of philosophy and history and argument, which is less attractive than action on the world marketplace.

‘The Name of the Rose’
Where: Sundance
When: 10 p.m. Thursday


https://www.latimes.com/entertainmen...522-story.html
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TV/Business Notes (Study)
Roku and Amazon Even in U.S. OTT Market: Research Company
By Daniel Frankel, Multichannel News - May 22, 2019

While Amazon’s boast of 34 million Fire TV active users last week positions the OTT platform as the biggest in the world, Roku and its 29.1 million active users remain on par with Amazon in the U.S.

“It is important to recognize that Amazon aggressively sells Fire TV boxes and sticks internationally. Conversely, though, Roku is available in nearly two dozen countries, to this point domestic U.S. sales make up the vast majority of its sales,” TDG said in a posting Tuesday.

According to TDG, Roku controls 50.8% of the U.S. streaming box market compared to 28.5% for Amazon Fire TV. Meanwhile, Fire TV controls 56.6% of the U.S. streaming stick market, vs. 30.2% for Roku.

“When we total stick and box users together, and broaden our focus from user households to all broadband households, 21% use a Roku and 23% use a Fire TV, putting the two about even domestically,” TDG said.

Notably, TDG's analysis leaves out the percentage of U.S. OTT consumers accessing the Roku and Amazon ecosystems through smart TVs.



https://www.multichannel.com/news/ro...neck-in-the-us
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post #29947 of 30870 Old 05-23-2019, 08:49 AM - Thread Starter
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Technology Notes
Alexa is coming to LG’s 2019 TVs staring this month
By Jon Porter, TheVerge.com - May 23, 2019

Later this month, LG’s 2019 range of TVs in North America will be updated to support Alexa voice commands. Europe and Asia will have to wait a little bit longer.

The addition of Amazon’s voice assistant feature was originally announced when the TVs were revealed back in January, and works via the Alexa app and the TV remote’s Amazon Prime Video button. You press the button, and then speak as you would to any other Alexa-equipped device. The TVs support Alexa skills and routines, and can be used to control other Alexa-compatible smart home devices.

This isn’t the first time LG TVs have supported Alexa in some form, but with last year’s models you needed an external Alexa smart speaker to use voice commands to control your TV. This year it’s built right into the TV itself, no external devices required. ThinQ AI TVs from LG’s UHD, NanoCell and OLED ranges are all supported. LG’s 2018 and 2019 TV ranges also support Google Assistant.

Although LG’s North American customers will get access to the new update this month, TV owners in Europe and Asia will have to wait a little longer. LG says these customers will be getting the update “in the coming weeks.” The Alexa update is headed to 14 countries in total; Austria, Australia, Canada, France, Germany, India, Ireland, Italy, Japan, Mexico, New Zealand, Spain, United Kingdom, and the United States.

Built-in Alexa support isn’t the only update coming to LG’s TVs. Later this year (LG doesn’t provide a firm date other than saying “mid-year”) the range will be updated with support for AirPlay 2 and HomeKit. The functionality will eventually mean you’ll be able to control your LG TV using Siri or the iOS Home app, and stream content from the Apple TV app.

https://www.theverge.com/2019/5/23/1...d-nanocell-uhd
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post #29948 of 30870 Old 05-23-2019, 08:56 AM - Thread Starter
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TV Notes/Profile
Mischa Barton Is Back Where She Started. Sort of.
Her role on “The O.C.” helped inspire “Laguna Beach.” Now, after more than a decade, she’s doing a reality crossover.
By Ilana Kaplan, The New York Times - May 23, 2019

WEST HOLLYWOOD, Calif. — Mischa Barton was having a rough week. Ziggy, her beloved canine companion, had just died; she was grieving. Still, there were things to look forward to, like the screenplays stacked atop the glass table in center of her living room.

“I just started reading scripts again, which is a good thing,” Ms. Barton, 33, said. “But it means I’m not really reading novels properly.”

The actress has taken a few dozen roles since leaving “The O.C.” in 2006. None has managed to eclipse Marissa Cooper, that teen soap’s frequently imperiled female lead.

And in the last year, she’s made a conscious decision to stay out of the spotlight. She’d been back on the East Coast, living a quiet life in the Hudson Valley. “I really thought it was time to take a step back from L.A., but you can’t do that forever,” she said.

It wasn’t so much a want as a need. In May 2017, she began appearing in court over a dispute with two former boyfriends, Jon Zacharias and Adam Spaw. One, she said, had filmed her during sex without her consent, and the other made copies with the intent to distribute them. Both men have denied any criminal wrongdoing.

“You cannot be too careful,” Ms. Barton said. “Young women especially — truly anybody — and that was prior to the #MeToo thing, where now it’s burst wide open.”

For over a year, the lawsuit dominated her life. “It’s not a joke when you end up having to go to court and fight for those things,” Ms. Barton said. “It’s not really possible to keep everything else going at once.”

The court dealings resulted in both men agreeing not to sell or distribute the material. Her attorney, Lisa Bloom (who would go on to represent Harvey Weinstein later that year, then regret it), continued to support Ms. Barton in her monthslong battle with the second man, who in the end agreed to a five-year restraining order.

Ms. Barton would fly in from New York for court appearances, but otherwise stayed off the West Coast. “A little bit of it did feel like running away,” she said. “I just didn’t want to be here. I wanted to be back East, so I went back, and I was living in upstate New York, total farmland, riding horses.”

Ms. Barton said she continued to look at scripts and take roles during that period but the work became too much on top of the legal proceedings.

Now, she says, she’s “come into the clear” and is ready to move on. She has both Mr. Abercrombie and her other dogs, which include a Cavalier King Charles Beagle-Spaniel mix named Charles Dickens, to lean on for emotional support. (“He really is the best dog,” she said.) And her first high-profile project in years has brought her back to Los Angeles — at least for filming.

In October, Ms. Barton announced in an Instagram video that she would be joining the cast of “The Hills: New Beginnings.” It is a reboot of “Laguna Beach,” which was the follow-up to the MTV series that “The O.C.” spawned. The new show will star original cast members, including Spencer and Heidi Pratt, Audrina Patridge, Whitney Port and Brody Jenner. Ms. Barton believes that Mr. Pratt willed the show back into existence. “He says he prayed on it every day for 10 years to come back, and I believe him,” she said. “I don’t think that’s a word of a lie.”

The producers of the show, which premieres on June 24, pursued Ms. Barton for three months last summer. “Obviously, I’m a working actor, so I do take jobs in general,” she said, “but when it comes to things I know are going to be big endeavors, it’s always kind of a process with me.” Reality would be a whole new genre for her. Plus, she initially thought the idea of her being scouted for the show was a joke.

And rightly so: Why her? MTV was looking for a familiar face to add to the cast of returnees, one who might relate to them as a peer. Ms. Barton “was experiencing that sort of life of Hollywood and entering that world at the same age as ‘The Hills’ cast and going through a lot of the same experiences,” said Nina L. Diaz, president of entertainment at MTV, VH1, CMT and Logo.

