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post #97861 of 100746 Old 11-12-2014, 10:16 PM
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TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)

ABC:
8PM - Grey's Anatomy
9PM - Scandal
10PM - How To Get Away With Murder
* * * *
11:35AM - Jimmy Kimmel Live! (Jim Carrey; Bellamy Young; Oran "Juice" Jones performs)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
8:31PM - Mom
9:01PM - Two and a Half Men
9:30PM - The McCarthys
10PM - Elementary
* * * *
11:50PM - Late Show with David Letterman (Jon Stewart; comic Frank Caliendo; Shawn Mendes performs)
12:52AM - Late Late Show with Craig Ferguson (Simon Helberg; Gillian Jacobs)

NBC:
8PM - The Biggest Loser
9PM - Bad Judge
9:30PM - A to Z
10:01PM - Parenthood
* * * *
11:34AM - The Tonight Show Starring Jimmy Fallon (Josh Hutcherson; Tracey Ullman; Echosmith performs)
12:36AM - Late Night with Seth Myers (Screenwriter Aaron Sorkin; comic Mike Lawrence)
1:36AM - Last Call with Carson Daly (Haley Joel Osment; Bleached performs; "Banksy Does New York")

FOX:
8PM - Bones
9PM - Gracepoint

PBS:
(check your local listing for starting time/programming)
8PM - The 'This Old House' Hour
9PM - Masterpiece Classic - The Paradise, Series 2: Episode 7
(R - Nov. 9)
10PM - Antiques Roadshow: Miami Beach
(R - Jan. 10, 2011)

UNIVISION:
8PM - Mi Corazón Es Tuyo
9PM - Hasta El Fin del Mundo
10PM - La Malquerida

THE CW:
8PM - The Vampire Diaries
9PM - Reign

TELEMUNDO:
8PM - Reina de Corazones
9PM - Los Miserables
10PM - Señora de Acero

COMEDY CENTRAL:
11PM - The Daily Show with Jon Stewart (Maziar Bahari and Gael Garcia Bernal)
11:31PM - The Colbert Report (Jennifer Lawrence)
12:01AM - At Midnight (Tom Lennon; Kerri Kenney-Silver; Ben Garant)

TBS:
11PM - Conan (Adam Levine; journalist Chuck Todd; Sylvan Esso performs)
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post #97862 of 100746 Old 11-12-2014, 10:21 PM
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TV Review
‘Aaliyah: The Princess of R&B,’ skip it
Lifetime biopic provides little insight into the life of the late singer
By Tom Conroy, Media Life Magazine - Nov. 12, 2013

The R&B singer Aaliyah had an eventful life that ended in a plane crash in 2001 when she was only 22 years old. Without trivializing her accomplishments, her brief story would seem to be the perfect subject for a TV movie.

But Lifetime’s biopic “Aaliyah: The Princess of R&B” argues otherwise.

Neither delving sufficiently into her personal life nor effectively dramatizing the events that led to her success, the movie leaves us knowing the singer about as well at the end as we did at the beginning, so her death leaves us unmoved. A quick reading of her Wikipedia page is more enlightening and more time-efficient.

Airing this Saturday, Nov. 15, at 8 p.m., the movie has one serious handicap that’s built into its subject’s biography: Aaliyah (Alexandra Shipp) never really had to pay her dues. Her only major setback is failing to win on “Star Search” at age 10.

Her uncle, Barry Hankerson (Lyriq Bent), was a record producer who had been married to Gladys Knight, with whom Aaliyah performed as a little girl. When she was 14, he got Aaliyah an audition with the R&B singer, songwriter and producer R. Kelly (Clé Bennett), who wrote and produced all the songs on her hit first album.

In the movie’s version of events, Kelly and Aaliyah fell in love while working together. Although we see him trying to fight his attraction to her, they were married secretly when she was only 15 and he was 27.

But since both Aaliyah and Kelly always maintained that they were just friends and collaborators, the few details we see of their romance are pure speculation. The movie Kelly says, “We don’t get to choose who we love.” The real-life Kelly will probably be glad the script lets him off so easily.

When Aaliyah and Kelly break the news of their marriage to her parents (Rachael Crawford and Sterling Jarvis), her father insists that they break it off, threatening Kelly with the law. So Aaliyah takes charge of her career.

She tells the generic white men who run her record label that she wants to hire the little-known team of Timbaland (Izaak Smith) and Missy Elliot (Chattrisse Dolabaille) to produce her next album. When that album scores big, she hires a generic white man as a talent agent so she can break into movies.

A later romance, with the music executive Damon Dash (Anthony Grant), which lasted until her death, is tepid. Whatever attraction there may have been in real life, we don’t see it on-screen.

As Aaliyah, Alexandra Shipp gives a plain-vanilla performance that’s at odds with the script’s portrayal of the singer as a take-charge woman. Although Shipp plays the character from age 14 to 22, her voice and mannerisms change little.

The other actors fail to make much of an impression.

Aaliyah’s family reportedly objected to the making of this movie, apparently because they thought that her life story deserved a feature film. Although a lawsuit failed to stop production, they were able to prevent the producers from using Aaliyah’s singing voice.

Shipp is evidently lip-synching to an anonymous imitator’s voice, further handicapping her performance and reducing the appeal of this film to Aaliyah’s fans.

Fans or not, most viewers will find themselves thinking that there must have been more to Aaliyah’s life than this. Paradoxically, “Aaliyah: The Princess of R&B” makes a feature film seem more necessary, not less.

http://www.medialifemagazine.com/aal...of-rb-skip-it/
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post #97863 of 100746 Old 11-12-2014, 10:23 PM
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TV Notes
USA Orders Supernatural Drama Pilot ‘Evil Men’
By Jethro Nededog, TheWrap.com - Nov. 12, 2013

USA Network has ordered a supernatural drama titled “Evil Men” from CBS Television Studios and Universal Cable Productions.

“Dallas Roberts (“Dallas Buyers Club”) and Clifton Collins Jr. (“Pacific Rim”) are attached to star.

“Evil Men” follows an upstanding, middle-class family man Harry Killas (Roberts), whose life is turned upside down when he is approached by a frighteningly powerful entity and commanded to kill “evil men” or see his family — along with his city — utterly destroyed. However, the gleeful psycho who is meant to be his first target, instead begins teaching him how to carry out his new destiny.

Collins will play Lazlo Kirk, the profoundly evil former war criminal with magnetic charm and a deep, unpredictable violent streak, who forces himself into Harry's life on a twisted mission of personal redemption.

“This supernatural drama is a symbolic tale of good versus evil set in the everyday modern world,” said USA Network's original programming executive vice president Jackie de Crinis in a statement. “It is a highly relatable story that begs the question of just how far we would go to protect our families.”

In addition to “Evil Men,” USA's current pilot slate includes Carlton Cuse‘s (“Bates Motel”) “Colony”; “Mr. Robot” from Anonymous Content (“True Detective”); Universal Cable Production's “Stanistan”; and “Queen of the South” based on the international best-seller “La Reina del Sur.”

http://www.thewrap.com/usa-orders-su...ilot-evil-men/
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post #97864 of 100746 Old 11-12-2014, 10:28 PM
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Critic's Notes
Can I Convince Comedy Snobs to Stick With SNL? And Do Guys Like Outlander? Your Pressing TV Questions, Answered
By Margaret Lyons, Vulture.com (New York Magazine) - Nov. 12, 2013

Welcome back to Stay Tuned, Vulture's TV advice column. Each Wednesday, Margaret Lyons answers your questions about your various TV triumphs and woes. Need help? Have a theory? Want a recommendation? Submit a question! You can email [email protected], leave a comment, or tweet @marge incharge with the hashtag #staytuned.

How do I convince other self-proclaimed comedy snobs not to desert SNL? I feel like every season, all anyone wants to talk about is how bad it is now, but ... Kate McKinnon! Kyle Mooney! Don't give up! Every season has bad sketches! —Emily
Don't be a snob, for starters. Your assessment is perfectly accurate: Every season is a mixed bag, just like life. And if your friends can't get onboard even for Kate McKinnon, the pressing emergency here is how badly you need new friends.

But okay, if you're going to find yourself in these situations, the thing to remember is: SNL is the most important comedy institution in America. If you care about comedy — not just your own comedy performances, but the state of contemporary comedy, the idea of comedy, the form in general, etc. — then you care about Saturday Night Live.
Are you a comedian? And are you young? Because here's my experience from being a young comedian: We spent a lot of time ****ting on stuff, including but not limited to SNL. Most of the comedians I know grew out of it as we developed our own voices and sensibilities, and were putting up work we were proud of, and actively participating in supportive, collaborative, challenging communities. Puffing up your chest about how much you think SNL sucks is the "whatever, Dad" of comedy maturation.

