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Discussion Starter #36,501
Nielsen Overnights (Broadcast)
TV Ratings: ABC Game Shows Lap NASCAR
By Rick Porter, The Hollywood Reporter - Jun. 15, 2020

A weather-delayed NASCAR race that pushed into primetime gave Fox a bigger-than-usual audience for a summer Sunday, but it fell a good bit short of ABC's game-show lineup, which carried the network to a victory among adults 18-49. CBS' 60 Minutes kept its spot as the night's most-watched show.

Celebrity Family Feud grabbed the top 18-49 rating of the night on the broadcast networks, scoring a 0.8 in the demo along with 5.25 million viewers on ABC. Its numbers were down a little bit from a week ago, but both Press Your Luck (0.7, 3.92 million) and Match Game (0.6, 3.55 million) improved a little bit.

Following a three-hour weather delay, Fox's NASCAR coverage averaged 2.48 million viewers and a 0.4 in adults 18-49 in primetime. Those numbers will likely change some in the final ratings with adjustments for the live broadcast.

At CBS, 60 Minutes averaged 7.8 million viewers at 7 p.m., on par with last week and topping the night in viewers. It drew a 0.7 in the 18-49 demo. A repeat hour of the newsmagazine at 8 p.m. was second in viewers for the night with 5.69 million.

Hollywood Game Night earned a modest 0.2 in adults 18-49 and 1.58 million viewers on NBC, down a little from its premiere last week.

ABC's 0.7 average among adults 18-49 led primetime on the broadcast nets. CBS finished second with a 0.5, just ahead of Fox's 0.4 (pending updates for Fox). NBC, Telemundo and Univision all tied at 0.3. The CW averaged 0.1 with a pair of reruns.

https://www.hollywoodreporter.com/live-feed/press-your-luck-nascar-tv-ratings-sunday-june-14-2020-1298406
 

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TV/Awards Notes
Drake leads BET Award nominations, show to make its network debut on CBS
By Rosy Cordero, EW.com - Jun. 15, 2020

Drake is leading the pack of 2020 BET Award nominations announced on Monday, with a total of six possibilities to go home a winner. The rapper's nominations include Best Male Hip-Hop Artist, Best Collaboration for his song with Chris Brown titled "No Guidance" and his song with Future titled "Life is Good," and Video of the Year also for his Brown collab.

The ceremony's 20th-anniversary celebration will be hosted by Amanda Seales and will air simultaneously via ViacomCBS networks and, for the first time ever, on CBS in its national broadcast premiere on June 28 starting at 8 p.m. ET/PT. The BET Awards will also honor talent in television, film, and sports.

Trailing closely behind Drake are Megan Thee Stallion and Roddy Rich, both earning five nominations each.

See the full list of nominees for the 2020 BET Awards below. [CLICK LINK]

https://ew.com/awards/2020-bet-award-nominations/
 

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TV/Health Notes (Broadcast)
‘Bold and the Beautiful’ to Resume Production With COVID-19 Coordinator Overseeing Safety
By William Earl, Variety.com - Jun. 15, 2020

Long-running CBS soap “The Bold and the Beautiful” is the first major series to resume filming since the COVID-19 pandemic, and will be returning with several new safety precautions.

There will be an on-set coordinator who will oversee safety for the cast and crew, as well as several precautions: cast and crew will be required to wear masks when they’re not on camera, scripts are being rewritten in order to allow for staggering the amount of people on set, and everyone involved will be regularly tested.

The first round of tests were taken June 15 as the first step towards pre-production, with filming set to resume on Wednesday, June 17, at Television City. With this schedule, the first round of episodes could air in July. Production shut down mid-March, and after the last new episode ran on April 23, the series has been running classic reruns to satisfy fans.

The safety guidelines fall in line with LA County and the City of Los Angeles requirements, and have been approved by the guilds and Television City owner Hackman Capital Partners.

“The Bold and the Beautiful” has been on the air since 1987, and was renewed in May through 2022.

“I am thrilled to dive into years 34 and 35 of ‘The Bold and the Beautiful,'” executive producer Bradley Bell said of the renewal. “We are grateful to Amy Reisenbach and everyone at CBS for their incredible commitment to the series. Of course, many thanks to our loyal fans who motivate us every day with their unending passion and enthusiasm.”

Deadline was the first to report the story.

https://variety.com/2020/tv/news/the-bold-and-the-beautiful-resume-filming-coronavirus-1234636705/
 

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TV Notes (Cable)
USA Network Orders Season Four of ‘The Sinner’
By Michael Malone, NextTV.com - Jun. 15, 2020

USA Network has ordered season four of drama The Sinner, which is slated to return in 2021. Bill Pullman reprises his role as Detective Harry Ambrose. Derek Simonds returns as showrunner and executive producer. Jessica Biel, Michelle Purple and Charlie Gogolak also executive produce.

UCP produces The Sinner. Each season sees Ambrose dig into an intriguing local crime investigation. Biel starred in season one.

“The Sinner has struck a chord with audiences with its signature ‘whydunnit’ style,” said Chris McCumber, president, USA Network & Syfy. “In season four, we’re excited to dig even deeper into the psyche of Bill Pullman’s beloved Detective Ambrose character, while introducing our audience to a compelling, completely new mystery.”

https://www.nexttv.com/news/usa-network-orders-season-four-of-the-sinner
 

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Discussion Starter #36,505 (Edited)
TV/Critic's Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 16, 2020

WHAT SHE SAID: THE ART OF PAULINE KAEL
Movies On Demand, 3:00 a.m. ET
MOVIE PREMIERE:
This documentary is about one of the premier film critics at a time when the movies arguably were at their most expressive and experimental. Pauline Kael had a bestselling collection of essays and reviews of films, and wrote from her powerful perch at The New Yorker for a generation, rhapsodizing and arguing at length about Bonnie and Clyde, Last Tango in Paris, and Nashville, to name just a few of her influential reviews from the 1960s and 1970s. I was impressed and influenced by her when I was a young reader and writer, but never knew anything about her personal history at the time. And hardly any of it, really, until now, which makes this new documentary particularly appealing to me. But even if you’re not interested in critics (Hey! Be nice!) or Kael, the movies covered in What She Said are worth the time here, in this nonfiction film by Rob Garver.

