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TV Notes (Broadcast)
CBS Brings Back ‘Sunday Night Movies’ Oct. 4
By Michael Malone, Broadcasting & Cable - Sep. 17, 2020

CBS is bringing back Sunday Night Movies Oct. 4, with six films from the Paramount Pictures library set to roll. The first five will air Sundays through Nov. 1, and the final one is up Nov. 29.

The movies are Will Ferrell comedy Old School Oct. 4, Alicia Silverstone comedy Clueless Oct. 11, Matthew Broderick comedy Ferris Bueller’s Day Off Oct. 18, Wes Craven’s thriller Scream Oct. 25, Justin Lin-directed Star Trek Beyond Nov. 1 and Eddie Murphy comedy Coming to America Nov. 29.

CBS Sunday Night Movies aired in May and June, as the networks look to fill their schedules with the pandemic slowing production on original series. CBS previously ran Sunday Night Movies until 2006.

Sunday episodes of Big Brother move to Mondays as of Oct. 5.

Source: CBS Brings Back ‘Sunday Night Movies’ Oct. 4
 

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TV/Production Notes (Broadcast)
ABC Nabs ‘The Dreamers’ Drama From Marta Kauffman, Hannah Canter & Warren Littlefield For Development
By Nellie Andreeva, Deadline.com - Sep. 17, 2020

EXCLUSIVE: Friends co-creator Marta Kauffman is returning to broadcast television with The Dreamers, a drama based on Karen Thompson Walker’s novel, which has landed at ABC for development. The project hails from Grace & Frankie cocreator Kauffman and Okay Goodnight, her company with Robbie Rowe Tollin and Hannah K.S. Canter, Warren Littlefield and Touchstone Television, where both Kauffman and Littlefield are under deals.

Written by the mother-daughter duo of Kauffman and Canter, The Dreamers is about a small college town that is transformed by a mysterious sickness that locks victims in perpetual sleep and triggers extraordinary, life-altering dreams.

Kauffman, Canter, Tollin and Littlefield executive produce. Touchstone TV is the studio.

The Dreamers was the first project announced under a multi-year first-look deal Kauffman signed earlier this year with Touchstone (formerly Fox 21 Television Studios). It reunites her with Littlefield who, while running NBC, developed and put Friends on the air. The Dreamers marks a return to broadcast for former top network executive Littlefield, who has been working in cable and streaming as a producer.

Emmy-winning Kauffman is the recipient of this year’s prestigious Norman Lear Achievement Award by the Producers Guild. Since its launch in 2014, the all-female-led Okay Goodnight has produced all seasons of Grace & Frankie, which is heading into its seventh and final season on Netflix, along with the Sundance documentary Seeing Allred.

The Littlefield Co. is behind such series as Fargo, The Handmaid’s Tale, Reprisal as well as the upcoming The Old Man, which is produced by Touchstone, part of Disney Television Studios.

Source: ABC Nabs ‘The Dreamers’ Drama From Marta Kauffman, Hannah Canter & Warren Littlefield For Development
 

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TV/Production Notes (Streaming)
Tatiana Maslany set to star in Marvel's She-Hulk Disney+ series
By Devan Coggan, EW.com - Sep. 17, 2020

Marvel has found its She-Hulk.

Orphan Black star Tatiana Maslany has been tapped to star as lawyer-slash-superhero Jennifer Walters in the upcoming Disney+ series, EW has learned.

In the comics, Jennifer is an attorney who gains superpowers after a blood transfusion from her cousin, Bruce Banner. (She also retains her intelligence and personality while she's big and green — much like the sweater-wearing Bruce first introduced in Avengers: Endgame.)

Deadline was first to report the news. Reps for Maslany and Disney did not immediately respond to requests for comment.

Emmy winner Jessica Gao is writing the series and serving as showrunner.

She-Hulk is one of the many live-action Marvel series planned for Disney+, centering on both new heroes and familiar faces from the big-screen Marvel Cinematic Universe. The Falcon and the Winter Soldier and WandaVision are expected to debut later this year, while Disney is also developing shows about Loki, Hawkeye, Ms. Marvel, and Moon Knight.

Maslany is best known for her Emmy-winning run on Orphan Black, in which she played multiple identical clones. She most recently appeared on HBO's Perry Mason.

Marvel Studios president Kevin Feige first announced the She-Hulk series at last summer's D23 Expo.

“Bruce Banner is no longer the only Hulk in the MCU," Feige told the audience at the time. "Jennifer Walters is a Hulk, she’s a lawyer, and she’s gonna star in a show unlike anything we’ve done before.”