So what convinced her? She hoped, she said, to “situate myself in a different part of my career, make a new friend group and move out of the stale typecasting I had gotten myself into.”

MTV also felt that her particular story line would draw in viewers. “She’s been out of the spotlight for some time, and she knows there’s a lot of curiosity about her and her story,” Ms. Diaz said, “and she’s a great example of a new beginning.”

“People seem to have always associated me with one thing, and I thought it would be a good opportunity for them to get to see the real me,” Ms. Barton said.

“The Hills” had a “nudge-wink” relation to actual reality. In its final scene, Kristin Cavallari and Brody Jenner’s tearful “goodbye” is revealed to be staged on a Hollywood backdrop filmed on a back lot. But Ms. Barton said the new version is more like a docu-series. “It’s not in any way really scripted at all,” she said.

Ms. Barton ended up signing on last minute, even after the show had started filming. While the actress was aware of “The Hills,” she didn’t spend any time with the cast before shooting the reboot. Ms. Barton does know the Jenner family from “back in the day,” as well as Stephanie and Frankie Delgado. She’s since made organic connections with the cast. “Audrina I’ve become really close with, and we hang out as friends,” she said. She also mentioned Ashley and Jason Wahler a new additions to her social circle.

But entering into the drama that once plagued the cast members was an adjustment for her. “It was just funny in the beginning because they do have a lot of drama and history that obviously I’m not privy to,” she said.

Ms. Barton was skeptical about members of the cast herself. “I think what’s really interesting is the people I was most afraid of going into this turned out to be the easiest people to deal with, so I found that to be really funny, and it’s an obvious life lesson,” she said. “The people that you like right away are not always your real friends.” In particular, she found that to be true of Jason and Heidi, who she says is “really chill” (a word she hates). “The people that you have the most trepidation about turn out to be the best,” she added.

The irony of Ms. Barton joining the reboot is not lost on her, considering “The O.C.” and her character Marissa Cooper inspired the reality show. “In the beginning, there was an expectation of me to still remain being Marissa Cooper in this ‘Laguna Beach’ California world, but it’s not feasible at the end of the day,” she said. “You are going to see me.”

Ms. Barton was a star of “The O.C.” for three of its four seasons, departing when her character was killed off.

At the time, there were conflicting stories surrounding her departure. She maintains that leaving was her choice. “I just had a lot in my career that I wanted to do and accomplish,” she said. “I felt like things were really heavily reliant upon me, and I was getting no time to do any of the other offers that were out there.”

“I was getting no time to do any of the other offers that were out there,” Ms. Barton said of her departure from “The O.C.”CreditTracy Nguyen for The New York Times
She also thought Marissa’s story line was becoming too chaotic. “She’s one of those burnout characters where I don’t know how much more we could have done with her anyway,” she said. The alternative to Marissa’s death, she said, was to send her off into the sunset and maybe have her come back in a season or two. But Ms. Barton didn’t want that. “I fought tooth and nail for that to not happen, because I just don’t think that’s Marissa Cooper. I just don’t think sailing off into the sunset’s the proper goodbye.”

Looking back, Ms. Barton doesn’t regret leaving the show, though she said that era of her career was “intense.” “Making the show was a lot towards the end,” she said. She was a teenager when “The O.C.” premiered and had entertained the idea of applying to the Yale School of Drama before the acting opportunity appeared before her. “I really feel like everything sort of worked out in the way it was probably supposed to,” she said. “I may never have gotten a job or a career if I hadn’t taken just taken it then.”

In 2006, after leaving the show, Ms. Barton did go back to study at the Royal Academy of Dramatic Arts, with the encouragement of Richard Attenborough, who directed her in the 2007 romantic drama “Closing the Ring.”

The year that film was released, she was arrested on charges that she was driving drunk and without a license. In the decade that followed, she was hospitalized twice: after threatening suicide in 2009 and for erratic behavior in 2017, just months before the lawsuit unfurled.

“It’s not the kind of thing you want to go over again and again explaining because life is complicated and so many weird things lead to an incident like that happening,” she said, referring to the most recent incident, in which a neighbor called 911 to report that Ms. Barton was a suicide risk. “It’s not cut and dry. All I can say is it was a huge wake-up call about a lot of things.”

Since her departure from “The O.C.,” her acting credits have included the short-lived CW show “The Beautiful Life,” “Dancing With the Stars” and a handful of independent films. Between filming, Ms. Barton took on fashion projects. She released a handbag line in 2008 and opened a London boutique in 2012, but her business ventures were short-lived. The licensing partnership fell through and Ms. Barton had poured a plethora of her own finances into making and selling merchandise. “Retail is not exactly a cakewalk, so just taking care of the store and dealing with production, quality and employees …” she said, trailing off. “Just the whole thing became overwhelming and beyond expensive.”

Today Ms. Barton is focused on becoming more “grounded.” She maintains a well-stocked home pharmacy of vitamins and supplements: Vitamins B and D, collagen, hyaluronic acid, magnesium, Vita Greens, spirulina, turmeric and Bragg’s Apple Cider vinegar are all on display in her kitchen.

“I think the guy at the Vitamin Shoppe would basically say that I have almost everything that you can take,” she said.

Fashion has remained a passion. She’s interested in designing a capsule collection of clothing someday. “I had a couple of people approach me, but it’s not something I take seriously yet,” Ms. Barton said. “I really think it would have to be the right people.”

She also has a minor film role in a satirical thriller with the “Stranger Things” actor Joe Keery in the pipeline. She is looking for more character-driven roles, knowing that as she gets older, the opportunities change.

“I do like comedies and can play the snooty whatever,” she said. “But I quite enjoy things that are a bit more real.”

https://www.nytimes.com/2019/05/23/s...hills-mtv.html
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James Cameron pushes his 800 lb. weight around... again!

Technology Notes (Ultra HD)

'Alita: Battle Angel' Bravely Takes On The HDR Format War
By John Archer, Forbes.com - May 21, 2019

A few weeks ago I wrote an article on the latest format war the AV industry has contrived to inflict on consumers. This time the fight is taking place in the high dynamic range arena, with two different premium HDR formats - Dolby Vision and HDR10+ - vying for support from different TV brands and movie studios.

Today has seen an unexpected and, on the surface at least, very positive development in resolving the HDR scrap, though. For tucked away in the disc specification section of 20th Century Fox’s press release for the upcoming 4K Blu-ray release of James Cameron and Robert Rodriguez’s Alita: Battle Angel is the revelation that it will carry the film in both the Dolby Vision and HDR10+ formats. A fact which Fox has confirmed to me isn’t just a press release typo.

https://www.forbes.com/sites/johnarc.../#792226b41623
...and buried in all of that is the sticker on the cover that apparently reveals that Cameron also hasn't shunned 3D the way everyone seems to now when it comes to offering 4K. It seems like we always have to choose either the 4K package or the 3D package seperately for twice as much with almost no one offering an all in package deal.