AMERICAN MASTERS: "MAE WEST: DIRTY BLONDE"
PBS, 8:00 p.m. ET

This new American Masters documentary could be a few notches more insightful – anyone watching the documentary, in this current age, may well ask some questions this program never does, about whether Mae West’s predatory sexual on-screen persona is any more laudable for being a gender-reversal on typical bedroom and boardroom lotharios. But as a stage and screen pioneer, especially in the days just prior to the stifling Hollywood production code, West stands alone, and confident – as quotable and irreverent, in her way, as Groucho Marx. Dirty Blonde examines that evolution, and revolution, in a way that should be eye-opening to younger viewers who are relatively unfamiliar with her work and legacy. Check local listings.

FRONTLINE: "THE VIRUS: WHAT WENT WRONG?"
PBS, 9:30 p.m. ET

A lot. And this new Frontline documentary deconstructs the history to answer that question. It’s a question Frontline poses in the past tense, but the going wrong is still very much with us – which makes this particular era, like this particular documentary, a present tense experience. Check local listings.

ONE DAY AT A TIME ANIMATED SPECIAL
Pop, 9:30 p.m. ET
SPECIAL PREMIERE:
What to do when you have a finished script for a show, but can’t gather the cast, in this socially distanced period in time, to film it? Some shows have staged remote, Zoom-meeting-type table reads, letting actors recite their lines as though performing in a radio play. Tonight’s One Day At a Time Animated Special takes another approach: It has the cast of One Day recording its scripted lines, as in a radio play, but then fleshes out that soundtrack by animating it and presenting the episode as a special cartoon. Well, “fleshing out” is the wrong term. A more accurate one, since it’s animated, would be “Cel-ing out”… but that sounds worse, at least if said aloud.


http://www.tvworthwatching.com/

* * * *

TV Review (Broadcast)
PBS' 'Frontline' Asks 'The Virus: What Went Wrong' and the Answer Won't Surprise You
By Alex Strachan, TVWorthWatching.com's 'TV That Matters' - Jun. 15, 2020

To know a thing might not be to own a thing exactly, but knowledge goes a long way toward understanding.

No one wants to watch a program about COVID-19, not now, but Tuesday's sober, authoritative PBS Frontline program The Virus: What Went Wrong will be welcome viewing for anyone looking for perspective — and reason over emotion.

The expanded, hour-and-a-half program is the work of longtime Frontline correspondent and producer Martin Smith, fresh off an assignment in Iraq and Iran. You know, the easy countries.

The Virus: What Went Wrong opens with New Year's Eve midnight celebrations at New York's Times Square, when hope and optimism filled the air — and I, myself, distinctly recall one partygoer shouting that she was happy to see the back end of 2019: 2020 could only be better.

Mere weeks later, correspondent Smith returned from the Middle East to the early signs of a new coronavirus. Already this one showed the signs of being more than just seasonal flu. "As a caution," Smith notes at the opening of the program, "I decided to quarantine in the Catskill Mountains, two hours north of New York City. I would do my reporting from here.

"I wanted to understand where we were headed. Were we prepared; were warnings being heeded?"

One of his first videoconferencing calls — an early introduction to Zoom, if you will — was to Dr. David Ho, a renowned HIV researcher, virologist, and director and CEO of the Aaron Diamond AIDS Research Center, who Smith had worked with on a previous assignment when he was reporting on the AIDS epidemic.

"You don't look too worse for wear," Smith tells him, breaking the ice.

"I'm just putting up a good front here," Dr. Ho replies, deadpan.

And so, it begins.

Dr. Ho was on the front line — pun unintended — of the SARS outbreak in 2003, and now he was worried about COVID-19.

Smith asks Dr. Ho if he believes people grasp how serious the situation is, a question that would probably better be asked of certain national leaders. But then they weren't taking questions.
"I think people hear the news," Dr. Ho replies quietly. "They watch the coverage. But…it's hard to fully comprehend."

Fast-forward three months and, given what many scientists worry is an overly rapid lifting of lockdown restrictions, and it's clear many people still haven't fully comprehended.

"We did not realize the government would be so fully unprepared," he continues, favoring understatement over hyperbole.

So, Smith wants to know: What really happened? And why?

Those are the unanswerables people-in-the-know are still grappling with. It's hard to step back, gain proper perspective, and figure out ways we might be better prepared next time when we're still mired in the middle of a pandemic.

"There was a false assumption that it was somebody else's problem, that it would not happen to us," Dr. Ho reasons. "But that's the same kind of attitude that people had about many other epidemics in the past. We knew that if this thing blew up, that it would just continue to spread."

The first case was identified on Nov. 17, 2019, in Wuhan, China. There have been recent news reports — not mentioned in the Frontline program, based on an early preview screening — that Chinese authorities may have been aware of the new coronavirus as early as August.

The World Health Organization doesn't come away clean, in Smith's estimation. The WHO was well-intended, but they didn't ask the tough questions of Chinese authorities at the time. No one, certainly no one in China, wanted to spoil the Lunar New Year festivities.

The Frontline program itself changes tone at this point and becomes a political thriller more than a cautionary medical tale about a looming pandemic. A steady stream of government officials and state leaders delay, deny, and obfuscate, and scientists, for the most part, are belittled and ignored. The question asked of national leaders becomes: What did they not know, and when did they claim not to know it?

The counsel of Dr. Ho and other scientists is that viruses work exponentially — doubling, tripling, and quadrupling in a matter of days — and, of course, that counsel was assiduously ignored. From here, The Virus: What Went Wrong accelerates, like an express train.

"Even if all you have is four cases, that is a dangerous moment," one researcher in-the-know tells Smith.

Try telling that to decision-makers who don't believe in science or math.