You've mentioned your great love for Enlightened. I trust your recommendations, so I gave it a try and found the first episode didn't hold my interest. I want to like and appreciate it. Can you sell me on it? —Suzanne
The pilot for Enlightened sort of stresses me out because everyone's in such a state of upheaval. The show definitely settles in a bit as the season continues, and as Amy (Laura Dern) becomes more comfortable as her new self. Episode four, "The Weekend," is one of my favorites, because it nails down just how much pain everyone is really in. Amy's not a ditz. Levi's not some junkie. There's just all this terrible life they're trying to figure out, and so far, their coping methods have limited success. I like Enlightened because I like shows with a sort of object permanence: Even when the characters are offscreen, their lives continue to exist. Season two's "The Ghost Is Seen" is a masterpiece, and even if you give up on the rest of the show, do yourself a favor and at least watch that episode.

Give Enlightened the first four eps, and if you still don't like it, move on; I'll feel a little sad for you, because it's so good and gentle and unique, but different strokes.

I'm a guy. Do you think I will like Outlander? —Patrick
You brought your vague gender reductivism to the wrong place, Patrick! Your penance is to watch Free to Be You and Me 100 times and think seriously about why it's important for there to be guy shows and girl shows. Ugh! Cut that out right now.

A few weeks ago, someone told me that The Simpsons is "really a boy show." In addition to generally disagreeing, the statement also just … hurt my feelings. I love The Simpsons. My female friends love The Simpsons. My mom loves The Simpsons. Doesn't that count? Don't I count? I'm not intruding on some kind of sacred boy territory: I have every right to stake a claim to that show as my own because I watch it and I love it. At parties and social functions, I regularly field questions from men sheepishly asking about Gossip Girl, and they're always super embarrassed and want to make sure I'm not going to question or mock their masculinity. Don't dress your cat in an apron, Patrick. Watch whatever you like. I don't know what shows guys like or girls like because those categories are awfully broad, though not broad enough to include people who don't identify as either. We live in a culture that is, for a bunch of true trash reasons, really into gender rigidity and proscriptive gender roles. This is bad for everyone. It's bad for people who fit those roles exactly, and it's bad for people who don't.

You'll like Outlander if you like historical dramas, romantic stories, or things about Scotland. What you'll really like, though, is this opportunity to cast off the shackles of the binary gender system and just like whatever you like without the pressure of gender police keeping you from being your true self. Enjoy!

After season four of The Vampire Diaries, I gave up on it. I just didn't find it interesting anymore, and I had just seen Buffy the Vampire Slayer (the superior vampire show). But after that, my best friend has been saying to me every week that I need to catch up on it because it's so much drama, and every week, I've been saying that I will when I've got the time. But the truth is, I just don't want to. But I don't have the heart to just tell her NO. So, my question is: How do I say no? —EV
Gently but firmly, and consistently, the same way you decline anything else. But if this person is your bestie, and you used to talk about the show all the time, my guess is she's projecting a little, and she doesn't really care one way or the other if you watch TVD — she just wants to make sure that your friendship is intact and that it will be for a long time. Your friend just wants to make sure you still have stuff in common, even though you've watched the superior vampire show and have now moved on. Pick a new show for the two of you to get into! Maybe Being Human? The 100? Arrow? Veronica Mars? Maybe just tell her you love her, and while you're just not up for watching TVD anymore, you're always happy to hear her vent about it.

Our cable provider swapped Comedy Central and MTV with Pivot and FXX. Is this a good swap? —Ben
Nope! Nothing wrong with Pivot or FXX, but I'd be very sad not to have Comedy Central.

http://www.thewrap.com/usa-orders-su...ilot-evil-men/
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post #97865 of 100746 Old 11-13-2014, 10:18 AM
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Originally Posted by dm145 View Post
That stinks as far as The Affair goes. Was hoping it was a one a done Who Donnit. So they are going to drag out an already dragged out slow moving series even further. I may just stop watching now.
I bailed out after the last episode. The glorification of infidelity and the dinner scene with all that venomous dialogue was the last straw. I want to be entertained, not dragged face down into this depressing mess. D West and R Wilson are very talented but they deserve a better vessel than The Affair.
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post #97866 of 100746 Old 11-13-2014, 11:13 AM
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Nov. 13, 2014

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

Sheldon and Leonard have interacted before when one of them has been ill and clingy – but tonight, the sick shoe is on the other foot.

ELEMENTARY
CBS, 9:00 p.m.

In tonight’s episode, Phil Simms makes a brief appearance, playing an unlikely friend of Sherlock’s – and one with an equally unlikely skill. We know he can throw a football – but what else can he throw?

CONSTANTINE
Cinemax, 10:00 p.m.

This is a “compare and contrast” exercise, not a recommendation. NBC is presenting a new series on Fridays called Constantine, based on the Hellblazer comics and starring Matt Ryan as John Constantine, a man who goes to hell and back to try and redeem himself and protect others. This 2005 movie uses the same source for inspiration, but presents Keanu Reeves in the leading role.

PARENTHOOD
NBC, 10:00 p.m.

Max (Max Burkholder) is tired of waiting for the object of his affections to notice him, so he asks his mom for advice on how to ask a girl out on a date. A small moment in everyday life – but a big one for Max, whose desired girlfriend seems to like hanging out with the mom more than being alone with the son.

THE DAILY SHOW WITH JON STEWART
Comedy Central, 11:00 p.m. ET

Tonight, it all comes full circle. Maziar Bahari is an Iranian-Canadian journalist, who was arrested as an accused spy, and put in solitary confinement for four months in Iran, after being interviewed on The Daily Show. After he wrote his memoir in 2011, Jon Stewart decided to option the book as a movie, eventually directing it himself, and casting Gael Garcia Bernal as Bahari. Tonight on The Daily Show, Stewart plays host to both Bahari and Bernal.


http://www.tvworthwatching.com/
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post #97867 of 100746 Old 11-13-2014, 11:15 AM
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WEDNESDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insights' Blog.
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Nielsen Overnights (18-49)
NBC wins Wednesday with sweeps stunts
Special edition of 'The Voice' posts a 2.5 in adults 18-49
By Toni Fitzgerald, Media Life Magazine - Nov. 13, 2013

NBC’s sweeps stunting continued to bring strong numbers Wednesday night.

The network won its fourth straight night among adults 18-49, on an evening it’s not usually very competitive, with a lineup packed with stunts.

The night led off with a special edition of “The Voice,” which usually airs Mondays and Tuesdays, at 8 p.m., pre-empting “The Mysteries of Laura.” It posted a 2.5 18-49 rating, according to Nielsen overnights, tying with ABC’s “Black-ish” as the night’s No. 2 show behind ABC’s “Modern Family” (3.1).

That led into the two-hour conclusion of a three-way crossover episode between “Chicago Fire,” “Law & Order: Special Victims Unit” and “Chicago P.D.” that began Tuesday night with “Fire.”

At 9 p.m., “SVU” averaged a 2.4, up 50 percent over last week, a season high, and its most-watched in total viewers (10 million) in four years.

“P.D.” wrapped up the crossover at 10 p.m. with a 2.2 in the demo and 9.5 million viewers, hitting a season high in 18-49s and also tying its series record while winning the hour for the first time this season. It also set a series record in total viewers.

NBC averaged 10 million viewers for the night, its best regular-season Wednesday, outside of the Olympics, since April 23, 2008.

ABC finished second to NBC in the demo Wednesday, with “Family” and “Black-ish” leading the way. Several shows also saw gains in total viewers, with “The Middle” (8.1 million) and “Nashville” (5.6 million) setting season highs and “The Goldbergs” (7.5 million) drawing its second-best audience ever.

Fox’s “Hell’s Kitchen” grew 15 percent from last week, when it faced ABC’s highly rated “CMA Awards,” to a 1.5, though lead-out “Red Band Society” was even with a 0.9.

CBS’s “Criminal Minds,” too, seemed to benefit from not facing the “CMAs,” rising 10 percent from last week to a 2.3.

NBC was first for the night among 18-49s with a 2.4 average overnight rating and a 7 share. ABC was second at 2.1/6, CBS third at 2.0/6, Fox fourth at 1.2/4, Univision fifth at 1.1/4, CW sixth at 0.7/2 and Telemundo seventh at 0.6/2.

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won’t be available for several weeks. Forty-nine percent of Nielsen households have DVRs.

NBC started the night in the lead with a 2.5 at 8 p.m. for “The Voice,” followed by CBS with a 2.3 for “Survivor.” ABC was third with a 2.0 for “Middle” (1.9) and “Goldbergs” (2.1), Fox fourth with a 1.5 for “Kitchen,” Univision fifth with a 1.3 for “Mi Corazon es Tuyo,” CW sixth with a 0.9 for “Arrow,” and Telemundo seventh with a 0.5 for “Reina de Corazones.”

ABC took the lead at 9 p.m. with a 2.8 for “Family” (3.1) and “Black-ish” (2.5), while NBC slipped to second with a 2.4 for “SVU.” CBS was third with a 2.3 for “Criminal Minds,” Univision fourth with a 1.3 for “Hasta el Fin del Mundo,” Fox fifth with a 0.9 for “Band,” CW sixth with a 0.6 for “The 100,” and Telemundo seventh with a 0.5 for “Los Miserables.”

NBC regained the lead at 10 p.m. with a 2.2 for “P.D.,” with ABC and CBS tied for second at 1.4, ABC for “Nashville” and CBS for “Stalker.” Telemundo was fourth with a 0.9 for “Señora Acero” and Univision fifth with a 0.8 for “La Malquerida.”