As for Jennifer's cousin, Bruce? Hulk actor Mark Ruffalo gave Maslany's casting the familial stamp of approval, tweeting, "Welcome to the family, cuz!"

Source: Tatiana Maslany set to star in Marvel's 'She-Hulk' Disney+ series
 

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TV Notes (Streaming)
‘Raised by Wolves’ Renewed by HBO Max for Season 2
By Reid Nakamura, TheWrap.com - Sep. 17, 2020

HBO Max has picked up a second season of the Ridley Scott sci-fi series “Raised by Wolves,” the streamer announced Thursday.

Since its debut on Sept. 3, the series has risen to become HBO Max’s top-performing original series, surpassing shows like Anna Kendrick and Paul Feig’s “Love Life” and the unscripted cooking series “Selena + Chef,” according to the streamer.

The 10-episode show centers on two androids tasked with raising human children on a “mysterious, virgin planet,” according to the series description. “As the burgeoning colony of humans threatens to be torn apart by religious differences, the androids learn that controlling the beliefs of humans is a treacherous and difficult task.”

Travis Fimmel, Amanda Collin, Abubakar Salim, Winta McGrath, Niamh Algar, Matias Varela, Felix Jamieson, Ethan Hazzard, Jordan Loughran, Aasiya Shah and Ivy Wong star. Scott is an executive producer on the series and directed the first two episodes. The series was created by Aaron Guzikowski.

In addition to Scott and Guzikowski, executive producers are David W. Zucker, Jordan Sheehan, Adam Kolbrenner and Mark Huffam.

“When I think of ‘Raised by Wolves’, I think of artistry; artistry in crafting a compelling storyline, artistry in the out-of-this-world production design, special effects and cinematography, artistry in our actor’s portrayals of these memorable characters, and artistry attached to the legendary work of Ridley Scott, Aaron Guzikowski and our phenomenal crew,” said Sarah Aubrey, head of HBO Max. “This chart-topping series beautifully weaves together Ridley’s hallmarks of sci-fi and horror while offering fans one of the most original storylines they’ve seen in some time. I can’t wait to see what’s in store for season two.”

“Being a dyed-in-the-wool advertising man, I was knocked out by the extraordinary campaign done by HBO Max marketing, which conveyed the ambitious storyline in such a provocative and tactile manner, and deftly positioned our first season of ‘Raised by Wolves’ as a ‘must watch’ show. It must have been a notable challenge to selectively plumb the riches In Aaron’s storylines. We were even happier that audiences have responded so enthusiastically,” said Ridley Scott. “We are already deep into the ‘layers’ of season 2, as Aaron has begun to shape what we think.

Source: 'Raised by Wolves' Renewed by HBO Max for Season 2
 

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TV/Production Notes
Production company aims to film space reality TV show, with the winner flying to orbit
By Loren Grush, TheVerge.com - Sep. 17, 2020

A US production company is planning to produce a reality TV show competition, where the winner will receive a trip to the International Space Station as the ultimate prize, Deadline reports. The plan is yet another way to capitalize on the newly developed private human spacecraft, from SpaceX and Boeing, that are opening up ways for non-government astronauts to reach space.

Dubbed Space Hero Inc., the production company plans to put together a televised contest called Space Hero that would select contestants from around the world to train for space, according to Deadline. The winner of the contest would supposedly receive a 10-day trip to the space station that would be televised from launch to return to Earth.

Space Hero is working with aerospace company Axiom Space, a startup that aims to build its own commercial space stations. Axiom is helmed by a former NASA employee who managed the International Space Station. The company has a deal with NASA to send its own module to attach to the ISS in 2024, and the company has also contracted to send four paying customers to the ISS on SpaceX’s newly developed Crew Dragon capsule in 2021.

Axiom confirmed Deadline’s report that the company is working with Space Hero to broker the trip and find a seat for the winner on an upcoming ride to space. “We look forward to enabling Space Hero’s mission and further expanding human presence in space,” the company told The Verge in a statement.

However, Axiom notes that it has not selected a launch provider for the mission, which means both SpaceX and Boeing’s vehicles are on the table as options. Boeing’s capsule, the CST-100 Starliner, has yet to carry people into space. It’s also the more expensive option, with a seat running roughly $90 million. SpaceX’s seats are cheaper but still costly, estimated to be about $50 million a ticket. SpaceX’s Crew Dragon has only flown people to the station once during a historic flight in May. The company has plans to send another mission for NASA in October, carrying a crew of four to the ISS.