Frontline goes inside Singapore, Taiwan, Japan, Vietnam, and South Korea, the countries that took the opposite tack and tackled COVID-19 full-on, with strict lockdowns and widespread "deep cleans."

There are statistics, and then there are numbers that truly take the breath away: South Korea managed to test as many people in a week, Frontline reports, as would ordinarily take a year. Though not mentioned in so many words in the program, that's because South Korea is a country that has always poured resources into state education — and belief in science.

The US, like Russia, is geographically vast, with many disparate, far-flung, widely differing regions. State governors are possibly better positioned to deal with a pandemic outbreak within their own boundaries than a federal government with legislative oversight over every region from California to the Catskills.

That said, the federal government was slow to enact widespread testing; the one area the federal government is best positioned to act on.

Frontline then takes a look at Iran — a society anchored in religion and national pride — that does the exact opposite of what South Korea, Singapore, and the Southeast Asian countries did, with predictable and catastrophic results.

Archival video of then-President Barack Obama explaining the value of financing virus research is a reminder that it didn't need to be this way: South Korea's reaction was lightning fast, where the US's reaction under the present US administration was sluggish and slow.

The US was not alone, mind you. Italy was also slow to react (left), and we can see what happened there. To date, 33,000 Italians have died from coronavirus. The number in the US is higher: 110,000 by most recent estimates. Positive messaging can only go so far: Science doesn't care about messaging, and viruses don't respect borders.

The Virus: What Went Wrong is not an easy watch. That was never its intention. Frontline has always been rooted in the idea that it's better to tell viewers what they need to know, not what they want to hear. Tuesday's Frontline is no entertainment diversion.

If you're curious, though, if you want to know what happened exactly, when, where, and in what order, this is TV worth watching.

PBS Frontline: The Virus, What Went Wrong airs Tuesday at 9:30 p.m. ET on PBS and YouTube, and streams on pbs.org at 7 p.m. ET (check local listings).

http://www.tvworthwatching.com/BlogPostDetails.aspx?postId=20210
 

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Discussion Starter #36,506 (Edited)
TV Review (Cable)
'Perry Mason' (HBO)
By Daniel Fienberg, The Hollywood Reporter - Jun. 16, 2020

Quibbling over necessity is a trap I periodically fall into as a critic. Did Archie Andrews and Norman Bates and that guy from Taken NEED gritty reboots and origin stories? Depending on whom you ask, the answers seem to be: "Young viewers think so," "Actually yes" and "Heck no."

Did Perry Mason NEED a gritty reboot and origin story?

After watching the eight-episode first season of HBO's new Perry Mason, I still can't deliver a clear verdict. With a strong lead performance by Matthew Rhys, an ensemble to die for and impeccable Depression era production values, the show makes a solid case for itself without ever exactly giving a compelling answer as to why, of all the available IP in the world, this was the brand anybody wanted to mine.

Originally a pugnacious defense attorney created on the page by Erle Stanley Gardner in 1933, the title character has since been adapted for the radio and made into an iconic TV series and telefilm role embodied by Raymond Burr. But Perry Mason has never really been a character. He's never had a backstory or a home life. He's a lawyer who wins cases by getting witness-stand confessions. So series creators Rolin Jones and Ron Fitzgerald have a lot of latitude; other than offering some familiar character names and the occasional Easter egg, they run free.

Set in Los Angeles in 1931, the show posits Perry Mason (Rhys) as a hard-drinking private investigator living on his family's dilapidated dairy farm in the San Fernando Valley. Haunted, but really for only one episode, by memories of his actions in the Great War, Perry performs shamus duties for defense attorney E.B. Jonathan (John Lithgow). Perry, fellow PI Pete Strickland (Shea Whigham) and Jonathan's Gal Friday, Della Street (Juliet Rylance), are enlisted to poke around in a horrible kidnapping case involving a dead baby and suspicions levied against both parents (Nate Corddry and Gayle Rankin).

The gory crime, with the body discovered on L.A.'s famous Angels Flight funicular, captures headlines, especially when the Radiant Assembly of God evangelical church, overseen by Sister Alice (Tatiana Maslany) and her stern mother Birdy (Lili Taylor), becomes involved.

Although he eventually begins to resemble the Perry Mason TV fans once loved, this Perry spends a long time as a quintessential hard-boiled gumshoe, tracing clues that almost inevitably put him in a position to be beaten senseless, only to keep going, bruised but emboldened by whiskey.

In these early episodes, the character is more reminiscent of a Sam Spade or a Philip Marlowe, both figures with far more literary definition than Perry Mason — raising the question of why, if the lure was just a marketable brand, this show wasn't built around one of them. Or why, if Jones and Fitzgerald wanted to mine elements of early Los Angeles history and corrupt policing (a dirty officer killing a suspect by standing on his throat hits far closer to home than anybody could have anticipated), this wasn't a chance for a James Ellroy omnibus series.

My favorite character in the show might be Paul Drake (Chris Chalk), depicted as a Black cop realizing that the disrespect directed at his community outweighs the respect generated by his badge. But everything I liked there could have been better served by bringing Walter Mosley's Easy Rawlins to TV, rather than limiting exploration of racial dynamics to a C-storyline.

Perry Mason generally seems inspired by many different indelible characters and franchises, but until the last couple episodes, it barely feels like Perry Mason at all, whatever Perry Mason even feels like. So it just becomes a name, and that's confusing since that name means nothing to a younger audience, while the deviations from formula here will irk (older) viewers for whom Barbara Hale is the only true Della Street.

Not having a clear sense of who or what Perry Mason and Perry Mason are gives the creators a less-than-convincing filter through which to view the aspects of L.A. history they're obviously curious about — whether it's land grabs tied to the 1932 Olympics, a burgeoning movie industry or the real story of radio evangelist Aimee Semple McPherson. Consequently, the effectiveness of those elements in the season-spanning mystery is diminished, as is the brand's effort to elevate itself from the effective procedural potboiler it once was to the prestige series HBO wants.