Among households, NBC led the night with a 6.5 average overnight rating and an 11 share. CBS was second at 5.4/9, ABC third at 4.7/8, Fox fourth at 2.0/3, Univision fifth at 1.5/3, CW sixth at 1.4/2 and Telemundo seventh at 0.8/1.

http://www.medialifemagazine.com/nbc...sweeps-stunts/

* * * *

TV Notes
A gay marriage, played for laughs
Two straight guys marry in 'Two and a Half Men'
By Louisa Ada Seltzer, Media Life Magazine - Nov. 13, 2013

When a sitcom is aging and ratings are falling, the writers often stage a wedding or add a new kid to the mix.

Or they might pair up a new couple.

Never a show averse to taking risks, “Two and a Half Men” is using all three of those tired comedy cliches in its final season, albeit in a way people would not quite expect.

The show, which airs tonight at 9 p.m. on CBS, has paired up straight roommates Walden and Alan in marriage, a sham one obviously, that they hope will help them with their real goal, adopting a child together.

Whether this storyline is fun and kooky or a sign that the show has run out of ideas is very much up for debate, but “Men” doesn’t have too much time left either way.

This is the final year of the show, the longest-running live-action comedy on broadcast, now in its 12th season, and its ratings are down sharply from its peak a few years ago, when Ashton Kutcher, who plays Walden, joined the program to replace Charlie Sheen.

That boosted the show to series highs in season nine.

This season “Men” is averaging a 2.3 in adults 18-49, according to Nielsen, ranking 37th on broadcast. The gay marriage plotline has neither helped nor hurt ratings, despite the potential for controversy.

The show will wrap up next spring. CBS has declined to say whether original stars Sheen or Angus T. Jones, who played the titular “half man” but left the show after season 11, will appear in the finale.

http://www.medialifemagazine.com/gay...played-laughs/
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post #97869 of 100746 Old 11-13-2014, 11:26 AM
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TV/Business Notes
Sony Unveils PlayStation Vue; Web-Based TV Service To Launch With 75 Channels
By Nancy Tartaglione, Deadline.com - Nov. 13, 2014

Back at the International CES confab in January, Sony Computer Entertainment Group CEO Andrew House touted the upcoming arrival of a new cloud-based service in the U.S. that would include the “most popular live TV programs combined with a large library of VOD content,” although he offered no specifics. Now, 10 months later, the mystery has been solved. Sony Network Entertainment International and Sony Computer Entertainment today unveiled subscription service PlayStation Vue with the promise that it “reinvents the television experience.” Bypassing cable and satellite, customers will have access to live, on-demand and catch-up television content from such partners as CBS, Discovery Communications, Fox, NBCUniversal, Scripps Networks Interactive and Viacom. Speaking earlier this week, CBS’ Les Moonves teased details of the partnership saying, “Sony is going to do an offering that’s very interesting” with “more bells and whistles” and “more VOD content.” The public at large will see for itself when PlayStation Vue is launched commercially in early 2015.

In the meantime, select PlayStation3 and PlayStation4 owners will be given a Beta preview starting this month. There are about 35M PS3 and PS4 users, ranging in age from 18-35, providing a strong base from the start. Amit Nag, senior director of business management and content for PlayStation Vue, told the Wall Street Journal, “We’re going after the PlayStation user who is today not watching TV and driving a large ratings decline and is at high risk” for abandoning the pay-TV ecosystem. A phased roll-out will begin in New York, followed by Chicago, Philadelphia and Los Angeles. There’s no word on pricing as yet, but Sony says the service will be offered on a month-to-month basis with no contracts or penalties, and promises “what you see is what you pay for.”

“Everyday TV is about to become extraordinary,” said House today. Programming will “effortlessly” find the customer thanks to a “powerful” user interface that promises “unprecedented personalization and simplicity,” Sony said. The “smart” service will connect viewers to content that suits their tastes and will recommend movies and shows based on viewing habits and what’s trending. The past three days’ of popular programming will be available without the need to schedule recordings. Viewers can also save their favorite shows to the cloud without storage restrictions and once they tag a favorite, they will automatically have access to episodes of that show for 28 days.

The announcement today, House said, “builds on the historic success of PlayStation4 and demonstrates what our company is capable of when we embrace disruption and stay true to gamers.” During the Beta phase, the service will offer around 75 channels per market from the existing partners with further partners to be announced.

Sony is joining others in the over-the-top arena including HBO which recently announced an OTT HBO Go service for launch in 2015 in the U.S., and CBS itself unveiled CBS All Access, a $5.99-a-month subscription streaming service, which went live in October. Verizon also has similar plans.

http://deadline.com/2014/11/playstat...ce-1201283206/
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TV Notes
CNN Doubles Down on Three Original Series
By Jordan Chariton, TheWrap.com - Nov. 13, 2014

CNN continues to invest in its original series programming, announcing three renewals Thursday.

“Anthony Bourdain: Parts Unknown” has been renewed for a sixth season in 2015; “This is Life” with Lisa Ling had a second season green-lit and “Somebody's Gotta Do It” with Mike Rowe has been given a second season.

Ling and Rowe's programs are still airing episodes from their respective first seasons, with Ling's last episode airing Nov. 16 and Rowe's on Dec. 10.

Rowe's debut on Sept. 9 scored the highest 25-54 demo rating in CNN original series history. Ling has also had success, often ranking first in the demo on Sunday nights.

Other CNN original series that aired this year were “The Hunt” with John Walsh and the mini-series “The Sixties.”

http://www.thewrap.com/cnn-doubles-d...iginal-series/
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TV Notes
'Perception' Canceled at TNT
By Lesley Goldberg, The Hollywood Reporter's 'Live Feed' Blog - Nov. 13, 2013

Another drama has bit the dust at TNT.

The Turner-owned cable network has opted to cancel veteran drama Perception after three seasons, The Hollywood Reporter has confirmed.

The drama centered on Dr. Daniel Pierce (Will & Grace's Eric McCormack), an eccentric neuroscience professor with paranoid schizophrenia who is recruited by the FBI to help solve complex cases. Rachael Leigh Cook, Arjay Smith, LeVar Burton and Kelly Rowan co-stared in the ABC Studios drama. The series will air its remaining season three episodes in February.

The news comes days after TNT — under new president Kevin Reilly — canceled veteran legal dramedy Franklin & Bash after four seasons as the network looks for noisier fare in a bid to stand out in an increasingly competitive cable landscape. (Both Franklin and Perception hailed from outside studios.)

The news comes after season three has averaged 2.7 million total viewers, down from an average of 4.2 million in season one and 3 million in season two.

Perception also joins TNT's recently canceled drama Dallas, which was axed earlier this year after three seasons.
The cable network recently picked up Sharon Stone White House thriller Agent X and has new dramas including Ed Burns' Public Morals, Jennifer Beals' Proof, The Librarians as well as Transporter: The Series reboots. Returning fare is lead by The Last Ship, Major Crimes, Legends and Murder in the First. A decision on ratings standout Rizzoli & Isles has not yet been determined and Falling Skies will return for its fifth and final season next year.

http://www.hollywoodreporter.com/liv...-at-tnt-748869
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post #97872 of 100746 Old 11-13-2014, 03:32 PM
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TV Notes
The Secret of ‘Shark Tank’s’ Surprising Success
By Debra Birnbaum, Variety.com - Nov. 13, 2013

Tune in to “Shark Tank” Friday nights on ABC, and you’ll see it thriving. Budding entrepreneurs pitching their million-dollar ideas. Ruthless investors battling for the best deals. All with the hope of striking it rich. That’s what drives millions of viewers to weekly watch “Shark Tank,” which will celebrate its 100th episode Nov. 14.

But at the start, it wasn’t at all clear the show would reach that remarkable milestone. Its first two seasons, the series barely reached 5 million viewers and never got a full-season order. The network sidelined the show from Tuesdays to Friday nights. But then the momentum finally began to shift during season 3.

Shark Kevin O’Leary recalls the moment he knew the show was a hit: He was in the bathroom in Boston’s Logan Airport, when a stranger kept staring at him. “He finally said, ‘Are you that guy from ‘Shark Tank’? And when I said yes, he said, ‘You’re an *******!’” says O’Leary, laughing. “After that, everything changed.”

Like the budding businessmen and women who come on to sell their schemes, the show had to make its case to the American audience. It’s now a tent-pole on ABC’s schedule, pulling in 9 million viewers a week, winning its timeslot.

“Thank goodness ABC had the courage to stick with something they believed in,” says “Shark Tank” executive producer Clay Newbill. “That’s not a story we hear often in our business unfortunately. Obviously, there’s something magical about this show that takes place in those pitches.”

And last summer, it won the ultimate prize: an Emmy for structured reality program. “Besides the marriage and the birth of my son, it was the greatest moment of my life,” Newbill says. (Adds Shark Lori Greiner: “I just want a statue, too!”)

“Shark Tank” has defied the odds: Not only has it proved that Friday nights can be competitive, but in an era of ever-shrinking ratings, that families can still watch TV together. “Can you imagine how many families and kids watch this show?” raves ABC’s entertainment president Paul Lee. “It’s bringing a whole new generation to the joys of entrepreneurship.”