I'm not a huge 3D fan, but I do have a 3D setup and occasionally enjoy it.
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TV Notes (Broadcast)
ABC Nabs Latest Nik Wallenda 'Highwire Live' Special
By Rick Porter, The Hollywood Reporter - May 23, 2019

ABC will work without a net — literally — with a live special on the heels of the NBA Finals.

The network will air a live special on June 23 featuring high-wire walker Nik Wallenda and his sister, Lijana. The special, Highwire Live in Times Square, will have brother and sister attempting to cross Times Square simultaneously from 25 stories up. The two-hour special is set to air June 23, a week after a potential Game 7 of the NBA Finals.

"It’s hard enough crossing Times Square on the ground; try it 25 stories up," said ABC Entertainment president Karey Burke. "ABC is the destination for big live events that become cultural moments, and Nik and Lijana will surely create one as they complete this never-before-attempted walk."

The Times Square stunt will be Lijana Wallenda's first high-wire walk since she fell during a rehearsal for another walk in 2017. In the Times Square special, Nik and Lijana will start on either end of the wire — stretched between the One Times Square and 2 Times Square buildings — meet and cross in the middle and finish on the opposite side.

"In 1928, my family performed at Madison Square Garden in the City of Dreams for the first time in the USA,” said Nik Wallenda. "And on June 23, I have the great opportunity to fulfill a lifelong dream of my own by paying homage to that performance as we return for my most exhilarating feat yet. I am beyond excited to be able to walk with my sister, Lijana, as she overcomes near-death injuries and continues the Wallenda tradition of never giving up."

Nik Wallenda has starred in a couple of similar specials for Discovery in the past, and they've proven to be big ratings draws. Skywire Live, which aired in 2013 and had Wallenda wire-walking across a part of the Grand Canyon, set ratings records for the cabler. It averaged 8.5 million viewers for the full length of the special and peaked with more than 13 million tuning in for the live stunt.

A year later, Skyscraper Live didn't do quite as well but averaged a still-strong 5.8 million viewers, peaking at 6.7 million as Wallenda did a blindfolded walk between two Chicago high-rises.

The special will be part of a premiere- and event-heavy month for ABC, which will have at least four NBA Finals games beginning May 30 and is rolling out its summer unscripted schedule staring June 9 with Celebrity Family Feud, The $100,000 Pyramid and To Tell the Truth. Scripted drama Grand Hotel is also set to premiere on June 17.

Highwire Live in Times Square is produced by Dick Clark Productions, a division of Valence Media, the parent company of the Billboard-Hollywood Reporter Media Group. The executive producers are Gretchen Eisele, Mark Bracco, Linda Gierahn, David Simone, Winston Simone, Shelley Ross and Nik Wallenda.

https://www.hollywoodreporter.com/li...pecial-1210090
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TV/Business Notes

The First TV Show Is Leaving Georgia Over the New Abortion Law. The Local Film Industry Fears What Comes Next
By Andrew R. Chow, TIME.com - May 21, 2019

This week, the director Reed Morano was supposed to fly to Georgia to scout locations for a new show for Amazon Studios called The Power. The drama series is adapted from a novel by Naomi Alderman, in which young women suddenly develop the power to release electrical jolts from their fingers, shifting gender and power dynamics around the world. At least two scouts hired by the show had been working in the Savannah area for several months, prepping for her arrival.

But when Ga. Gov. Brian Kemp signed the “heartbeat” bill on May 7, which effectively bans abortion after six weeks, Morano decided to cancel the trip, pull the scouts, and shut down any possibility of filming a story arc in Georgia. “We had no problem stopping the entire process instantly,” Morano, who won an Emmy for directing three episodes of Hulu’s The Handmaid’s Tale, told TIME. “There is no way we would ever bring our money to that state by shooting there.”

Morano is one of the first directors to publicly pull a project out of Georgia after the state passed a law that critics say will make almost all abortions illegal. A representative for Kristen Wiig also confirmed that her upcoming Lionsgate comedy Barb and Star Go to Vista Del Mar, which she co-wrote and will star in alongside Annie Mumolo, was also pulled out of the state following the bill’s signing.

These decisions arrive as a growing number of prominent Hollywood figures like Alyssa Milano and David Simon advocate for a boycott to try to force the hand of a state that is home to a thriving film industry. That industry employs 92,000 people and generated $9.5 billion in total economic impact in 2018. “I think this is one of the ways where we know we can hit a state where it hurts,” Morano says.

But as Hollywood tries to wield its power to enact change, members of the film and television community in Georgia have become fearful that their livelihoods will be threatened over a policy that many of them do not support. Several film insiders in the state say that the effects of the boycott are already being felt, with producers shifting gears and searching elsewhere for filming locations. “I’m lost,” Tom Jordan, a cameraman, says. “I’ve been thinking about going out of state.”

For his part, Kemp has dismissed the calls for a boycott, telling a state Republican convention this week, according to the Atlanta Journal-Constitution, “We are the party of freedom and opportunity. We value and protect innocent life — even though that makes C-list celebrities squawk.” Kemp’s office did not respond to a request for comment.

As other tough abortion restrictions make their way through the legislatures of many other states, film workers expect those states with rising film communities, like Alabama, Louisiana and South Carolina, to be similarly impacted. The growing tension between Hollywood and right-wing policymakers threatens to undermine the vast recent changes in a film and television industry that was just beginning to spread beyond the coasts and into the heart of America.

Once upon a time, California had a vice grip on the film industry. That is no longer the case: according to a 2018 study released by FilmL.A., only 10 of the top 100 highest-grossing domestic films released in 2017 were primarily made in California—half the number it had just three years prior. The state that has decisively taken the lead in that metric is Georgia, which had 15 top-grossing films; in 2018, the state hosted 455 film and TV productions, generating $4.6 billion in total wages.

Georgia’s rise as a production powerhouse can be attributed to a generous entertainment tax incentive signed in 2008, when its economy was floundering during the recession. Lawmakers offered up to a 30% tax credit to filmmakers, prompting an influx of productions that has only accelerated over the last decade alongside the dramatic increase in shows across cable and streaming platforms. Over that time, Georgia has handed out more than $1 billion in tax credits to massive projects like Stranger Things, The Hunger Games and many movies in the Marvel Cinematic Universe including Black Panther and Avengers: Infinity War. An extensive infrastructure has been built, with enormous film studios like Pinewood Studios and EUE/Screen Gems dotting Atlanta’s landscape. The entire town of Senoia was revitalized solely thanks to the zombie influx brought by The Walking Dead.

And the boom has impacted not only actors, directors and crew members, but also many industries peripheral to moviemaking. “We saw whole sectors saved—from florists to caterers to carpenters to electricians,” Chris Escobar, the executive director of the Atlanta Film Society, told TIME. “No matter what side of the political spectrum you’re on, the film industry is the one thing everyone is on the same page about.”