All that said, Perry Mason generally avoids feeling like an assembly line Cable Anti-Hero: Great Depression Edition. Much of the credit goes to Rhys, in a role once intended for Robert Downey Jr. A matryoshka doll of repression and discontent on The Americans, he alternates between a similar internalized torment and volcanic bursts of passion (which tend to bring out Rhys' Welshness, not that anybody is likely to complain). Rhys parries well with a properly tough-as-nails Rylance as a proto-feminist Della, and has interesting chemistry with Veronica Falcón, offering a husky authenticity as an aviator who represents the show's only acknowledgement of L.A.'s Latino culture.

Lithgow, Whigham and Stephen Root, as an ambitious district attorney, excel from behind wiry period mustaches, while Robert Patrick, as a shady businessman, and Eric Lange and Andrew Howard, as shady cops, lurk and smirk with menace. The show isn't quite as generous when it comes to its female characters, though Maslany plays Sister Alice as properly inscrutable and Rankin, initially unrecognizable as Sheila the She-Wolf from GLOW, gives the series its vulnerable heart.

Directors Tim Van Patten, flexing muscles from his Boardwalk Empire tenure, and Deniz Gamze Ergüven (Mustang) nurture the performances, at the same time relishing eye-popping period tableaus. Whether it's the way floodlights break around Maslany's Jean Harlow-blonde locks, the threaded texture of Paul Drake's peacoat or harrowing footage of Perry in the WWI trenches — surprisingly ambitious for sequences that amount to five minutes of screen time — cinematographer David Franco, production designer John Goldsmith and costumer Emma Potter are all in top form. Enhancing the atmosphere is a brassy score by Terence Blanchard, almost good enough to make you not miss Fred Steiner's legendary theme.

Maybe shades of that theme will play a role in future seasons if Perry Mason settles into something more Perry Mason-esque. With the origin story nobody needed out of the way, the elements are in place.

'Perry Mason'
Airs Sundays at 9 p.m. ET/PT on HBO, premiering June 21
The Bottom Line: Tremendous production values and cast, but why call it 'Perry Mason' at all?


https://www.hollywoodreporter.com/review/perry-mason-review-1298230
 

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TV Sports/Critic's Notes
Sideline reporters may reshape TV at games without fans
By Andrew Marchand, New York Post - Jun. 14, 2020

With sports slowly trickling back amid COVID-19, the future role of sideline reporters is paradoxical. With the potential limiting of personnel at stadiums, networks may have to make choices about who is at venues. At first glance, you might think that sideline reporters wouldn’t make the cut.

However, none other than Tafoya’s NBC colleague Al Michaels and TNT’s Marv Albert pretty much told The Post recently that sideline reporters are essential workers for these broadcasts. While it is possible that play-by-players and analysts won’t be at some events, the sidelines may still have reporters.

https://nypost.com/2020/06/14/sideline-reporters-may-help-reshape-tv-at-games-without-fans/
Sideline reporter? Essential? I would *never* put those words in the same sentence.

s/essential/unnecessary/
 

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TV Notes
On The Air
TUESDAY JUN. 9, 2020 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

ABC:
8PM - Let It Fall: Los Angeles 1982-1992 (2017 Documentary, 120 min.)
10PM - The Genetic Detective
* * * *
11:35PM - Jimmy Kimmel Live! (Mark Ruffalo)
12:06AM - Nightline
12:37AM - Jimmy Kimmel Live! (Mark Ruffalo)
(R)

CBS:
8PM - NCIS
(R)
9PM - FBI
(R)
10PM - FBI: Most Wanted
(R)
* * *
11:35PM - The Late Show With Stephen Colbert (TV personality Hasan Minhaj; Jason Isbell and the 400 Unit perform)
12:37AM - The Late Late Show With James Corden (Kevin Bacon; Rita Wilson performs)

NBC:
8PM - America's Got Talent (120 min.)
10:01PM - World of Dance
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Gwyneth Paltrow; Zachary Quinto; Alec Benjamin performs)
12:37AM - Late Night With Seth Meyers (Sen. Bernie Sanders (I-Vt.); Black Pumas perform)
1:38AM - A Little Late With Lilly Singh (Chrissy Metz; comic Marlena Rodriguez)
(R)

FOX:
8PM - Hell's Kitchen
9PM - Gordon Ramsay's 24 Hours to Hell and Back

THE CW:
8PM - DC's Stargirl
9PM - Marina Franklin: Single Black Female (Stand-Up Special)
(R)

PBS:
8PM - American Masters - Mae West: Dirty Blonde (90 min.)
9:30PM - Frontline - The Virus: What Went Wrong? (90 min.)

UNIVISION:
8PM - Te Doy La Vida
9PM - Amor Eterno
10PM - Como Tú No Hay Dos

TELEMUNDO:
8PM - Cennet
9PM - 100 Días Para Enamorarnos
10PM - La Reina del Sur 2: Edición Especial

ESPN 2:
6PM - NBA2K League: The Tipoff Tournament, Day 1 (6 hrs., LIVE)

BRAVO:
8PM - Vanderpump Rules: Reunion Part 3
9PM - Million Dollar Listing Los Angeles (Season Premiere, 75 min.)
10:15PM - Watch What Happens Live With Andy Cohen (Jimmy Buffett; Debra Messing)

ESPN:
8PM - Boxing: Joshua Greer Jr. vs. Mike Plania (3 hrs., LIVE)

MTV:
8PM - Siesta Key (54 min.)

VH1:
8PM - Nick Cannon Presents: Wild 'n Out (Tommy Davidson; DDG)

HISTORY:
9PM - Lost Gold of World War II (Season Finale, 125 min.)

NAT GEO:
9PM - Drain the Oceans: The Last Wrecks of WWII (63 min.)
10:03PM - Stonehenge Decoded: New Discoveries (Special)

OWN:
9PM - Greenleaf
10PM - If Loving You Is Wrong

TLC:
9PM - Outdaughtered
10PM - Sweet Home Sextuplets (Season Premiere, 62 min.)