Part of the thrill comes from never knowing who’s coming out that door. It can be someone with a brilliant pitch — such as the Scrub Daddy sponge, which has made $18 million in sales — or the most head-scratching one, like the Ionic Ear, a surgical implant for Bluetooth so you’d never drop a call. (The catch: Every time the technology gets upgraded, you’d have to go back under the knife.)

And then there are the ones that bring even the toughest Sharks to tears. “Those people who come on and spill their guts out, it’s real, it’s not scripted, it’s coming from their hearts,” says Steve Mosko, president of Sony Pictures Television. “It’s people talking about their dreams.”

Even more drama comes from how the Sharks respond. Will they buy it? And if so, who will offer the best deal?

“Creating a business could be boring, so we needed strong personalities to make the debate come alive,” says executive producer Mark Burnett. Let the bickering begin!

Shark Barbara Corcoran says she’s learned to carefully watch her fellow Sharks’ body language. “The minute I see Mark Cuban shift his hips in his seat,” she says, “I lean back, because I know I’m never going to get this deal.”

Pity the misguided entrepreneur who arrives on the set unprepared. The biggest mistake, say the Sharks, is not knowing the business, inside and out.

That’s not to say, though, there’s a consensus among the Sharks on basic investment principles. Take, for example, the simple question: What’s more important, the idea or the person behind it?

“The idea, because if I don’t like the person, I’ll just fire them,” argues O’Leary.

“The person behind it, always,” counters Daymond John.

“We argue about this every day,” sighs Robert Herjavec. “I always say invest in the jockey, not the horse. Unless you’re Barbara. She’ll invest in the jockey, the horse, the bunny rabbit … and the field of grass next to the racetrack.”

The biggest misperception they face, say the Sharks, is that it’s someone else’s cash they’re putting up. “The entrepreneurs don’t understand that it’s our own money,” says O’Leary. “So we care a lot and we don’t take it lightly.”

Like proud parents, the Sharks are quick to boast of their successes — and yes, they’ll also admit to some that didn’t quite live up to expectations. What went wrong? Poor management, they say.

The story doesn’t end when the credits roll — and that’s why ABC is launching “Beyond the Tank.” “Building a business doesn’t stop with getting an investment, it starts there,” Burnett says.

“Beyond the Tank” will follow the entrepreneurs after the deal is done. “A lot of people think you getting the deal is like winning the lottery,” Newbill says. “But the real hard work starts the moment they get that deal. ‘Beyond the Tank’ is an opportunity for us to tell those stories.”

The producers will follow the successes, as well as the failures. “You’re just as interested in the ones that crashed and burned as those that triggered a bidding war between the Sharks,” says Lee. “Who would have thought business could be so entertaining? Who would have thought business could be so emotional?”

http://variety.com/2014/tv/spotlight...de-1201352506/
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Technology Notes
SkreensTV wants to revive the family TV tradition
By Marco della Cava, USA Today - Nov. 13, 2013

There once was a time when the family gathered around the living room TV. Then the tech era armed everyone but the family dog with their own personal screen. Now Marc Todd wants to go back to the future.

SkreensTV, whose Indiegogo campaign launches Thursday, is a $399 ($499 after the crowdfunding campaign) 7-by-2-inch WiFi- and Bluetooth-enabled box with five HDMI outputs and storage capacity ranging from 4 to 64 GB. SkreensTV routes the action from multiple devices – cable box, computer, gaming console, streaming TV – onto one screen.

A custom app turns your tablet or phone into a remote that allows you to customize the size of each screen projected onto your TV. One video source can use the TV's speakers for audio, while the other four audio tracks can be accessed by wireless headphones.

That's right, Todd is convinced folks are so desperate to be together they'll put up with a giant home TV with warring images of sports, xBox, and Twitter feeds.

"It's not the family room now, it's the 'Whoever holds the TV remote' room, but I think people still want to be together even using different devices," says Todd, whose Foxboro, Mass., startup has a financial assist from Pags Group, the investment arm of Bain Capital managing director and Boston Celtics co-owner Steve Pagliuca.

"My kids will be playing a video game while I'm watching the Bruins and the Celtics, but we're in the same place," he says, adding that splitting our video attention is now the norm. "I call it the sports bar effect. Or just think of being on a plane (with satellite TV). You watch your screen but the next guy's, too."

Todd is hoping to piggyback on the proliferation of devices such as Google's Chromecast and Apple TV, which have gotten consumers used to treating their TVs as large monitors pulling in programming from various content sources. Another factor is the dropping cost of once pricey large-screen TVs.

"The fact of the matter is we're all now consuming video content at a very rapid rate," he says. "That said, there are times when I have to admit that depending on what I'm watching I'll just tell the kids, 'Hey, time to get out.'"

http://www.usatoday.com/story/tech/2...l-tv/18667711/
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Nielsen Notes
Viacom Chief Faults Nielsen Data-Gathering Methods
By Emily Steel, The New York Times - Nov. 13, 2013

Faced with ratings and advertising declines, the chief executive of the media giant Viacom criticized the television research firm Nielsen on Thursday for failing to keep pace with the way people watch TV.

Ratings for Viacom’s bundle of television networks, which include MTV, Comedy Central and Nickelodeon, tumbled 15 percent during the quarter ended in September, according to Nielsen data compiled by Bernstein Research. Those ratings challenges led Viacom’s domestic advertising sales to decline 5 percent for the quarter, the company reported Thursday.

Philippe Dauman, Viacom’s chief executive, said a large portion of the viewing of Viacom networks was through mobile apps, gaming devices and other platforms that traditional Nielsen ratings do not include.

“We are in a transitional moment with existing measurement services that have not caught up to the marketplace,” Mr. Dauman said during a conference call. “They are trying to catch up. I am sure they will eventually catch up. In the meantime, we are not waiting for that.”

Mr. Dauman said about 30 percent of Viacom’s domestic advertising revenue was not dependent on Nielsen ratings, such as sales for mobile apps, personalized advertising and sponsorships. In the next three years, the company should increase that portion to about 50 percent of its domestic ad sales, he said.

“Technology will be our friend in that arena,” Mr. Dauman said.

The comments came as Viacom reported better-than-expected profits and revenue for the quarter ended Sept. 30. Total revenue increased 9 percent for the quarter to $3.99 billion, fueled by box office hits like “Transformers: Age of Extinction” and growth in fees from cable, satellite and other distributors.

Net earnings for the quarter totaled $732 million, or $1.72 a share. That compared with $804 million, or $1.68 a share, during the same period last year.

Nielsen long has dominated as the main source to measure television viewings, and its ratings are the currency on which nearly $70 billion in advertising dollars are traded each year in the United States.

The company has faced a wave of backlash in recent years, as a series of TV and advertising executives criticized its ability to measure the new ways people watch television, whether on a mobile phone or a gaming device. That criticism heightened in recent weeks after the company acknowledged that it had been reporting inaccurate ratings for broadcast networks for seven months.

Nielsen on Thursday called on the industry to adopt new ratings standards that would capture viewing across all screens. The group has announced a series of initiatives that it promises will capture digital viewing. Nielsen had said that it would include mobile viewing in its traditional TV ratings this fall, although this has yet to be done.

“We’re committed to delivering comprehensive measurement, and we are going to follow the consumers wherever they go and however they view on any device,” said Laura Nelson, a Nielsen spokeswoman. “The advertisers and the programmers ultimately determine what measurement currency to trade on.”

Viacom has blamed ratings declines on Nielsen before. Three years ago, its Nickelodeon network suffered a period of double-digit ratings declines. The network later said that the plunge was because a generation of viewers outgrew Nickelodeon and loyal viewers left the network at the same time that competition from other TV and digital outlets grew.

Viacom is not alone in its advertising woes. Other media companies have reported declines in domestic advertising revenues in recent weeks. In total, national television advertising revenues dipped about 0.5 percent in third quarter of 2014, the worst quarter for advertising growth since the recession, according to MoffettNathanson Research.

Media executives and analysts have blamed the weakness on ratings issues, advertisers seeking more flexibility with their budgets, the increasing threat from digital rivals and the broader economy.

“It is clear that the trends continue to deteriorate not just for Viacom but for most of its peers,” Michael Nathanson, a media analyst with MoffettNathanson said in a research report.

http://www.nytimes.com/2014/11/14/bu...elevision&_r=0

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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Nov. 13, 2014

ELEMENTARY
CBS, 9:00 p.m.

In tonight’s episode, Phil Simms makes a brief appearance, playing an unlikely friend of Sherlock’s – and one with an equally unlikely skill. We know he can throw a football – but what else can he throw?
Expect Phil to get some grief about it from his "Inside The NFL" cohorts this Tuesday.
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THURSDAY's fast affiliate overnight prime-time ratings -and what they mean- have been posted on Analyst Marc Berman's Media Insights' Blog.
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Nielsen Overnights (18-49)
ABC wins a third straight Thursday night
Posts a 2.8 in 18-49s, well ahead of No. 2 CBS's 2.3
By Toni Fitzgerald, Media Life Magazine - Nov. 14, 2013

ABC’s Thursday lineup remains hot.