During the governor’s race last year, both Kemp and Democrat Stacey Abrams stressed the importance of the state’s film industry and keeping the tax incentive intact. But when Kemp squeezed out a victory, the film community was put on edge: They had seen how hardline right-wing policies had threatened Georgia’s film industry before, like in 2016, when Disney and Netflix threatened to pull out of the state after the passage of an anti-LGBTQ bill. (Gov. Nathan Deal vetoed the bill.)

As the heartbeat bill made its way through the Georgia legislature earlier this year, many prominent Hollywood voices railed against it. In March, Milano—who is currently shooting the Netflix show Insatiable in Georgia—wrote an open letter pledging to boycott Georgia if the bill became law; her letter was signed by Amy Schumer, Don Cheadle, Laverne Cox and other Hollywood stars. After Governor Kemp signed the bill, several filmmakers, including David Simon, Christine Vachon, Ron Howard and Mark Duplass, vowed to boycott filming in the state.

But the pledges received backlash from Georgians. A petition protesting the boycott from a group called the Women of Film in Georgia currently has over 1,800 signatures on change.org. “A boycott would punish the wrong people,” Democratic state Sen. Jen Jordan, whose speech against the heartbeat bill recently went viral, says; she cited a recent poll that said more Georgians oppose the new abortion law than support it. “If [film workers] stay here and help elect people that really reflect the values of everyone in the state, that’s when you’re going to see real change.”

Several Georgia film workers say they’re already feeling the sting of Hollywood pulling back from Georgia. Kathy Berry was one of the scouts on The Power; she had just bought a house in Savannah and was settling down for what she thought would be a five-season run when she was told she had been let go. (She was unable to explicitly state which show it was due to a nondisclosure agreement, but TIME independently confirmed that it was The Power.) “We’re in panic mode,” Berry says. “The sky is falling.” She says that she heard that at least two other productions in Savannah alone decided to postpone filming last week due to the bill.

Tom Jordan is a veteran cameraman who worked on films like Saving Private Ryan and two of the Oceans movies. He moved to Georgia in 2012 to “chase the film industry,” he tells TIME. He says that since Gov. Kemp was elected, Georgia production slates have started drying up. “We used to film here in the summertime like crazy,” Jordan says. “Now there’s this void. It feels like with this abortion law, they’re going to wait and see what happens.”

Molly Coffee, a production designer, has worked in the Georgia film industry for the last decade. “Over the last month, I’ve had two interviews that basically disappeared as they explore other options in other states,” she says. “It’s very implied that everyone does not trust what’s happening in Georgia.”

Morano says that potentially harming Georgian film workers was “the hardest part” of pulling The Power from the state. She filmed in Georgia in 2016 with the AMC series Halt and Catch Fire alongside what she calls an “excellent group of people on the ground that deserve to work.” But she stands by her decision: “I’m sorry if the work moves away from where you live. But having this basic fundamental right for women is more important than anything in this moment in time.”

The battle will not be confined to just Georgia. Crew workers in the film industry tend to be mobile, thanks to the shifting tax laws of southeastern states. Incentives have boosted flourishing scenes in Louisiana, Alabama, and South Carolina: 2018 was a record year for film in Alabama, for example, with 147 production projects generating $63.5 million in expenditures across the state.

Many of those states have their own abortion bills moving through their legislatures. In Alabama, a bill that would ban most abortions in the state has been signed by Gov. Kay Ivey; in Louisiana, a similar bill has passed the state Senate and will move to the House. If Hollywood studios also decide to boycott making TV shows and movies in those states, Berry is fearful that each state’s film industry will go the same way as North Carolina’s, where she worked on Homeland for several years before its industry crumbled.

That state boasted a burgeoning industry in the early 2010s, but was hit with two blows: First, the state’s film tax incentive was repealed in 2014; then, two years later, the HB2 bill—which directed transgender people to use the public bathrooms that matched the sex assigned to them at birth—was signed into law, causing productions to flee en masse in protest. “It gave them the ultimate eject button,” she says of the anti-LGBTQ law. Whereas 35 major productions were shot in North Carolina in 2013, just 12 were filmed there four years later, according to the North Carolina Film Office; Berry says the communities of film crews who used to live in Wilmington and Charlotte have “evaporated.”

It’s possible that the bulk of the film industry will remain in Georgia regardless. Netflix is in the process of shooting several shows in Georgia, from Insatiable to a new season of Ozark; a representative declined to comment for this story. (Ozark’s star Jason Bateman, however, says he will no longer work in Georgia if the bill survives court challenges.) Disney, which has had a massive presence in the state due to its Marvel films, did not respond to a request for comment. The Motion Picture Association of America released a statement acknowledging the complexity of the situation and did not commit either way: “Film and television production in Georgia supports more than 92,000 jobs and brings significant economic benefits to communities and families,” a spokesman says. “The outcome in Georgia will also be determined through the legal process. We will continue to monitor developments.”

Other production companies have chosen to remain, but also to invest their resources toward fighting the bill. Ron Howard is shooting Hillbilly Elegy there next month, but said he will boycott the state in the future if the bill goes into effect and make a donation to the ACLU in the meantime. Jordan Peele’s Monkeypaw Productions and J.J. Abrams’ Bad Robot promised to donate all of their episodic fees for their upcoming show Lovecraft Country to Fair Fight Georgia and the ACLU of Georgia—which are planning to challenge the bill in court. “In a few weeks we start shooting our new show, ‘Lovecraft Country’ and will do so standing shoulder to shoulder with the women of Georgia,” their statement reads.

Morano hopes that the boycott will have an immediate effect so as not to endanger the livelihoods of those on the ground. “The best thing we can hope for is if everyone has a united stance and pulls the money out,” she says. “Maybe we can have a quick reversal to these laws and then everyone gets what they want.”

http://time.com/5592768/georgia-abor...m-tv-industry/
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TV Notes (Cable)
‘Sydney to the Max’ Renewed for Season 2 at Disney Channel
By Joe Otterson, Variety.com - May 23, 2019

EXCLUSIVE: “Sydney to the Max” has been renewed for a second season at Disney Channel, Variety has learned exclusively.

The series is set in the present day with flashbacks to the 1990s and follows outgoing middle schooler Sydney Reynolds (Ruth Righi) who lives with her single dad Max (Ian Reed Kesler) in the house he grew up in, along with her progressive grandmother Judy (Caroline Rhea). As Sydney’s preteen pursuits begin to expand, Max’s flashbacks of his childhood help him gain a better perspective of his daughter’s experiences.

The series also stars Jackson Dollinger as young Max, Ava Kolker as Sydney’s best friend Olive, and Christian J. Simon as young Max’s best friend Leo. It was created and is executive produced by Mark Reisman and is produced by It’s A Laugh Productions, Inc. Production on Season 2 will begin this summer.