POP/TVLAND:
9:30PM - One Day at a Time: The Politics Episode

TRUTV:
10PM - Tirdy Works

USA:
10PM - Dirty John

TBS:
11PM - Conan (Comic W. Kamau Bell)
(R)

COMEDY CENTRAL:
11PM - The Daily Show With Trevor Noah: The Daily Social Distancing Show - Jun. 16, 2020 (45 min.)


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

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TV Notes (Broadcast)
Manifest Renewed for Season 3 at NBC
By Keisha Hatchett, TVGuide.com - Jun. 15, 2020
Great news.
 

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Sideline reporter? Essential? I would *never* put those words in the same sentence.
We never wouldve known joe namath wanted to kiss suzy kolber then.
 

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TV Notes (Broadcast)
CW Moves Up Coroner, Tell Me a Story Premieres to Summer
By Michael Ausiello, TVLine.com - Jun. 16, 2020

Canadian drama Coroner and CBS All Access castoff Tell Me a Story will make their CW debuts earlier than planned. Originally pegged to bow in the fall, the two series — which were among a handful of acquisitions The CW made in an effort to pandemic-proof its schedule — will now premiere this summer.

Coroner will launch on Wednesday, August 5 at 9/8c, with new episodes from the procedural’s first two seasons airing well into fall. Tell Me a Story, meanwhile, will kick off its two-season CW run on Tuesday, July 28 at 9/8c; new episodes will also air well into fall. (Here’s a snapshot of The CW’s fall schedule.)

Another CW acquisition, the UK comedy Dead Pixels, is set to debut on Tuesday, Aug. 18 at 8/7c.

The CW also announced Tuesday that it has acquired four reality series to help shore up its summer lineup. They include the horror whodunnit competition Killer Camp (July 16), the docuseries Being Reuben (August 7), the comedy panel game show Taskmaster (August 2) and the family-centric cooking competition Fridge Wars (also Aug. 2).

Scroll down for a glimpse at The CW’s late summer schedule (the net’s early summer sked can be found here):

THURSDAY, JULY 16
8:00-9:00pm Killer Camp (Series Premiere)

TUESDAY, JULY 28
8:00-9:00pm DC’s Stargirl (Original Episode)
9:00-10:00pm Tell Me a Story (Series Premiere)

SUNDAY, AUGUST 2
8:00-9:00pm Taskmaster (Series Premiere)
9:00-10:00pm Fridge Wars (Series Premiere)

WEDNESDAY, AUGUST 5
8:00-9:00pm The 100 (Original Episode)
9:00-10:00pm Coroner (Series Premiere)

FRIDAY, AUGUST 7
8:00-8:30pm Masters of Illusion (Original Episode)
8:30-9:00pm Masters of Illusion (Encore Episode)
9:00-9:30pm Being Reuben (Series Premiere)
9:30-10:00pm Being Reuben (Original Episode)

TUESDAY, AUGUST 18
8:00-8:30pm Dead Pixels (Series Premiere)
8:30-9:00pm Dead Pixels (Original Episode)
9:00-10:00pm Tell Me a Story (Original Episode)

https://tvline.com/2020/06/16/the-cw-summer-schedule-coroner-premiere-date/
 

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Nielsen Notes
Syndication Ratings: Daytime Decimated by Preemptions
By Paige Albiniak, Broadcasting & Cable - Jun. 16, 2020

Daytime was a disaster for many shows in the week ended June 7, which included massive preemptions for coverage of the George Floyd memorial in Minneapolis on June 4. Declining levels of people using television, warmer weather and cities reopening all contributed to low ratings in a week that saw many shows hit series and season lows.

Among all 14 talkers, only one strip improved: Disney’s Live with Kelly and Ryan, which retook first place with a 5% advance to a 2.0 live plus same day national household rating, according to Nielsen Media Research. Among daytime’s key demographic of women 25-54, Live also led with a 0.9, a 13% increase from the prior week.

CBS Television Distribution’s Dr. Phil, which had led the category for the prior three weeks, tumbled 25% to a new series-low 1.5. Phil was in reruns on two of the five days and, like most daytime talkers, was repeatedly raked with preemptions, most extensively on June 4.

Warner Bros.’ Ellen DeGeneres also fell to a new series low, deteriorating 14% to a 1.2.

NBCU’s Maury eroded 8% to a new series-low 1.0, tying CTD’s Rachael Ray, which held steady for a fourth straight week. NBCU’s Steve Wilkos, Debmar-Mercury’s Wendy Williams and Sony Pictures Television’s Dr. Oz all stayed at a 0.9, 0.8 and 0.7, respectively, with all three tying their season lows. Warner Bros.’ The Real retreated 20% to a new season-low 0.4, tying CTD’s The Doctors, which was stable at its series low for the third straight week. NBCU’s out-of-production syndication run of Jerry Springer stood pat at a 0.3.

Among the rookie talkers, NBCU’s Kelly Clarkson fell back 20% to a new season-low 0.8, tying Disney’s Tamron Hall, which fell back 11% to also slump to a new season low.

Clarkson was in repeats on four of the five days, while Hall was in repeats every day of the week. Both shows, which are both returning for their second seasons, saw their primary runs preempted in Los Angeles all week long.

SPT’s Mel Robbins, which is nearing the end of its one-year run, also fell to a new season low, sinking 25% to a 0.3.

Similarly, none of the court shows improved. CTD’s Judge Judy, in repeats for the week, pulled back 7% to a 5.4, matching its season low. CTD’s Hot Bench relinquished 5% to a 1.9 with reruns on four of the five days. Warner Bros.’ People’s Court slid 7% to a 1.3, while its Judge Mathis moved down 11% to a 0.8, matching its series low. Fox’s Divorce Court fell 14% to a 0.6, tying its season low. Debmar-Mercury’s Caught in Providence matched its series low 0.4 for the second straight week.