The network won its third straight Thursday, and third straight Thursday of the November sweeps, by a solid margin over No. 2 CBS.

ABC averaged a 2.8 adults 18-49 rating and a 9 share in primetime, according to Nielsen, 22 percent ahead of No. 2 CBS at 2.3/7.

“Scandal” was ABC’s top show, hitting a six-week high with a 3.2 at 9 p.m., up 10 percent over last week and finishing as the night’s No. 2 show, behind CBS’s “The Big Bang Theory.”

At 10 p.m., “How to Get Away with Murder” grew 4 percent to a 2.9, a three-week high.

“Bang” posted a 4.5 at 8 p.m., growing 5 percent from last week and boosting “Mom” to a series-high 2.8. The show, airing behind “Bang” for the first time this fall, has had series highs in each of its three outings.

However, CBS’s regular lineup was preempted in two markets by NFL Network’s coverage of the Buffalo Bills-Miami Dolphins game, which may be artificially inflating the network’s ratings.

Fox’s “Bones” fell a tenth from last week, to a 1.2, though lead-out “Gracepoint” rose a tenth, to a 0.8.

With ABC and CBS ranking first and second in primetime, Univision finished third at 1.1/3, NBC and Fox tied for fourth at 1.0/3, and CW and Telemundo tied for sixth at 0.6/2.

As a reminder, all ratings are based on live-plus-same-day DVR playback, which includes shows replayed before 3 a.m. the night before. Seven-day DVR data won’t be available for several weeks. Forty-nine percent of Nielsen households have DVRs.

CBS began the night in the lead with a 3.7 at 8 p.m. for “Bang” (4.5) and “Mom” (2.8), followed by ABC with a 2.4 for “Grey’s Anatomy.” Univision was third with a 1.4 for “Mi Corazon es Tuyo,” NBC and Fox tied for fourth at 1.2, NBC for “The Biggest Loser” and Fox for “Bones.” The CW was sixth with a 0.7 for “The Vampire Diaries” and Telemundo seventh with a 0.5 for “Reina de Corazones.”

ABC took the lead at 9 p.m. with a 3.2 for “Scandal,” while CBS fell to second with a 1.9 for “Two and a Half Men” (2.2) and “The McCarthys” (1.6). Univision was third with a 1.2 for “Hasta el Fin del Mundo.” NBC and Fox tied for fourth at 0.8, NBC for “Bad Judge” (0.9) and “A to Z” (series-low 0.6) and Fox for “Gracepoint.” Telemundo was sixth with a 0.5 for “Los Miserables” and CW seventh with a 0.4 for “Reign.”

At 10 p.m. ABC led again with a 2.9 for “Murder,” with CBS second with a 1.2 for “Elementary.” NBC was third with a series-low 1.0 for “Parenthood,” Telemundo fourth with a 0.9 for “Señora Acero” and Univision fifth with a 0.7 for “La Malquerida.”

Among households, ABC was first for the night with a 6.1 average overnight rating and a 10 share, followed closely by CBS at 6.0/10. Fox was third at 2.7/4, NBC fourth at 2.5/4, Univision fifth at 1.5/2, CW sixth at 1.0/2 and Telemundo seventh at 0.8/1.

http://www.medialifemagazine.com/abc...hursday-night/

* * * *

TV Notes
Best tube bets this weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Nov. 14, 2013

FRIDAY

Best bet on broadcast
: CBS, “Hollywood Film Awards” 8 p.m.
Queen Latifah hosts the 18th annual event, which is being televised for the first time.

Best bet on cable: CMT, “Kenny Chesney Live From the Flora-Bama” 10 p.m. New special in which the country singer performs on the state line between Florida and Alabama.

Top sporting event: ESPN, “College Basketball,” 7 p.m. The college season tips off with No. 8 Louisville taking on Minnesota in the Armed Forces Shootout in Puerto Rico.

SATURDAY

Best bet on broadcast
: NBC, “Saturday Night Live,” 11:30 p.m.
It’s not quite Chris Rock and Prince, but Woody Harrelson hosts with musical guest Kendrick Lamar.

Best bet on cable: Starz, “The Missing,” 9 p.m. Series premiere. New thriller follows a father in search of his 5-year-old-son, who went missing during a vacation in France.

Top sporting event: CBS, “College Football,” 3:30 p.m. No. 1 Mississippi State faces its toughest challenge of the season at No. 5 Alabama.

SUNDAY

Best bet on broadcast
: ABC, “Once Upon a Time,” 8 p.m.
How can you tell it’s sweeps? Back-to-back episodes of the surging ABC drama, in which the Snow Queen tries to start trouble with Anna and Elsa.

Best bet on cable: Showtime, “Homeland” 9 p.m. Carrie puts together a last-second operation.

Top sporting event: NBC, “Sunday Night Football,” 8:20 p.m. Should be a good game between two of the AFC’s best teams, New England and Indianapolis.


http://www.medialifemagazine.com/bes...s-weekend-401/
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TV Review
Lives upended, answers elusive in ‘The Missing’
By Matthew Gilbert, Boston Globe - Nov. 13, 2013

We’ve seen plenty of stories about missing children and the heartbroken parents who search for them relentlessly, both in fiction and, alas, in the real world. But Starz’s “The Missing” is a reminder that familiar material can indeed yield extremely absorbing drama, that often the excellence of a series comes from the crispness of the script, the intelligence of the directing, and the intensity of the acting, and not necessarily the newness of the concept.

This haunting eight-episode miniseries, co-produced by the BBC, toggles between two time frames. In 2006, Brits Tony and Emily Hughes take their 5-year-old son, Oliver, on vacation to France, and their car breaks down in a quaint town called Chalons Du Bois. After a swim in a local pool, Tony and Oliver get drawn into a throng of World Cup celebrants and, in the chaos, Oliver disappears. In 2014, Tony is a broken man, still hoping to find Oliver even though the official case is closed. Time has not healed his wounds, and Emily, too, is still suffering acutely, if less openly. They’re no longer married, and Tony has returned to Chalons Du Bois to look into a clue he has unearthed.

As each of these story lines moves forward, facts from one resonate cleverly against facts from the other. Written by brothers Harry and Jack Williams, the script is tight and smart. The number of possible perpetrators multiplies, of course, in both the past and the present; that’s how these mysteries progress, fooling us with red herrings and toying with our sympathies. In this way, “The Missing” shares a lot in common with “Broadchurch,” “Top of the Lake,” and the first season of “The Killing,” three recent child-based thrillers that also misled us on purpose. I’m betting that “The Missing,” which premieres Saturday at 9 p.m., isn’t going to abuse our trust by giving us one too many false leads; the early storytelling seems above that.

What “The Missing” has, in addition to the compelling plotting, is an emotional realism that pulls you in and holds you there. The miniseries gives us Oliver’s disappearance and his parents’ raw first reactions without undercutting them with manipulation or sentimentality. James Nesbitt brings a visceral punch to Tony’s shock, as he screams “Olly” while the sports celebration rages on around him. Nesbitt, looking a little like a frazzled George Clooney, is also a powerhouse in the present-tense scenes, with despair written in the lines of his face and his black brows. And Frances O’Connor makes Emily’s desperation palpable, so that you completely understand why she breaks down when, in the midst of the trauma, a stranger is kind to her.

A retired French detective, a journalist, a cop, and others enter the story, adding complications and possibilities along the way. They all add plenty to the intricate mystery story in “The Missing.” But the core of the miniseries is the universal parental nightmare, the remarkable endurance of hope, and the deeply human need for closure.

THE MISSING
Network: Starz
Show date: Saturday night, 9-10 p.m.


http://www.bostonglobe.com/arts/tele...dVJ/story.html
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TV Notes
‘Longmire’ Lives? Netflix In Negotiations For Season 4 Pickup
By Nellie Andreeva, Deadline.com - Nov. 12, 2013

EXCLUSIVE: Longmire fans’ prayers may have been answered. I’ve learned that Netflix is deep in negotiations for a fourth season of the drama series. The news comes two and a half months after Longmire‘s surprise cancellation by A&E after three seasons. The axing triggered one of the biggest outpourings of fan support, with reaction ranging from shock and disbelief to anger and a call to arms in a massive save-the-show campaign.

Sources caution that negotiations between Netflix and Longmire producer Warner Horizon have been tricky, and there is a chance that a final agreement may not be reached, though there is a will on both sides and insiders are hopeful. If a deal closes, Season 4 of Longmire eyes a tentative March production start date.

After the cancellation call from A&E came in, Warner Horizon immediately launched efforts to find a new home for the series. It put together a detailed pitch highlighting Longmire’s performance and fan following as well as the producers’ creative plans for Season 4. Warner Horizon cast a wide net, though Netflix and Amazon were identified as primary targets from the get-go, with Netflix considered the most logical destination for the series as the streaming service already has the rights to the previous seasons as part of its multi-series streaming deal with Warner Bros.

Netflix was in a similar situation with another cancelled cable drama, The Killing. It commissioned a final season of the mystery drama on top of the existing seasons it had streaming rights to.