A dozen private citizens have visited the International Space Station before as tourists, all of whom flew on Russia’s Soyuz rocket through private deals. However, there has yet to be a reality TV show that chronicles a tourist’s attempt to train and fly to space. The idea has been posed before. Notably, the startup Mars One claimed it would fund its ambitious, and scammy, trip to Mars by creating a reality TV show that would chronicle how the prospective astronauts trained for the journey.

Meanwhile, it’s not just reality TV stars that are trying to capitalize on these new private space vehicles and NASA’s new commercial-friendly polices. NASA revealed that it is working with actor Tom Cruise to fly to the space station to film a movie. Additionally, NASA astronauts will be filming their first ads in the coming months. New Space Act Agreements have revealed that Estée Lauder will be sending up creams to the ISS on a cargo flight in November, and the astronauts will spend time filming and taking pictures of the products, New Scientist reports.

Source: Production company aims to film space reality TV show, with the winner flying to orbit
 

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TV/Awards Notes
Maya Rudolph and Quibi Emerge as Big Winners on Night 4 of Creative Arts Emmys (Full Winners List)
By Will Thorne, Variety.com - Sep. 17, 2020

Night 4 of the Creative Arts Emmys was headlined by Quibi winning prizes at TV’s top awards.

The short-form content producer went home with two statuettes on Thursday night, both of which went to actors from the series “#FreeRayshawn.”

Legendary “Matrix” star Laurence Fishburne won his third individual Emmy for his portrayal of Lt. Steven Poincy, and then the very next award went to “Hamilton” alumna Jasmine Cephas Jones for playing Tyisha.

Another category worth looking out for on the night was voice-over performance, which saw Maya Rudolph win her first Emmy for voicing Connie the Hormone Monstress on Netflix’s “Big Mouth.” She could potentially pick up another come Sunday, as she is nominated for both “Saturday Night Live” and “The Good Place” in the guest actress in a comedy category.

“Schitt’s Creek” kicked off the penultimate Creative Arts night by winning its first, and likely not last, Emmy of 2020 for casting. However, in typical “Schitt’s Creek” fashion, the award giving didn’t go totally to plan, as the show was mislabelled as “****t’s Creek” in one frame. “Succession” picked up the equivalent gong for drama.

Who would have thought that Forky would be in Emmy winner? Well after Thursday night, the lively plastic fork is just that, as Pixar’s “Forky Asks A Question: What Is Love?” spooned up the prize for short-form animated program.

Forky still has some way to go for a potential EGOT, but two people who are now much closer to completing the impressive feat are Trent Reznor and Atticus Ross, who are now just a Tony away. The duo won for music composition for their work on the HBO limited series “Watchmen.”

Thursday’s proceedings were once again being host by Nicole Byer, who is emceeing each night of the Creative Arts Emmys.

“If this is your first time tuning in, how dare you, I deserve all of the eyeballs on me,” Byer quipped in her intro.

The “Nailed It!” host pre-taped all of her segments at the Television Academy’s headquarters in North Hollywood, and every nominee was asked to send in an acceptance speech. Around 96% of nominees participated, per TV Academy president Maury McIntyre.

Here are Thursday’s nominees and winners:

Outstanding Character Voice-Over Performance
WINNER Big Mouth • How To Have An Orgasm • Netflix
Maya Rudolph as Connie the Hormone Monstress


Central Park • Episode One • Apple TV+
20th Century Fox Television
Leslie Odom Jr. as Owen

Crank Yankers • Bobby Brown, Wanda Sykes & Kathy Griffin • Comedy Central
Kimmelot, ITV, Central Productions, LLC
Wanda Sykes as Gladys

The Mandalorian • Chapter 8: Redemption • Disney+
Lucasfilm Ltd.
Taika Waititi as IG-11

The Simpsons • Better Off Ned • Fox
Gracie Films in association with 20th Century Fox Television
Nancy Cartwright as Bart Simpson, Nelson, Ralph, Todd

The Simpsons • Frinkcoin • FOX
Gracie Films in association with 20th Century Fox Television
Hank Azaria as Professor Frink, Moe, Chief Wiggum, Carl, Cletus, Kirk, Sea Captain

Outstanding Derivative Interactive Program
WINNER Big Mouth Guide To Life • Netflix
Social Life / Netflix Social Life | Part of Jellyfish Group
Netflix


Doctor Who: The Runaway • BBC America
British Broadcasting Corporation / Passion Animation Studios
BBC
Passion Animation Studios

Outstanding Original Interactive Program
WINNER The Messy Truth VR Experience • Oculus
Magic Labs Media, EAB, RYOT
Brie Larson, Producer
Van Jones, Producer; Executive Producer
Elijah Allan-Blitz, Director; Producer; Executive Producer
Jana Carter, Executive Producer
RYOT