Among the rookie courts, NBCU’s Judge Jerry was unchanged at a 0.8. MGM/Orion’s Personal Injury Court and Trifecta’s Protection Court both remained at a 0.4 and a 0.3, respectively.

Magazines were syndication’s most resilient genre with every show steady to higher.

CTD’s Inside Edition and sister show Entertainment Tonight led the category with Inside Edition adding 4% from the prior frame to a 2.6. Entertainment Tonight climbed 9% to a 2.5 in households.

NBCU’s Access Hollywood and Warner Bros.’ TMZ held their ground at a 1.2 and 1.0, respectively. Warner Bros.’ Extra grew the most in households of the top six gaining 13% to a 0.9. CTD’s DailyMailTV stayed put at a 0.8. Trifecta’s Celebrity Page rebounded from a series-low 0.1 to a 0.2.

CTD’s Jeopardy! inched up 2% to a 5.9 to retake the game lead from Debmar-Mercury’s Family Feud, which faded 6% to a second-place 5.8. CTD’s Wheel of Fortune was flat at a 5.5.

Entertainment Studios’ Funny You Should Ask responded with a 0.5 for the fourth consecutive week.

Among the new game shows, Fox’s 25 Words or Less lost 9% to a 1.0, while SPT’s off-GSN America Says, which will end its run after this season, stayed put at a 0.8 for the fourth straight week.

Disney’s internet video show RightThisMinute stayed at a 0.7 for a second straight week, matching its series low.

In off-net crime-time, NBCU’s Dateline delivered a season-low 0.9 for the second straight week, tying SPT’s off-A&E Live PD Police Patrol. Last week, A&E canceled the show from which Live PD Police Patrol is spun off, Live PD, for content reasons in the wake of nationwide protests against police brutality.

NBCU’s scripted procedural Chicago PD also was flat-footed at a 0.9.

Warner Bros.’ The Big Bang Theory slipped 3% to a 2.9. Disney’s Last Man Standing stepped up 5% to a 2.1. Warner Bros.’ Two and a Half Men motored ahead 17% to a 1.4. Disney’s Modern Family remained at its series-low 1.3 for a second straight week. Disney’s Family Guy grew 10% to a 1.1. SPT’s The Goldbergs gave back 9% to fall to a new series-low 1.0, tying SPT’s Seinfeld, which was steady. Warner Bros.’ Mom and Disney’s Black-ish both broke even at a 0.9, while Warner Bros.’ Mike & Molly and 2 Broke Girls each eased 11% to a 0.8.

https://www.nexttv.com/news/syndication-ratings-daytime-decimated-by-preemptions
 

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Technology Notes (Mobile)
T-Mobile explains why its network went down, hard, on Monday
By Sean Hollister, TheVerge.com - Jun. 17, 2020

If you’ve been wondering what could knock out one of the United States’ three big cellular carriers’ ability to deliver calls and text messages — and keep it that way for most of an entire day — T-Mobile now has a partial answer that pertains to its extensive nationwide outage Monday.

The short version, if we’re reading this correctly: a fiber-optic circuit failed, and its backup circuit also failed, which caused a chain reaction that strained the network to the point that many calls and texts couldn’t make it through.

The longer version:

June 16th, 2020 6:23pm PST

Update on T-Mobile Voice and Text Performance

Every day we see the vital role technology plays in keeping us connected, and we know T-Mobile customers rely on our network to ensure they have connections with family, loved ones and service providers. This is a responsibility my team takes very seriously and is our highest priority. Yesterday, we didn’t meet our own bar for excellence.

Many of our customers experienced a voice and text issue yesterday, specifically with VoLTE (Voice over LTE) calling. My team took immediate action — hundreds of our engineers worked tirelessly alongside vendors and partners throughout the day to resolve the issue starting the minute we were aware of it. Data connections continued to work, as did our non-VoLTE calling for many customers and services like FaceTime, iMessage, Google Meet, Google Duo, Zoom, Skype and others allowed our customers to stay in touch. Additionally, many customers were able to use circuit-switched voice connections and customers on the Sprint network were unaffected. VoLTE and text in all regions were fully recovered by 10 p.m. PDT last night. I’m happy to say the network is fully operational… and we’re working day in and day out to keep it that way.

Our engineers worked through the night to understand the root cause of yesterday’s issues, address it and prevent it from happening again. The trigger event is known to be a leased fiber circuit failure from a third party provider in the Southeast. This is something that happens on every mobile network, so we’ve worked with our vendors to build redundancy and resiliency to make sure that these types of circuit failures don’t affect customers. This redundancy failed us and resulted in an overload situation that was then compounded by other factors. This overload resulted in an IP traffic storm that spread from the Southeast to create significant capacity issues across the IMS (IP multimedia Subsystem) core network that supports VoLTE calls.

We have worked with our IMS (IP Multimedia Subsystem) and IP vendors to add permanent additional safeguards to prevent this from happening again and we’re continuing to work on determining the cause of the initial overload failure.

So, I want to personally apologize for any inconvenience that we created yesterday and thank you for your patience as we worked through the situation toward resolution.

Neville Ray

T-Mobile President of Technology


It’s not clear which third-party provider’s fiber circuit failed. There was a report on Monday that Level 3, one of the world’s major internet backbone providers, was experiencing an outage, but a spokesperson told TechCrunch differently.

https://www.theverge.com/2020/6/17/21293950/t-mobile-outage-june-explainer
 

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TV Notes (Broadcast)
MTV show 'Siesta Key' cuts Alex Kompothecras over alleged racist social media posts
By Charles Trepany, USA Today - Jun. 16, 2020

MTV is cutting ties with another one of its reality show personalities over alleged past racist social media posts.

The show "Siesta Key," which follows the ups and downs of a group of young adults, announced on its official Twitter account Tuesday that it will be limiting the presence of Alex Kompothecras, who has appeared on the show since 2017.

"We’ve made the decision to cut ties with Alex and are editing the current season to minimize his presence," read the tweet. "He will not be in future seasons of Siesta Key."