Subscription-based services are considered perfect for a show like Longmire, which has a large but somewhat older-skewing audience. Longmire, starring Robert Taylor and Katee Sackhoff, was A&E’s most-watched original scripted series of all time, averaging 5.6 million viewers in Season 3, a slight dip from Season 2’s nearly 6 million average despite a much weaker lead-in. Ad-supported networks depend heavily on advertisers, who are after younger audiences, practically dooming popular series like Longmire or NBC’s Harry’s Law whose viewership tends to be a little greyer.

http://deadline.com/2014/11/longmire...er-1201280496/
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Nielsen Overnights (18-49)
TV Notes
Best tube bets this weekend
The top draws on broadcast and cable and in sports
By Louisa Ada Seltzer, Media Life Magazine - Nov. 14, 2013

FRIDAY
Best bet on cable: CMT, “Kenny Chesney Live From the Flora-Bama” 10 p.m.
New special in which the country singer performs on the state line between Florida and Alabama.
Alot of country tonight.

Palladia has another Kenny Chesney concert 8:00pm + Florida Georgia Line concert 9:00pm (Victorias Secret aint a secret no more).

Home Shopping Network midnight Keith Urban is on selling what is a great guitar + he plays some songs too.

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TV Notes
‘Longmire’ Lives? Netflix In Negotiations For Season 4 Pickup
By Nellie Andreeva, Deadline.com - Nov. 12, 2013
Our household is crossing our collective fingers.
DoubleDAZ, mrvideo and kjpjr like this.

TiVo Bolt 500, TiVo Roamio Pro, 8 TiVo Minis, Cox Cable
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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)

ABC:
8PM - Last Man Standing
8:30PM - Cristela
9PM - Shark Tank
10PM - 20/20
* * * *
11:35PM - Jimmy Kimmel Live! (CMA Awards post show featuring Julie Bowen, a CMA award winner and a performance from Florida Georgia Line)
(R - Nov. 5)
12:37AM - Nightline

CBS:
8PM - The Hollywood Film Awards (120 min., LIVE)
10PM - CBS This Morning Post-Awards Show (LIVE)
* * * *
11:35PM - Late Show with David Letterman (Kristin Chenoweth; comic Jeff Dunham; Chris Young performs)
12:37AM - Late Late Show with Craig Ferguson (Jeff Daniels; comic Paula Poundstone)

NBC:
8PM - Dateline NBC
9PM - Grimm
10PM - Constantine
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Liam Hemsworth; Katherine Heigl; comic Sebastian Maniscalco; Kool and the Gang sit in with The Roots)
12:36AM - Late Night with Seth Myers (Kerry Washington; Michael C. Hall; author Joe Hill)
(R - Nov. 3)
1:37AM - Last Call with Carson Daly (Lauren Cohan; Dum Dum Girls perform; musical group Meatbodies)
(R - Oct. 9)

FOX:
8PM - MasterChef: Junior Edition
(R - Nov. 11)
9PM - Gotham
(R - Nov. 3)

PBS:
(check your local listing for starting time/programming)
8PM - Washington Week With Gwen Ifill
8:30PM - Charlie Rose This Week
9PM - The Hitmakers
10PM - Art in the Twenty-First Century: Fiction

UNIVISION:
8PM - Mi Corazón Es Tuyo
9PM - Hasta El Fin del Mundo
10PM - La Malquerida

THE CW:
8PM - Whose Line Is It Anyway?
8:30PM - Whose Line Is It Anyway?
(R - Oct. 10)
9PM - America's Next Top Model

TELEMUNDO:
8PM - Reina de Corazones
9PM - Los Miserables
10PM - Señora Acero

HBO:
10PM - Real Time with Bill Maher (LIVE; Sen. Rand Paul (R-Ky.); actor Martin Short; political commentator Margaret Hoover; author Andrew Sullivan; journalist Jeremy Scahill)
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Nov. 14, 2014

SHARK TANK
ABC, 8:00 p.m. ET

The well-known, and daunting, statistic relevant to this entrepreneurial series is that an estimated 90 percent of all new businesses fail in their first year. Perhaps an acute awareness of that is what’s behind tonight’s episode, a cheery celebration at having reached episode number 100 in the cutthroat world of network television. Tonight, for the first time on this series, all six sharks will be swimming in the same TV pool simultaneously. They will not, however, be equipped with laser beams.

WILD STRAWBERRIES
TCM, 8:00 p.m.

This 1957 Ingmar Bergman drama is a bleak, ponderous, yet ultimately haunting and perceptive study of the human condition, told by focusing on a very limited set of characters in a narrative containing more thoughts than action. In other words, it’s a classic Ingmar Bergman film. And a classic, period.

REAL TIME WITH BILL MAHER
HBO, 10:00 p.m.

Kentucky Sen. Rand Paul is the opening guest on tonight’s show, and his take on the new makeup of Capitol Hill, and his own future political plans, should prove quite interesting – Maher is a much more pointed interviewer than many people presume. And the other guests on this installment are noteworthy, too, and include the always outspoken Andrew Sullivan and the always entertaining (Well, except on Fox’s Mulaney, but that’s not his fault) Martin Short.

FIVE EASY PIECES
TCM, 10:00 p.m.

Jack Nicholson was an actor ablaze in this 1970 character study, playing his role of the talented but tormented pianist (hence the title) with the energy and ferocity of a caged tiger. The scene of him playing the piano in the back of a truck as it rolls down the highway is memorable – but no scene is more iconic than the one in which he rebels against the arbitrary rules at a highway diner by demonstrating a very novel way to place his food order the way he wants it. “I’ll have a chicken salad sandwich…”

THE FOO FIGHTERS: SONIC HIGHWAYS
HBO, 11:00 p.m. ET

Earlier this week, you saw Dave Grohl performing live on stage at HBO’s Concert for Valor. Tonight, he performs again – a new song, inspired by the things he heard and saw while tracing the history of modern music in Los Angeles. Stops along the way include The Doors, NWA, Joan Jett and the Runaways and The Eagles, so this installment of Grohl’s very personal music appreciation course is wide-ranging indeed.


http://www.tvworthwatching.com/
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Nielsen Notes
Networks fall during November sweeps
Every one of the Big Four is off in 18-49s, even leader NBC
By Toni Fitzgerald, Media Life Magazine - Nov. 14, 2013

Two weeks into the November sweeps, the Big Four broadcast networks are doing worse than last year.

ABC, CBS, Fox and NBC combined have averaged a 7.4 adults 18-49 rating from Oct. 30 to Wednesday night, according to Nielsen, down 11 percent from an 8.3 during the same span last year.

The hurt is spread around. Every network has declined at least a tenth from last year during this sweeps, a four-week-long period that is used to set local advertising rates.

NBC, the leader so far this sweeps, is averaging a 2.3, off 8 percent from a 2.5 last year.

CBS is down the most, sliding 21 percent from a 2.4 to a 1.9. It is tied for second place with ABC, which is off 5 percent, or a tenth, from last year.

Fox is also down a tenth, to a 1.3, firmly in fourth place.

The dips reflect the general decline in broadcast viewership over recent years. With more options vying for viewers’ time, including cable, mobile, video games and now streaming online video, they are simply less likely to tune into one mass media.

NBC should win its third straight November sweeps in the demo, on the strength of football and good stunts.

“Sunday Night Football” is the No. 1 program of the sweeps.

But NBC has also gotten strong numbers from “The Voice,” including a special Wednesday episode this week, and “Chicago Fire,” “Law & Order: Special Victims Unit” and “Chicago P.D.,” which aired a three-way crossover this week that drove all three shows to huge gains.

CBS has seen declines for several of its sitcoms and a handful of long-running dramas.

ABC has had mixed results, with new show “How to Get Away with Murder” continuing to post good numbers and the “Country Music Awards” drawing huge viewership. But really bad ratings for shows like “Selfie,” which the network yanked from the schedule on Thursday, are bringing it down.

As for Fox, it’s been a rough start to the year for the network, whose only bright spots have been “Gotham” and the World Series.

http://www.medialifemagazine.com/net...vember-sweeps/
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TV Notes
Fox Orders Additional ‘Mindy Project’ Episodes
By Tony Maglio, TheWrap.com - Nov. 14, 2013

Fox has raised the “Mindy Project” season order by six episodes, totaling 21.

Season-to-date, “The Mindy Project” is averaging a 1.6/5 in the advertiser-sought adults 18-49 demographic, per Nielsen's “most current” ratings. That not-so-impressive number is offset by the sitcom's solid critical reception.

The Mindy Kaling sitcom pulls in 3.1 million viewers weekly.

Diving deeper into the Nielsen numbers, Fox boasts “Mindy” as a Top 5 live-action comedy among women 18-34. Additionally, the show has been seeing 30-day multiplatform lifts of up to 99 percent this season when compared to Live + Same Day numbers.

Last week, “Mindy” and its lead-in, “The New Girl,” saw lifts with new Tuesday primetime opener “MasterChef Junior.” This week, both comedies fell back down.

http://www.thewrap.com/mindy-project...o-21-episodes/
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TV Notes
BET's '106 & Park' is going digital-only
By Patrick Ryan, USA Today - Nov. 14, 2013

It's time for 106 & Park to face the music.