“Mark Reisman and his team of talented writers along with the top-notch cast delivered a show that has quickly become an audience favorite for Disney Channel,” said Nancy Kanter, executive vice president of content and creative for Disney Channels Worldwide. “With its playful nod to growing up in the 90s, the series strikes a chord with anyone who’s ever experienced their own ‘growing pains.’ We look forward to having our viewers see what’s in store for the Reynolds family next season.”

https://variety.com/2019/tv/news/syd...el-1203223771/
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TV Review (Broadcast)
ABC’s All in the Family and The Jeffersons Live Special Was a Retro Delight
By Jen Chaney, Vulture.com (New York Magazine) - May 23, 2019

Live In Front of a Studio Audience, the 90-minute restaging of two classic episodes of Norman Lear sitcoms performed by an all-star cast, could have been just another shallow attempt to wallow in television nostalgia. You know, like rebooting Press Your Luck and Card Sharks, something ABC will do next month as part of its all-retro-game-show approach to summertime programming.

But the back-to-back staging of the All in the Family episode “Henry’s Farewell” and the first-ever episode of The Jeffersons, an All in the Family spin-off, worked on more levels than that. It was effective as a televised stage play; as, yes, an admittedly nostalgia-riddled exercise in watching contemporary actors try to nail the mannerisms of old sitcom characters; and as a reminder that the same social issues addressed in these nearly 50-year-old comedies remain relevant today. That last point is something Lear, who hosted the proceedings alongside executive producer Jimmy Kimmel, highlighted in his introduction. “There is so much more work we must do in this country we love so much,” the TV pioneer said at the top of the show, while also warning the audience that the dialogue in the original scripts had not been watered down and might be hard to stomach. (ABC did bleep the use of the N-word, twice, in The Jeffersons.)

Listening to Archie Bunker, played by Woody Harrelson in lieu of the great Carroll O’Connor, rail about “the coloreds” was indeed uncomfortable, partly because of the language but partly because there surely are old white men in America, sitting in their worn living room armchairs, still talking like this.

“Black people have arrived,” Ike Barinholtz, as Rob Reiner’s Meathead, tells Archie. “They’re here.” Archie’s response: “I ain’t letting them in.” This All in the Family episode first aired in 1973. It’s both impressive and sad that it holds up as well as it does in 2019.

That initial episode — in which the Bunkers wind up hosting a good-bye party for Henry Jefferson, who is moving out of their Queens neighborhood to start his own business — segued nicely into the first episode of The Jeffersons, in which George, played with appropriate Sherman Hemsley peacockiness by Jamie Foxx, insists that his wife Louise (Wanda Sykes) hire a maid, a decision that makes Louise (or, Weezy), still adjusting to their new status as wealthy people, uncomfortable.

The Jeffersons was the slightly more entertaining effort because the dialogue and pacing had a bit more zip and all of the actors seemed to slide into their roles more comfortably. Will Ferrell and Kerry Washington as Tom and Helen Willis, roles originated by Franklin Cover and Roxie Roker, were really good together, and the sharp-tongued Sykes made Weezy effectively her own instead of trying to mimic Isabel Sanford. The Jeffersons portion also benefitted from being bookended by two powerful moments: Jennifer Hudson in a Foxxy Cleopatra-esque wig singing “Movin’ on Up,” the show’s bumpin’ theme song, and the surprise appearance of Marla Gibbs, now 87, reprising her role as Florence, George and Weezy’s wisecracking maid. The fact that she shared a scene with Jackée Harry, playing Louise’s friend Diane, made this something of a 227 reunion, too.

Watching all of this unfold live injected a sense of energy into the whole exercise. During the All in the Family portion, Foxx botched one of George Jefferson’s lines. “It’s live,” he said, breaking character after his tongue got all twisted during a toast to Henry, played by Anthony Anderson of Black-ish. “Everyone sitting at home just thinks their TV messed up.” In the background, Harrelson could be seen turning his back to the camera because he was laughing so hard. That screw-up and the subsequent attempt to get the scene back on track gave Live In Front of a Studio Audience the flavor of another great comedy from the same era: The Carol Burnett Show.

One of the most enjoyable aspects of watching this staged bit of time travel was gauging which actor did the best job of capturing the original performance. The MVP in that department was Marisa Tomei, whose high-pitched lilt and awkward lumbering was Jean Stapleton’s Edith Bunker to a T, yet still registered as acting as opposed to a straight-up impression. Tomei got Edith’s warmth and agreeable ditziness just right. Harrelson, who had the most difficult task of anyone, didn’t fare quite as well with Archie. He sometimes lost control of his Queens accent and seemed more whiny than grumpy, though his face-off with Foxx’s George was a good match.

Overall, everyone in the cast seemed to enjoy themselves and that gave this whole ABC experiment, directed by distinguished sitcom vet James Burrows, the type of verve that can’t be replicated in pre-recorded scripted fare. Given how well it went, I wouldn’t be surprised if ABC makes the live sitcom its version of the live musicals that NBC and Fox regularly stage. Even if it is a blatant nostalgia play, bringing some old TV history into the present seems like a smart move for ABC — and a reason for the rest of us to actually watch live network television for a change.

https://www.vulture.com/2019/05/all-...ve-review.html
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TV Review (Streaming)
What/If: Renée Zellweger Drama Is Somehow Three Shows, and They're all Boring
By Krutika Mallikarjuna, TVGuide.com - May 23, 2019

What/If is as baffling as the forward slash in the middle of its title. Netflix's new thriller from Mike Kelley (of Revenge fame) sets out to be a nighttime soap that asks high-minded, existential questions instead of who is sleeping with whose husband. Well, What/If still asks who is sleeping with whose husband, but the grand question Kelley is trying to answer is: What is the cost of trust?

Centered on the fraught relationship between a cold-blooded angel investor who swoops in to save a revolutionary medical technology company run by an optimistic ingenue, What/If examines the consequences of making a deal with the devil. Money-flush Anne Montgomery (Renée Zellweger) agrees to make all of Lisa's (Jane Levy) dreams come true for one night with her husband, Sean (Blake Jenner). Deciding that their love can weather any artificially created sh--storm, Lisa takes the deal to save her life's work. Predictably, Anne uses the night to further her own inscrutable agenda; Lisa, determined not to be a pawn in Anne's game, strikes back in ways that further Anne's long game.

There is a prestige drama version of the show in which Anne's long game is actually surprising, and there is a guilty-pleasure version of the show that burns through twice the plot in half the time. The version of What/If that Netflix produced is an attempt to combine the two that drags down its already underutilized cast. The performances are so leaden that they sink any attempts to transcend into camp. But that's unsurprising considering that the actors (especially the spectacular Jane Levy from Suburgatory) only have caricatures to work with. Watching Renée Zellweger play a billionaire business tycoon who passive-aggressively shoots arrows at her protégé (she literally practices archery in her San Francisco penthouse) should be thrilling, or at the very least, endlessly meme-able. Instead, each episode turns the audience just a little more against a cast of characters who seem determined to get in their own way, despite several heavy-handed danger signs. The fact that the show never puts in the work to push past these caricatures keeps it from leaping into prestige drama territory.