The announcement came on the same day as the show's premiere of new Season 3 episodes after a three-month hiatus. Instead of airing back-to-back episodes as previously scheduled, Tuesday's premiere was adjusted to only one episode.

Kompothecras is also not listed as a "Siesta Key" cast member on MTV's website.

USA TODAY has reached out to reps for MTV and to Kompothecras for further comment.

Kompothecras isn't the only reality TV personality recently fired over alleged past social media posts. MTV also cut ties with "Teen Mom OG" star Taylor Selfridge after her racially insensitive posts from 2012 resurfaced amid anti-racism protests nationwide.

"MTV pulled 'Teen Mom OG at Home: Cory & Taylor’s Baby Special' from its Tuesday schedule and is ending our relationship with Taylor Selfridge in light of her past racist statements on social media," the network said in a statement last week to People and Deadline.

"Siesta Key" cast members, from left to right: Garret Miller, Kelsey Owens, Chloe Trautman, Alex Kompothecras, Juliette Porter, Brandon Gomes and Madisson Hausburg.
Bravo also confirmed on June 9 that "Vanderpump Rules" stars Stassi Schroeder, Kristen Doute, Max Boyens and Brett Caprioni would not be returning to that reality series.

"The Flash" actor Hartley Sawyer, who plays Ralph Dibny/The Elongated Man on the CW series, was also ousted after several problematic Twitter posts recently resurfaced.

https://www.usatoday.com/story/entertainment/tv/2020/06/16/mtvs-siesta-key-cuts-cast-member-over-alleged-racist-posts/3203876001/
 

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Nielsen Overnights (Broadcast)
‘The Titan Games’ Wins Monday Ratings; ‘Songland’ Holds Steady
By Dino-Ray Ramos, Deadline.com - Jun. 16, 2020

Once again, The Titan Games ruled the Monday night ratings, delivering a 0.7 in the adults 18-49 demographic and 3.80 million viewers. The extreme reality athletic competition may have dipped a tenth from last week, but it was still enough to stay on top.

NBC also aired a fresh episode of Songland (0.5, 2.46M), which held steady. Meanwhile, The Wall (0.6, 3.77M) ticked down from last week. The trio gave the network the No. 1 spot overall in the demo for the night.

ABC’s latest walk down memory lane with The Bachelor: The Greatest Seasons – Ever! (0.4, 2.16M) managed to stay on par with last week. The CW aired repeats of Whose Line Is It Anyway? followed by the season finale of Roswell, New Mexico (0.1, 658,000), which held steady.

Elsewhere, reruns of The Neighborhood, Bob Hearts Abishola, All Rise and Bull took over CBS which was the night’s most-watched network overall. Fox served encores of 9-1-1 and 9-1-1: Lone Star.

https://deadline.com/2020/06/the-titan-games-nbc-the-bachelor-the-greatest-seasons-ever-abc-monday-tv-ratings-1202960451/
 

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TV/Awards Notes (Broadcast)
Jimmy Kimmel to Host and Produce Coronavirus-Altered Emmys
By Michael O'Connell, The Hollywood Reporter - Jun. 16, 2020

Jimmy Kimmel is set to host the 2020 Primetime Emmys for ABC. What that show will look like, however, is still quite unclear.

News of Kimmel’s third go as Emmy emcee, announced by the network on Tuesday morning, comes a day after the Television Academy announced that the Creative Arts ceremonies would be going virtual — simultaneously acknowledging that the likely limitations brought on by COVID-19 mean the main September telecast will likely be quite different from years past.

“I don't know where we will do this or how we will do this or even why we are doing this, but we are doing it and I am hosting it,” said Kimmel, who will also serve as executive producer on the event.

The Primetime Emmys, originally set for the annual live telecast from the Microsoft Theater in Los Angeles, are still set to be doled out on Sunday, Sept. 20. Again airing live on both coasts, additional production details will be announced closer to the date.

“We know Jimmy Kimmel will deliver a uniquely entertaining, funny and moving Primetime Emmys show,” said ABC Entertainment president Karey Burke. “He’s a true master of ceremonies who reveres this industry and its people; and just as Jimmy has done with his own show over the past few months, he will tackle this momentous event with heart and humor, and bring some much-needed joy and optimism to our television colleagues and viewers at home.”

ABC has had to deal with the most awards-related movement of TV’s broadcast partners. This week also brought news that the 2021 Oscars, which annually air on ABC, will been pushed to April 25. The Emmys themselves have not moved, though the voting windows did see some minor tweaks as Hollywood reeled from the first months of the shut-down. Nominee voting is set to begin July 2, with nominations being announced by the Television Academy on July 28.

Kimmel, who also hosts and executive produces ABC’s recent reboot of Who Wants to Be a Millionaire, has been filming a version of his late night show from his home since March.

https://www.hollywoodreporter.com/live-feed/emmys-2020-jimmy-kimmel-host-produce-abc-telecast-1298672
 

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TV Notes (Broadcast)
30 Rock Cast to Reunite for an NBC Special
By Kelly Connolly, TVGuide.com - Jun. 16, 2020

Things are lining up for old Liz Lemon. Like a 30 Rock bit come to life, NBC has announced that the stars of 30 Rock will reunite this summer to "celebrate the stories and talent featured in NBCUniversal's 2020-21 television season." Tina Fey, Alec Baldwin, Tracy Morgan, Jane Krakowski, Jack McBrayer, and more will reprise their roles from the Emmy-winning sitcom for the hour-long special, which is set to premiere on Thursday, July 16 at 8/7c on NBC.

"We're all happy to have this excuse to (remotely) work together again for NBC," said executive producers Tina Fey and Robert Carlock in a statement. "To quote Kenneth the Page, there are only two things we love in this world, television and everyone."

In addition to reuniting the cast of 30 Rock for what will no doubt feel like an alternate-universe TGS with Tracy Jordan, the special will also feature stars from across NBCUniversal's portfolio. The ad-free hour is part of NBC's alternative approach to this year's Upfronts, the traditional advertising week that was altered this spring in the wake of production shutdowns. It will highlight new and returning shows from NBC, Telemundo, USA, Syfy, E!, Bravo, and more.