After 14 years, BET's music variety show is ending its on-air run and moving to digital-only, according to the network. Its final show will air Dec. 19 and begin streaming on BET.com in 2015.

Through the years, the daily hip-hop/R&B series has welcomed guests such as Janet Jackson, Michelle Obama, Rihanna, Justin Timberlake and Jamie Foxx to its New York studios. Park will continue airing specials on cable, including its annual New Year's Eve show and BET Awards coverage.

http://www.usatoday.com/story/life/t...only/19040877/
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TV Review
Hallmark’s ‘Northpole’
By Brian Lowry, Variety.com - Nov. 14, 2013

So the Northern Lights? Turns out they’re stoked by the happiness of children, creating magic snow that powers Santa and his elves’ toy-making efforts, which of course makes kids happy, creating a giant circle of retail. That, at least, is the reasonably clever but thinly developed conceit behind “Northpole,” a family movie making a pit-stop to kick off Hallmark Channel’s “Countdown to Christmas” before alighting on shelves at Walmart. Sweet and inoffensive, one needn’t be a complete Grinch to wish the festive doings contained a little more spice and less saccharine.

Actually, the best thing about the movie, strictly from an amusement factor, might be cameos by Robert Wagner and Jill St. John as Santa and Mrs. Claus, the former immersed in a flowing white mane and beard that more than anything resembles Charlton Heston’s Moses at the end of “The Ten Commandments.” Only here, it’s, “Thou shalt not squander any opportunity to begin cashing in on Christmas.”

At the center of it all is Kevin (Max Charles), a young boy having trouble adjusting to a new town, living with his single mom, Chelsea (Tiffani Thiessen), a reporter at the local newspaper. Kevin’s Christmas spirit, meanwhile, catches the far-away eye of Clementine (“The Fosters’” Bailee Madison), an elf who is very concerned about a diminishing of the Northern Lights that could reduce the output of magic snow, thus endangering the holidays.

“Where is it written a small elf can’t make a big difference?” she asks pluckily.

Certainly not in the script by Gregg Rossen and Brian Sawyer, which has Clementine whisking Kevin up to the Northpole (the aerial view looks more magical than what’s on the ground), trying to help her save the holiday. Kevin’s explanations about his absences concern his understandably skeptical mom, who is prickly with her kid’s warm and caring teacher (Josh Hopkins), even if the two exchange the kind of glances that suggest there’s going to be another stocking over the fireplace sometime soon.

OK, so there’s a formula here, and “Northpole” dutifully fills the pre-measured vials. Yet the warmth one feels at the end of such an exercise is generally equal to the impediments along the way, and as constructed, these are inordinately mild, down to Chelsea’s investigation of a businessman who appears to be putting the “Bah, humbug” into Christmas, perhaps with help from city officials.

Hallmark obviously knows its audience, and much like the radio stations that play nothing but holiday music starting before Thanksgiving, the fact the network is beginning its yuletide push two weeks prior to Turkey Day says something about the perceived appetite for Christmas cheer.

Yet those in search of that holiday glow might want to rummage through Santa’s existing bag of perennials first. “Northpole” may be harmless, yes, but it hardly sprinkles enough magic snow to supplant an umpteenth viewing of “A Christmas Carol” or “The Bishop’s Wife.”

Hallmark's 'Northpole'
Hallmark Channel, Sat. Nov. 15, 8 p.m.


http://variety.com/2014/tv/reviews/t...le-1201353627/
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TV Review
NBC's 'State of Affairs'
By Tim Goodman, The Hollywood Reporter - Nov. 14, 2013

Even though NBC touts on its website that State of Affairs marks Katherine Heigl's return to TV "in the role of a lifetime" — she's back on the small screen for the first time since Grey's Anatomy and a spotty film detour — the network really isn't doing her any other favors in support of the show.

For starters, State of Affairs has a crazy-late fall (or is it winter?) premiere, on Nov. 17, when most every other new show is well into its run. And, despite having plenty of time to provide critics with additional episodes, NBC has held fast with the pilot only.

A pilot that has generated no buzz. A pilot that is, at best, flawed, and, at worst, messy-bad.

In the battle of the "Is that supposed to be inspired by Hillary Clinton?" shows, CBS has already successfully launched Tea Leoni as a powerful secretary of state in Madam Secretary, while Heigl's role as influential CIA analyst Charleston Tucker (ugh, the name is not helping, either) leaves her, upon a full viewing, looking less Clintonesque and more Heiglesque.

Translation: State of Affairs is unapologetically a star vehicle for Heigl. She's glammed up constantly — undercut with nerdy glasses for effect here and there — and allowed to not only be someone whom the president has too much faith in, but also someone who knows how to have a good time when she's off the clock (hard drinking and random emotionless sex to loosen up!). In addition, Heigl gets to carry the double burdens of grief (her fiance was apparently killed by terrorists) and revenge (she basically has the one job in the world where she can single-handedly exact vengeance for his death). So: power, personal flaws, grief, a killer instinct — yep, this is a star vehicle.

And if you doubt that for even a second, Alfre Woodard plays the president in State of Affairs and she almost never feels as important as Heigl's character. (Woodard's President Payton trusts Heigl's Charleston Tucker not only because Tucker is an ace analyst but also because her son was Tucker's fiancé — boom, shocker).

The lack of additional episodes is definitely a cause for concern, coming as it does on the heels of State of Affairs losing its original showrunner — never ideal. If creator Alexi Hawley doesn't have the power to nudge NBC into proactive motion, you would think that executive producer Joe Carnahan — who does have the power, having directed and written a couple of episodes of NBC megahit The Blacklist while also serving as executive producer — might encourage the network to kick-start the kind of chatter necessary to launch a hit show these days. No matter how many NBC promos there are of Heigl telling Woodard with conviction that she's going to kill the terrorists responsible for her fiance's death, it's really not enough. State of Affairs remains, just days before it premieres, a series almost no one is talking about (and thus anticipating).

A boffo collection of extra episodes might have helped, of course. Unless what comes next is not, in fact, very boffo.

The pilot is not likely to set the hook. It opens with a surprisingly poor action sequence detailing how the president's son and Charleston's fiancé was killed. (The scene is shot several different ways since Charleston's shrink believes she's hiding something crucial about the chain of events — she is.) Outside of that claustrophobic and repetitive scene, the pilot spends a lot of time being Katherine Heigl's Star Vehicle — and a curse befalls all such entities. Why? Because star vehicles have to be — wait for it — all about the star, and thus have precious little time to introduce supporting characters, even if one of them is played by the magnificent Alfre Woodard. That's troubling. And, in this case, not as flattering as perhaps Heigl imagines.

The notion that powerful men plan counter-terrorism operations, watch them succeed with efficiency and then retreat to a life of over-the-top late-night antics to mask their pain is already a tired trope. That a woman is doing the same thing is, well, given so many recent examples of it, like The Honorable Woman, similarly unoriginal.

We certainly get lots of Heigl. The show opens on her (kind of hilariously, actually) shaking her head side-to-side as she talks to her her shrink. Then we see Charlie (see? The name, it just causes problems no matter how you use it) managing a young group of analysts who idolize her and her connection to the president. Charlie/Charleston and her team is tasked with putting together the President's Daily Briefing (PDB, people) of risks around the world. Then there's some drinking and wildness. Then there's some calm seriousness. Then drama and tears. Then some tough-talk badassery. All in the name of getting viewers to come back.

But we see Heigl in so many roles that we're cut off from seeing her be just one person, who does one thing very well, and who is riveting. In short, Charleston is no Raymond "Red" Reddington in The Blacklist. Whereas James Spader absolutely owns that role — he is the show, though it has improved with supporting characters — Heigl is perhaps one too many things in State of Affairs. She doesn't get to own and cultivate her personality a la Spader's Reddington because the show is too busy showing you what a star she is.

Of course, if we'd seen more episodes, who knows? And doesn't that make you wonder what NBC is really thinking?

'State of Affairs'
The Bottom Line: Kind of messy, actually. That's the state of affairs here.
Airtime: Mondays at 10 p.m. on NBC, beginning Nov. 17


http://www.hollywoodreporter.com/rev...-review-749118

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TV Notes
On TV, Christmas comes early
By Rob Owen, Pittsburgh Post-Gazette - Nov. 14, 2013

On some cable networks, it’s already beginning to look a lot like Christmas. And on Hallmark Channel, the holiday spirit has been in full swing since Halloween night.

For some viewers that might seem like pushing the season but ratings tell otherwise. The Nov. 1 debut of “One Starry Christmas” averaged more than 3.1 million viewers, giving Hallmark its highest-rated opening weekend holiday debut of all time and becoming the network’s top-rated movie of 2014 so far.

“The second we flip the switch and start showing holiday movies, the Christmas enthusiasts start watching and we see the benefit in the ratings,” said Hallmark executive vice president of programming Michelle Vicary. “It’s our highest-rated season of the year. If our audience didn’t demonstrate that in the ratings and weren’t enthusiastically tuning in all day long every day we wouldn’t do it. You get people saying, ‘Why start so early?’ but you get more people who watch and that’s who we take care of.”