The one saving grace of the show is that it's really three different shows at once, each more insane than the other, and each inexplicably sending the ensemble cast on character arcs that barely intersect. There's the murder-filled thriller involving Anne, Lisa, and Sean; a family drama about Lisa's recently out-of-the-closet brother questioning his first serious relationship and coming to terms with a generational tragedy; and a Lifetime movie in which Sean's high school friends, who are now married to each other, face off against a psychotic boss with whom the wife had an affair. The chances are at least one of those genres appeals to you, and watching them all car crash against each other in a single show is admittedly fun. (The Lifetime plotline was my personal favorite; Dave Annable as the cheating boss is exactly as over-the-top and chilling as the whole show could be.)

A more thoughtful version of the show would have woven these threads tightly together to make an overarching point about trust, or at least attempt to answer the big questions it poses. But what Netflix gave us is the white noise of well-paid actors chewing extremely expensive scenery. The only revelation What/If really offers is the thought of what you could have binged in those 10 hours instead.

What/If streams Friday, May 24 on Netflix.

https://www.tvguide.com/news/what-if...lweger-review/
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Media/Critic's Notes (Streaming)
Criterion Channel Offers Hope to Classic Film Lovers
By Lance Whitney, Fortune.com - May 22, 2019

Full disclosure: I’m a huge film buff—or film nerd, take your pick.

When I choose a film to watch at home, my wife inevitably complains that I inevitably exclude movies made later than 1960. I love films from all eras, but especially from the so-called Golden Age, from 1930 through the 1950s.

Therein lies the rub.

Fans of older films have limited options when it comes to services that stream the classics. It’s slim pickings on Netflix, which features mostly films from the past 25 years. Meanwhile, Amazon has a decent selection, but even Prime members must pay more to watch most older films. A free service called Kanopy has a respectable movie collection, but it’s accessible only through certain public libraries and limits the number of monthly titles you can stream.

Hence my curiosity about Criterion Channel, a streaming service that debuted in April. For $11 monthly, Criterion subscribers get access to more than 1,600 films from the combined library of the Criterion Collection and film distributor Janus Films. Criterion’s lineup includes movies from Sony Pictures, Warner Bros., Paramount, MGM, Lionsgate, and IFC Films. Films range from silent to sound, shorts to feature-length Hollywood, and international to independent studio releases. There are also commercial and art-house collections along with interviews, personal recommendations from noted filmmakers, and mini-documentaries.

However, is Criterion is worth the money? For me, the answer is yes.

Criterion Channel is compatible with all browsers and through Roku, Amazon-owned Fire TV, Android TV, and Apple TV (a free two-week trial is available). The service is also working on compatibility with Chromecast for iOS and Android apps. The mobile apps are convenient for viewing films, but you can’t search for or browse all available movies through them. Instead, users must go through Criterion’s website, a slight inconvenience.

Criterion lists its entire film lineup in an area called All Films, where users can sort movies by title, genre, director, year and country. As one example, you can easily find all the movies from well-known French director Francois Truffaut from the 1950s and 60s.

Sure, Criterion’s film library is relatively small. But the collection is expected to grow, at least if more studios sign licensing deals.

For now, many classic movies are unavailable, including familiar ones like Casablanca, Citizen Kane, and Some Like it Hot. I love Alfred Hitchcock, but Criterion doesn’t offer his American classics like Rear Window, Vertigo, and Shadow of a Doubt. Criterion does, however, have a strong selection of his British movies from the 1930s such as The 39 Steps, The Man Who Knew Too Much, and Sabotage.

Criterion shines at special features. The service celebrated Mother’s Day with a collection of films under the tagline: Mommy Issues. The lineup included Mildred Pierce with Joan Crawford, White Heat starring James Cagney, and Albert Brooks’ quirky film, Mother.

The Criterion Channel has a fabulous selection of special features to go along with its films. After watching The Kid, directed by and starring Charlie Chaplin, I took in an interview with Jackie Coogan (who portrayed the kid), actress Lita Grey Chaplin (who was also Charlie Chaplain’s second wife), and Chaplin’s cameraman Rollie Totheroh. The film is also available with a commentary track by a Chaplin scholar. A related documentary explained how silent films were hand cranked and why such films have in the past been shown at the wrong speed – either too fast or too slow.

Criterion groups related movies in collections such as Columbia Noir and Daredevils & Castaways. A weekly series spotlights the work of a rotating cast of women filmmakers – both classic and current. And a Saturday matinee feature offers family films.

Also, the series Meet the Filmmakers introduces viewers to directors through interviews while also showcasing their movies. The Observations on Film Art series focuses on directing, editing, and cinematography in specific films such as Hitchcock’s Foreign Correspondent and Truffaut’s Shoot the Piano Player. Meanwhile, Adventures in Moviegoing features luminaries Bill Hader and Sofia Coppola, who talk about and introduce the movies that they love.

The picture quality is another bonus; all of the films I’ve seen so far have looked beautiful. Kudos for Criterion for such high quality.

My first month as a subscriber was well worth the money. I’ve seen most of Hitchcock’s British films that I had always wanted to watch. I discovered compelling classics from well-known directors like Billy Wilder and Fritz Lang. And the service reignited my love for Chaplin’s silent gems.

I hope Criterion adds more of my favorites. But otherwise, the service is off to a good start and is one that any film buff should enjoy.

http://www.fortune.com/2019/05/22/cr...classic-films/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - May 23, 2019

RED NOSE DAY
NBC, 8:00 p.m. ET
SPECIAL:
There are different Red Nose Day efforts and events. There’s the original, which was started in the U.K. by Comic Relief there, aimed at raising money and awareness for children suffering from hunger and poverty. The U.S. followed suit in 2015, and the whole “red nose” idea is to keep things as light and funny as possible while tackling a very somber issue. On NBC tonight, there’s a two-hour live telethon, heavy on NBC celebrity performers: Blake Shelton and Kelly Clarkson from The Voice, for example, and Kate McKinnon from Saturday Night Live. There also are some charity auction bids for other celebrity-related prizes, including breakfast on the set of Doctor Who, sharing the TARDIS with star Jodie Whittaker. And some filmed pieces, including Benedict Cumberbatch taking the charity plunge by swimming in very, very cold water. What an ice thing to do for children.

THIS IS FARRAH FAWCETT
ABC, 8:00 p.m. ET

DOCUMENTARY SPECIAL:[/b] This new biography, 10 years after the death of the famous actress, utilizes audio diaries she had recorded in the final years of her life. It also, however, will leave ample room to show photos and clips from her TV and movie career – which goes all the way back to 1975, pre-Charlie’s Angels, when she played her David Janssen’s beach neighbor on his short-lived detective series, Harry O. But this ABC special, I’m guessing, will be heavier on the ABC images from Charlie’s Angels, and from her famous posters. Today, a poster is thought of as someone who blogs or comments online. Back in the 1970s, a poster was something affixed to a bedroom wall – and Fawcett’s smiling face was plastered on millions of those walls. (Not mine, though: My wall art predilections, then and now, lean much more towards obscurity.)