Hopefully it will also clarify whether Jack Donaghy (Baldwin) managed to make it 1997 again through science or magic.

Broadway Video and Little Stranger, Inc. will produce the special in association with Universal Television and NBCUniversal Creative Partnerships. Saturday Night Live's Oz Rodriguez is set to direct.

The 30 Rock Upfront special premieres Thursday, July 16 at 8/7c on NBC. It will be rebroadcast across USA Network, Bravo, E!, Oxygen, SYFY, and CNBC, as well as available to stream on Peacock on Friday, July 17 at 9/8c.

30 Rock is available to stream on Hulu.

https://www.tvguide.com/news/30-rock-cast-reunion-upfront-special-nbc/
 

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TV/Production Notes (Streaming)
Action Park Series in the Works at Hulu
By Joe Otterson, Variety.com - Jun. 16, 2020

EXCLUSIVE: Hulu is developing a comedy series about the notorious New Jersey theme park Action Park, Variety has learned.

The half-hour series is based on the book “Action Park: Fast Times, Wild Rides, and the Untold Story of America’s Most Dangerous Amusement Park” by Andy Mulvihill and Jake Rossen. The book was acquired by 20th Century Fox Television and Hulu in a competitive situation.

The show is described the almost impossible-to-believe story of the legendary, dangerous amusement park where millions were entertained and almost as many bruises were sustained. It will be told through the eyes Andy Mulvihill, the son of the park’s idiosyncratic founder, Gene Mulvihill.

Jason Winer and Jon Radler will executive produce the series via their Small Dog Picture Co. Mulvhill and Rosen will serve as consultants. 20th TV, where Small Dog is under an overall deal, will produce.

Action Park first opened in the late 1970s and closed in 1996. It was often called “Accident Park,” “Class Action Park,” and “Traction Park” due to the unsafe rides and attractions that made the park infamous. Many guests were injured during their time in the park, including multiple fatalities.

This is not the first time the park has been the subject of an onscreen project. Johnny Knoxville starred in the film “Action Point” back in 2018. Knoxville played a fictionalized version of Gene Mulvihill named D.C. Carver as he relates the story of how he used to own a famous amusement park.

The authors were repped by ICM on behalf of Writers House. Winer is repped by ICM Partners.

https://variety.com/2020/tv/news/action-park-series-hulu-1234637387/
 

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TV Notes (Broadcast)
NBC unveils fall 2020 schedule with an emphasis on 'stability'
By Tyler Aquilina, EW.com - Jun. 16, 2020

Following CBS's lead, NBC is betting on a return to some form of normalcy in time for the fall TV season.

The network revealed its planned fall 2020 schedule on Tuesday, featuring a lineup of familiar titles including The Voice, This Is Us, and New Amsterdam. NBC will only debut one new series in the fall: Law & Order spin-off Organized Crime, which will feature the return of Christopher Meloni's Elliot Stabler to the Law & Order-verse.

Other new shows, such as Tina Fey and Robert Carlock’s Mr. Mayor starring Ted Danson and Kenan Thompson vehicle Kenan, are planned to debut later in the 2020-21 season.

NBC Entertainment boss Paul Telegdy highlighted the "stability" of the schedule, again echoing CBS's statement from last month. “Thanks to the ingenuity of our creative teams and our partner studios, NBC has assembled a remarkably stable schedule at a time when stability is called for,” Telegdy said. "With the reopening of the Universal lot for select productions this week, we are confident that our schedule will premiere intact later this fall."

Telegdy also emphasized efforts to increase racial diversity behind the scenes in the coming year. The network plans to fund the hiring of an additional writer for every scripted series in the upcoming season while continuing to implement a long-term plan to address the issue. "We are taking this opportunity to offer all of this season’s showrunners the chance to enrich their team with an additional diverse writer at any level. It is not the solution by any means, but it is something we can do right now to take a positive step," Telegdy said.

Here's the planned schedule:

Monday
8-10 p.m. — The Voice
10-11 p.m. — Manifest

Tuesday
8-9 p.m. — The Voice
9-10 p.m. — This Is Us
10-11 p.m. — New Amsterdam

Wednesday
8-9 p.m. — Chicago Med
9-10 p.m. — Chicago Fire
10-11 p.m. — Chicago P.D.

Thursday
8-8:30 p.m. — Superstore
8:30-9 p.m. — Brooklyn Nine-Nine
9-10 p.m. — Law & Order: SVU
10-11 p.m. — Law & Order: Organized Crime

Friday
8-9 p.m. — The Blacklist
9-11 p.m. — Dateline NBC

Saturday
8-10 p.m. — Dateline Saturday Night Mystery
10-11 p.m. – Saturday Night Live (encores)

Sunday
7-8:20 p.m. — Football Night in America
8:20-11 p.m. — NBC Sunday Night Football

https://ew.com/tv/nbc-unveils-fall-2020-schedule/
 

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TV Notes (Broadcast)
‘The Voice’: Gwen Stefani Returns To NBC Talent Contest, Replacing Nick Jonas
By Peter White, Deadline.com - Jun. 16, 2020

Gwen Stefani is heading back to NBC’s The Voice, taking over from Nick Jonas who was keeping her seat warm last season.

The No Doubt singer will be reunited with coaches Kelly Clarkson, John Legend and Blake Shelton and host Carson Daly for the 19th cycle of the singing competition format.

Stefani last appeared in Season 17 and previously had been a coach in Seasons 7, 9 and 12 as well as a mentor in Seasons 8 and 10. She left the show last to perform a solo Las Vegas residency.

Created by John De Mol, The Voice returns to NBC this fall on Mondays and Tuesdays. Stefani’s return was announced as part of NBC’s fall schedule reveal.

https://deadline.com/2020/06/the-voice-gwen-stefani-returns-nbc-nick-jonas-1202960752/
 
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