Hallmark has 12 new Christmas cable movies this year, including this weekend’s premiere of “Northpole” (8 p.m. Saturday), which marks the first holiday movie created in collaboration with Hallmark Cards. Several objects featured in the film — a Northpole communicator, a magic snowball, a glowing “Find Me, Santa!” snowflake ornament — are available for purchase at Hallmark stores.

In “Northpole,” the home of Santa (Robert Wagner) and Mrs. Claus (Jill St. John) is powered by the magic of holiday happiness, but the lights start to dim when people around the world get too busy to celebrate leading the elf Clementine (Bailee Madison) to bond with 10-year-old Kevin (Max Charles), whose newspaper reporter mom (Tiffani Thiessen) is one of those stressed-out souls as she investigates the cancellation of the town tree lighting.

“Northpole 2,” again featuring Ms. Madison as Clementine the Elf, is already in development for 2015 and Hallmark has created a website for viewers to connect with this year’s film via social media at sharethehappiness.tv.

In addition to the 12 new movies — and loads of reruns of movies from years past — there are two original films on sister-network Hallmark Movies & Mysteries, including “Signed, Sealed Delivered for Christmas” (9 p.m. Nov. 23), based on the former Hallmark Channel series. How to differentiate the two networks?

“We celebrate the lighter aspects, the more fun and romantic celebration of the season on Hallmark Channel,” Ms. Vicary said. “On Hallmark Movies & Mysteries we tell more dramatic stories.”

Hallmark is not alone in an early start to Christmas TV. Cable’s upstart Up network, formerly Gospel music channel GMC, began its 50 days of Christmas programming Nov. 2 and this year will air nine original movies, including this weekend’s “Paper Angels” (7 p.m. Sunday) about an abused wife (Josie Bissett) who leaves her alcoholic husband and moves to a new town with her two kids where they are the beneficiaries of the Salvation Army Angel Tree program. The film was inspired by the country Christmas song of the same name by Jimmy Wayne, who performs two new songs for the film.

Sophia Kelley, Up senior vice president of programming, said this is Up’s third year of concentrated Christmas movies. New films include two British theatrical imports, 2009’s “Nativity” starring Martin Freeman (“Fargo”) and 2011’s “Nativity 2” starring David Tennant (“Broadchurch”).

In addition, Up has some residual elements from its past as GMC, including a two-hour music block 7-9 a.m. weekdays, which features all genres of Christmas music.

“The diversity of our casts in movies like ‘Marry Us for Christmas’ definitely sets Up apart from other networks,” Ms. Kelley said in a phone interview from the Up corporate office in Atlanta. “Marry Us for Christmas,” a sequel to last year’s “Marry Me for Christmas,” features a predominantly African-American cast, including actors Malinda Williams, Karon Riley and Victoria Rowell.

Food Network is getting in the spirit early, too: the six-episode “Holiday Baking Championship” debuted last weekend and continues to air new episodes at 9 p.m. Sunday with host Bobby Deen.

Other networks also will have plenty of Christmas movies over the next month-and-a-half but they’re not pushing the holiday quite so early. Ion, which airs locally on WINP (Channel 16), offers five new movies along with 18 holiday movies returning from years past. The first new movie, “A Christmas Mystery,” debuts at 9 p.m. Nov. 30.

Lifetime offers five new Christmas movies that begin airing later this month, including “Grumpy Cat’s Worst Christmas Ever” (9 p.m. Nov. 29) with Aubrey Plaza (“Parks and Recreation”) providing the voice of the lead feline.

ABC Family remains the most restrained of the cable networks: Its “25 Days of Christmas” doesn’t begin until Dec. 1.

The Post-Gazette’s annual round-up of Christmas programming will publish as it always does on the day after Thanksgiving, Nov. 28.

‘Godfather’ ratings

A&E may say fuggedaboutit to filming shows in Pittsburgh after its ratings experiences in 2014.

Scripted, filmed-in-Pittsburgh drama “Those Who Killed” bombed in its March premiere, drawing 1.4 million viewers, and now reality show “Godfather of Pittsburgh” debuted Monday in the same time slot with 491,000 viewers. A second airing brought the total viewership for the first episode to 837,000 viewers. The show did not make the Top 100 cable shows airing all day Monday for adults 18-49.

But there is a silver lining: “Godfather” costs a pittance to produce compared to a pricey scripted drama like “Those Who Kill.” And an A&E publicist pointed out “Godfather” retained 73 percent of its lead-in viewers; “Those Who Kill” held onto just 45 percent of its lead-in.

Time will tell whether more viewers come to “Godfather” or if it ends up like “Those Who Kill,” sleeping with the fishes.

Kept/Canceled

Should we take this as a sign that Fox has given up? The network is bringing back the game show “Are You Smarter Than a 5th Grader?” with host Jeff Foxworthy returning, too.

ABC Family renewed “Chasing Life” for a second season.

CNN renewed “This is Life with Lisa Ling,” “Somebody’s Gotta Do It with Mike Rowe” and “Anthony Bourdain Parts Unknown.”

USA renewed “Graceland” for a third season. MTV2 ordered new seasons of “Nick Cannon Presents: Wild ’N Out” and “Guy Code.”

Showtime renewed “Homeland” for a fifth season and “The Affair” for a second season this week.

AMC renewed “Hell on Wheels” for a fifth and final season that will be spread over 14 episodes with half airing in summer 2015 and the other half in summer 2016.

ABC renewed “Forever” for a full, 22-episode first season but the network opted to end comedy “Selfie,” which will not continue beyond its initial 13-episode order.

TNT canceled legal show “Franklin & Bash” after four seasons.

The beginning of the end is here for Fox’s low-rated “Mulaney,” which gets downgraded to 7:30 p.m. Sunday beginning Nov. 23, per Deadline.com. “Bob’s Burgers” will move to 9:30 p.m. Sunday.

Steelers pre-emption on WTAE

Channel 4 will carry ESPN’s “Monday Night Football” at 8:30 p.m. Monday following a local “Black & Gold Primetime” special (7 p.m.).

Monday’s “Dancing With the Stars” will air at 1 a.m. Tuesday and “Castle” will air at 1 a.m. Wednesday on WTAE.

Channel surfing

NBC’s “The Sing-Off” returns as a one-off special 9-11 p.m. Dec. 17 with Nick Lachey once again hosting the a cappella music competition that will feature six new groups competing. … Jon Stewart will promote his directorial debut film “Rosewater” tonight at 8 on Fox News Channel’s “The O’Reilly Factor.” ... The second season of BBC America’s “Atlantis” debuts at 9 p.m. Saturday. … For 2015 Starz will make a 10-episode, half-hour TV series, “Ash vs. Evil Dead,” based on “The Evil Dead” movie with actor Bruce Campbell slated to reprise his role as Ash and Sam Raimi directing the series premiere. … Poker celebrities Phil Hellmuth, Huck Seed, Gavin Smith, Greg Mueller and actress Jennifer Tilly arrived at Pittsburgh’s Rivers Casino this week to compete in a celebrity cash game taped Thursday and again today for CBS Sports Network’s “Poker Night in America.”

http://www.post-gazette.com/ae/tv-ra...s/201411140008
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TV/Business Notes
Court Says Pay TV Programmers Can Keep Contracts Under Wraps, For Now
By David Lieberman, Deadline.com - Nov. 14, 2013

CBS, Disney, Discovery, Time Warner, Fox, Viacom, Univision and other programmers will have their day in court to block an FCC order that could give outsiders a peek at the terms of their top-secret deals with pay-TV distributors. At issue is whether entities challenging Comcast’s proposed acquisition of Time Warner Cable and AT&T’s purchase of DirecTV should be able to see – under controlled circumstances – the terms of the companies’ network carriage deals. Programmers opposed saying that the information is private and, if opened to others, could weaken their leverage to negotiate future agreements. But the FCC approved a disclosure order this week supporting the conclusion of its Media Bureau that the information “is central to some of the most significant and contested issues pending in these transactions.”

Programmers took the matter to the U.S. Court of Appeals in D.C., which today temporarily stayed the ruling to give it “sufficient opportunity to consider the merits” of the arguments. The FCC has to file a response by midday Monday, and programmers can answer back on Wednesday.

The FCC order would limit the information to what the Media Bureau referred to as “a very restricted category of people” that would not include “any individual who participates in the negotiation of programming contracts.” They would not be able to access the information remotely and would have to agree that it “can be used only for purposes of the proceeding.” When it’s over, they’d have to certify that they had destroyed it “subject to criminal penalties.”

The Media Bureau noted that the programming information provides “what is likely the best evidence available” to determine how the mega-mergers might affect programming and prices.

The FCC’s two Republican members, Ajit Pai and Michael O’Rielly, dissented. The content producers “are not parties to the transactions and their rights cannot and should not be trampled over for some ulterior political goal,” O’Rielly said. “This bell cannot be unrung. To me, this appears to be more of a fishing expedition by interests groups and competitors to obtain market sensitive information.”

http://deadline.com/2014/11/court-st...ts-1201284657/
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