IZOMBIE
CW, 8:00 p.m. ET

Tonight’s new episode is called “Dot Zom,” and has Liv (Rose McIver) and company investigating the death of an app developer. If this gives her the excuse to eat some brains of the victim and become temporarily super-savvy when it comes to computer programming and technology, maybe Liv can crash the zombie website that’s causing so many problems this season. And if not, maybe she could fix my outgoing email server…

THE NAME OF THE ROSE
Sundance, 10:00 p.m. ET
MINISERIES PREMIERE:
This Sundance miniseries isn’t evil, but it’s positively medieval. Based on the bestselling Umberto Eco novel, it’s a new, longer treatment of the same story that starred Sean Connery as a Franciscan friar in a 1986 film version. John Turturro plays the role once portrayed by Connery, and this miniseries version presents two episodes per week every Thursday for three weeks, beginning tonight.


http://www.tvworthwatching.com/

* * * *

TV Review (Broadcast)
John Turturro Shines in 'The Name of the Rose,' a Dark Tale of Religion in Medieval Times
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - May 22, 2019

Almost four decades after the publication of Umberto Eco’s revered and dark novel The Name of the Rose, someone finally took a deep breath and adapted it for a television miniseries.

It’s bold and ambitious, and it mostly works, thanks in no small measure to the brilliant move of casting John Turturro in the lead role.

Giacomo Battiato created, wrote and directed the eight-episode TV version, a joint German-Italian production that aired in Europe in March and has its U.S. premiere Thursday at 10 p.m. ET on Sundance.

The Name of the Rose is set in 1327 in an isolated Benedictine abbey where the monks seemingly live quiet lives painstakingly creating beautiful books and illustrations. The abbey justly has a reputation for one of the world’s great libraries, though alas, that library also holds troubling secrets.

Turturro plays William of Baskerville, a monk sent to the abbey as a sort of investigator and potential mediator. Seems the reigning Pope, John XXII, wants to rid the world of heretics, and William has been charged with helping to sort out which suspects should or should not be burned at the stake.

Before he begins his days-long walk to the abbey, which sits in the cold Alps of Northern Italy, William is joined by the teenage novice Adso of Melk (Damian Hardung), who becomes his sidekick in a drama that quickly escalates beyond mere suspicions of heresy.

When they arrive at the abbey, Abbot Abo of Fossanova (Michael Emerson) pretends to cooperate in a cordial manner while clearly following some squirrely agenda of evasion.

Abo has a hard time acting as if all is normal, however, because William and Adso arrive just as a monk has been found dead at the base of a tall tower. Another death soon follows. When William suspects some answers or clues may be found in the library and asks permission for access, Abo tells him no.

Only Malachi of Hildesheim (Richard Sammel), the librarian, can grant access, and he never does. The reason, Abo explains, is that the library has some sort of demonic haunting. People who would venture there tend to get lost and never come out.

If this sounds like the plot of Halloween XXII, Eco and Battiato make it a little more nuanced than that. Not surprisingly, William, and to a lesser extent Adso, gradually pick up some somber secrets as they poke around talking to various monks who knew the victims and also know small pieces of the abbey’s larger puzzles.

While the abbey itself holds a strange fascination, The Name of the Rose doesn’t rely on sweeping Alpine scenery. It’s much more a mystery and character drama, with the conversation among the monks and others conducted in a style that often feels less stilted than television’s standard 14th-century representation.

In fact, it would not be hard to airlift this story to the 21st-century and, with a few adjustments like rethinking the burning at the stake part, making it a contemporary tale of an epic struggle within a powerful religious institution.

That is to say, Battiato has made Eco’s story relatable while retaining its basic elements and storyline. While it’s narrated by Adso as an old man looking back on a flashpoint in his life and his century, Turturro’s William is the one who makes us want to see what happens next.

William is very smart but doesn’t know everything. He’s aware how theological bureaucracies operate, but he knows a few workarounds. He doesn’t know as much as we viewers know, and he’s driven by the fact that he won’t complete his job until he does.

The Name of the Rose has sold some 50 million books because it’s a well-told story. While the TV version can’t capture everything, it tells the story pretty well.

http://www.tvworthwatching.com/BlogP...x?postId=18256
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Technology Notes (Streaming)
Dolby wants you to experience music in a new way
By Jefferson Graham, USA Today - May 23, 2019

HOLLYWOOD – Dolby, the company most of us know for bringing premium sound to movie theaters and high-end home audio, wants you to listen to music in a different way.

People of a certain age might recall Quadrophonic sound, which brought four-channel sound to recordings. Now try true multichannel, in the home, with immersive sound that goes beyond left and right to come at you from all directions – in front, in back, to the side of you and even over your head, should you chose to install speakers there.

Dolby's Atmos system, popular with high-end TVs and movie theaters for bringing multi-dimensional sound to the cinema, said Thursday it's adding music to its portfolio, and the company hopes to begin releasing tracks for streaming this year. Dolby says the technology lifts "songs with space, clarity and depth as never before."

/
Yeah! Makes my investment in a full Atmos system even more worth the effort. Question is where will the content come from? Limited to audio Bluray DVDs? Will streamers get the Atmos tracks? Another subscription service nickel and dimeing us?

Now if only Netflix can get it's act together and get Atmos to the stuff they say it supports, mainly Roku TVs I'd be even happier...
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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 - May 23, 2019

ABC:
8PM - This Is Farrah Fawcett (Special, 120 min.)
10PM - Shark Tank
(R)
* * * *
11:35M - Jimmy Kimmel Live! (Jason Sudeikis; Ben Platt talks and performs)
12:37AM - Nightline

CBS:
8PM - Young Sheldon
(R)
8:31PM - Young Sheldon
(R)
9:01PM - Mom
(R)
9:30PM - Life in Pieces
10PM - Elementary (Season Premiere)
* * * *
11:35PM - The Late Show With Stephen Colbert (Conan O'Brien; journalist Jim Sciutto; The National performs)
12:37AM - The Late Late Show With James Corden (Lucy Liu; James Marsden)

NBC:
8PM - Red Nose Day (Special, 120 min.)
10PM - Hollywood Game Night: Red Nose Day Special 2019
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Harrison Ford; Richard Madden; Bazzi performs)
12:37AM - Late Night With Seth Meyers (Olivia Wilde; Christopher Abbott; comic Janine Brito; Sebastian Thomson sits in with the 8G Band)
1:38AM - Last Call with Carson Daly (Alyson Hannigan; Joji and Deafheaven perform; Nico Santos)

FOX:
8PM - Paradise Hotel (120 min., LIVE)