Rebuilding Notre Dame • Oculus
TARGO in association with Facebook Oculus
TARGO

When We Stayed Home • Oculus
TARGO in association with Facebook Oculus
TARGO

Outstanding Short Form Animated Program
WINNER Forky Asks A Question: What Is Love? • Disney+
Pixar Animation Studios


Robot Chicken • Santa’s Dead (Spoiler Alert) Holiday Murder Thing Special • Adult Swim
Stoopid Buddy Stoodios

Steven Universe Future • Fragments • Cartoon Network
Cartoon Network Studios

Outstanding Short Form Comedy Or Drama Series
WINNER Better Call Saul Employee Training: Legal Ethics With Kim Wexler • AMC.com
AMC Digital Studio, Bacon & Sons Film Co.
Dan Appel, Executive Producer
Vince Gilligan, Executive Producer
Peter Gould, Executive Producer
Ariel Levine, Executive Producer
Melissa Bernstein, Executive Producer
James Heth, Producer


The Good Place Presents: The Selection • NBC
NBC
Michael Schur, Executive Producer
Morgan Sackett, Executive Producer
David Hyman, Executive Producer
Eric Kissack, Producer
Matt Quezada, Producer
Doug Smith, Producer

Most Dangerous Game • Quibi
Black Jack Films/Mayhew Pictures/Silver Reel/CBS Television Studios
Nick Santora, Executive Producer
Gero Bauknecht, Executive Producer
Gerd Schepers, Executive Producer
Gordon Gray, Executive Producer
Liam Hemsworth, Executive Producer
Phil Abraham, Executive Producer

Reno 911! • Quibi
High Sierra Carpeting / Central Productions, LLC
Thomas Lennon, Executive Producer
Robert Ben Garant, Executive Producer
Kerri Kenney-Silver, Executive Producer
John Landgraf, Executive Producer
Peter Principato, Executive Producer
David Lincoln, Producer

Star Trek: Short Treks • CBS All Access
CBS Television Studios in association with Secret Hideout and Roddenberry Entertainment
Alex Kurtzman, Executive Producer
Heather Kadin, Executive Producer
Olatunde Osunsanmi, Executive Producer
Frank Siracusa, Executive Producer
John Weber, Executive Producer
Aaron Baiers, Co-Executive Producer

Outstanding Actor In A Short Form Comedy Or Drama Series
WINNER #FreeRayshawn • Quibi
Fuqua Films / Sony Pictures Television
Laurence Fishburne as Lt. Steven Poincy


#FreeRayshawn • Quibi
Fuqua Films / Sony Pictures Television
Stephan James as Rayshawn

Most Dangerous Game • Quibi
Black Jack Films/Mayhew Pictures/Silver Reel/CBS Television Studios
Christoph Waltz as Miles Sellers

Oh Jerome, No (Cake) • FX Networks
FX Productions Mamoudou Athie as Jerome

Survive • Quibi • EMH/Gunpowder & Sky
Corey Hawkins as Paul

Outstanding Actress In A Short Form Comedy Or Drama Series
WINNER #FreeRayshawn • Quibi
Fuqua Films / Sony Pictures Television
Jasmine Cephas Jones as Tyisha


Dummy • Quibi
Wiip/Heller Highwater Pictures/Let’s Go Again Inc
Anna Kendrick as Cody

Flipped • Quibi
Funny or Die
Kaitlin Olson as Cricket Melfi

Razor Tongue • YouTube
Now > Ever Productions
Rain Valdez as Belle Jonas

Reno 911! • Quibi
High Sierra Carpeting / Central Productions, LLC
Kerri Kenney-Silver as Deputy Trudy Wiegel

Outstanding Casting For A Comedy Series
WINNER Schitt’s Creek • Pop TV
Not A Real Company Productions, Inc.
Lisa Parasyn, CSA, Casting by
Jon Comerford, CSA, Casting by


Curb Your Enthusiasm • HBO
HBO Entertainment
Allison Jones, Casting by
Ben Harris, Casting by

Dead To Me • Netflix
CBS Television Studios
Sherry Thomas, CSA, Casting by
Russell Scott, CSA, Casting by
Sharon Bialy, CSA, Casting by

Insecure • HBO
HBO Entertainment in association with Issa Rae Productions, Penny for Your Thoughts Entertainment and 3 Arts Entertainment
Victoria Thomas, CSA, Casting by
Matthew Maisto, Casting by