THE CW:
8PM - iZombie
9PM - In the Dark

PBS:
8PM - The This Old House Hour
9PM - Les Misérables on Masterpiece (90 min.)
(R)
10:30PM - Antiques Roadshow: Churchill Downs Racetrack Hour 3
(R)

UNIVISION:
8PM - La Reina Soy Yo
9PM - Fútbol Central (LIVE)
9:30PM - Fútbol Mexicano Primera División, Final Ida: Tigres UANL vs. Club León (LIVE)

TELEMUNDO:
8PM - Un Poquito Tuyo
9PM - Betty en NY
10PM - La Reina del Sur

ESPN:
7PM - College Softball, NCAA Tournament Super Regional Game 1: Oklahoma State vs. Florida State (LIVE)
9PM - College Softball, NCAA Tournament Super Regional Game 1: Texas vs. Alabama (LIVE)

ESPN 2:
7PM - Professional Fighters League: Featherweights/Lightweights (120 min., LIVE)

FREEFORM:
8PM - Marvel's Cloak & Dagger

ID:
9PM - Murder Chose Me
10PM - The Face of Evil (Series Premiere)

LIFETIME MOVIE NETWORK:
8PM - Movie: Killer Grandma (2019)

MTV:
8PM - Double Shot at Love With DJ Pauly D and Vinny
9:01PM - How Far Is Tattoo Far? (3 episodes, 93 min.)

TNT:
8PM - NBA Tip-Off (LIVE)
8:30PM - NBA Basketball, Eastern Conference Finals Game 5: Toronto Raptors at Milwaukee Bucks (LIVE)

BBC AMERICA:
9PM - Top Gear (Season Finale, 85 min.)
10:25PM - Premier League Darts: Playoffs (65 min.)

BRAVO:
9PM - Project Runway (90 min.)
10:30PM - Watch What Happens Live With Andy Cohen (Billie Lourd; Allison Williams)

HISTORY:
9PM - Swamp People (63 min.)
10:03PM - The American Farm (Season Finale, 62 min.)

HGTV:
9PM - Christina on the Coast (Series Premiere)
9:30PM - California Life (Series Premiere)
10PM - House Hunters
10:30PM - House Hunters International

PARAMOUNT:
9PM - Wife Swap: Chauhan vs. Lenoir-Johnson

VH1:
9PM - RuPaul's Drag Race (90 min.)

SUNDANCE:
10PM - The Name of the Rose: Episodes 1 & 2 (Premiere, 120 min.)

TRUTV:
10PM - Impractical Jokers
10:30PM - Tacoma FD

TV ONE:
10PM - The DL Hughley Show

COMEDY CENTRAL:
10:30PM - Klepper: Underground University
* * * *
11PM - The Daily Show with Trevor Noah (Wyatt Cenac, 36 min.)

SHOWTIME:
11PM - Desus & Mero (Gabrielle Union)

TBS:
11PM - Conan (Jason Mantzoukas; comic Nish Kumar)


http://tvlistings.zap2it.com/?aid=gapzap
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Media/Critic's Notes (Streaming)
Criterion Channel Offers Hope to Classic Film Lovers
By Lance Whitney, Fortune.com - May 22, 2019
EXCERPT
Full disclosure: I’m a huge film buff—or film nerd, take your pick.
http://www.fortune.com/2019/05/22/cr...classic-films/
"Full disclosure" would have been to buy your favorite movies at reasonable cost now, because they may not be available for much longer. No thanks to Criterion and similar companies.

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Yeah! Makes my investment in a full Atmos system even more worth the effort. Question is where will the content come from? Limited to audio Bluray DVDs? Will streamers get the Atmos tracks? Another subscription service nickel and dimeing us?

Now if only Netflix can get it's act together and get Atmos to the stuff they say it supports, mainly Roku TVs I'd be even happier...
We want our premium noise now.

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Congrats to dad for approaching this thread's 1000 page mark.
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Congrats to dad for approaching this thread's 1000 page mark.
But I’m only at 300!
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post #29963 of 30870 Old 05-23-2019, 12:44 PM
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Congrats to dad for approaching this thread's 1000 page mark.

Dad has been doing a phenomenal job!


For me, this thread has reached page 1499.


It depends on how one sets one's "page length", something I have been changing for me as an occasional post becomes a phantom post and only changing the page length or waiting for more posts on that thread so the phantom new posts would become visible.
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My very humble setup:
Spoiler!
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post #29964 of 30870 Old 05-23-2019, 12:44 PM
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Yeah, I'm 333. It'll depend on your posts-per-page setting. Mine's at 100.
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"Charlie Rose Using Private Emails Sent by His Sexual Assault Accusers Against Them in Legal Battle" (from https://theblast.com/charlie-rose-sexual-assault-accusers-emails/)

"Charlie Rose Using Private Emails Sent by His Sexual Assault Accusers Against Them in Legal Battle" (from https://finance.yahoo.com/news/charlie-rose-using-private-emails-142540798.html/)
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Yeah, I'm 333. It'll depend on your posts-per-page setting. Mine's at 100.
999 pages for me. It's nearly 30,000 posts no matter how many pages there are.
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Jeopardy! Reaches 8000th Show

On Friday Jeopardy! will air its 8000th show. That milestone is not even mentioned during the episode, at least not during the main parts that I watch. I'll be editing and keeping the show in my vast collection.

Does James make it to Friday, or does someone knock him off this throne? Does he get past $2 million, or not, because he gets bumped off his throne? Watch tonight to find out.

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Sherlock - The Abominable Bride - 1/01/16
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"Charlie Rose Using Private Emails Sent by His Sexual Assault Accusers Against Them in Legal Battle" (from https://theblast.com/charlie-rose-sexual-assault-accusers-emails/)

"Charlie Rose Using Private Emails Sent by His Sexual Assault Accusers Against Them in Legal Battle" (from https://finance.yahoo.com/news/charlie-rose-using-private-emails-142540798.html/)
Alex Trebek news, too.

"EXCLUSIVE
‘Jeopardy!’ Host Alex Trebek’s Dog Attack Lawsuit Gets Dropped"

Quote:
The woman who sued Alex Trebek over an alleged dog attack incident has decided to drop her lawsuit.
https://theblast.com/jeopardy-alex-t...uit-dismissed/

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Nate was an idiot to not max out his 2nd daily double.
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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 - May 23, 2019



CBS:
8PM - Young Sheldon
(R)
8:31PM - Young Sheldon
(R)
9:01PM - Mom
(R)
9:30PM - Life in Pieces
10PM - Elementary (Season Premiere)
* * * *
11:35PM - The Late Show With Stephen Colbert (Conan O'Brien; journalist Jim Sciutto; The National performs)
12:37AM - The Late Late Show With James Corden (Lucy Liu; James Marsden)

Funny, last week I was cleaning out my Directv DRV and it showed Big Bang Season 1 episode 1 in tonights listing. I wonder which is correct? I have not looked today to see if it was updated.
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