The Marvelous Mrs. Maisel • Prime Video
Amazon Studios
Cindy Tolan, Casting by

What We Do In The Shadows • FX Networks
FX Productions
Gayle Keller, Casting by
Jenny Lewis, CSA, Canadian Casting By
Sara Kay, CSA, Canadian Casting By

Outstanding Casting For A Drama Series
WINNER Succession • HBO
HBO Entertainment in association with Project Zeus, Hyperobject Industries and Gary Sanchez Productions
Avy Kaufman, CSA, Casting by
Francine Maisler, CSA, Original Casting by


Big Little Lies • HBO
HBO Entertainment in association with Blossom Films, Hello Sunshine, David E. Kelley Productions and crazyrose Productions
David Rubin, Casting by

The Crown • Netflix
Left Bank Pictures in association with Sony Pictures Television
Nina Gold, Casting by
Robert Sterne, Casting by

The Handmaid’s Tale • Hulu
MGM, Daniel Wilson Productions, The Littlefield Company, White Oak Pictures
Sharon Bialy, CSA, Casting by
Sherry Thomas, CSA, Casting by
Russell Scott, CSA, Casting by
Robin D. Cook, CSA, Canadian Casting by

Killing Eve • BBC America •
Sid Gentle Films Ltd.
Gilly Poole, Casting by
Suzanne Crowley, Casting by

Ozark • Netflix
Media Rights Capital
Alexa L. Fogel, CSA, Casting by
Tara Feldstein Bennett, CSA, Location Casting
Chase Paris, CSA, Location Casting

Outstanding Music Composition For A Limited Series, Movie Or Special (Original Dramatic Score)
WINNER Watchmen • It’s Summer And We’re Running Out Of Ice • HBO
HBO Entertainment in association with White Rabbit, Paramount Television, Warner Bros. Television & DC Comics
Trent Reznor, Music by
Atticus Ross, Music by


Hollywood • Hooray For Hollywood: Part 2 • Netflix
Nathan Barr, Composer

Little Fires Everywhere • The Spider Web • Hulu
ABC Signature Studios / Hello Sunshine Mark Isham, Composer
Isabella Summers, Composer

Mrs. America • Reagan • FX Networks
FX Productions
Kris Bowers, Score by

Unorthodox • Part 1 • Netflix
Studio Airlift and RealFilm
Antonio Gambale, Composer

Outstanding Music Supervision
WINNER The Marvelous Mrs. Maisel • It’s Comedy Or Cabbage • Prime Video
Amazon Studios
Robin Urdang, Music Supervisor
Amy Sherman-Palladino, Music Supervisor
Daniel Palladino, Music Supervisor


Better Call Saul • The Guy For This • AMC • High Bridge, Crystal Diner, Gran Via Productions and Sony Pictures Television
Thomas Golubić, Music Supervisor

Euphoria • And Salt The Earth Behind You • HBO
HBO Entertainment in association with Reasonable Bunch, A24, Little Lamb, Dreamcrew, ADD Content Agency | HOT | TCDY Productions
Jen Malone, Music Supervisor
Adam Leber, Music Supervisor

Insecure • Lowkey Movin’ On • HBO
HBO Entertainment in association with Issa Rae Productions, Penny for Your Thoughts Entertainment and 3 Arts Entertainment
Kier Lehman, Music Supervisor

Killing Eve • Meetings Have Biscuits • BBC America
Sid Gentle Films Ltd.
Catherine Grieves, Music Supervisor
David Holmes, Music Supervisor

Stranger Things • Chapter Three: The Case Of The Missing Lifeguard • Netflix
Nora Felder, Music Supervisor

Watchmen • This Extraordinary Being • HBO
HBO Entertainment in association with White Rabbit, Paramount Television, Warner Bros. Television & DC Comics
Liza Richardson, Music Supervisor

Outstanding Original Main Title Theme Music
WINNER Hollywood • Netflix
Nathan Barr, Theme Music by


Carnival Row • Prime Video
Legendary Pictures TV and Amazon Studios
Nathan Barr, Theme Music by

Defending Jacob • Apple TV+
Anonymous Content / Paramount Television Studios Ólafur Arnalds, Theme Music by

Unorthodox • Netflix
Studio Airlift and RealFilm
Antonio Gambale, Theme Music by

Why We Hate • Discovery Channel
South Cove Productions
Laura Karpman, Theme Music by

Wu-Tang: An American Saga • Hulu
Imagine Television Studios
The Rza, Theme Music by

Outstanding Original Music And Lyrics
WINNER Euphoria • And Salt The Earth Behind You / Song Title: All For Us • HBO
HBO Entertainment in association with Reasonable Bunch, A24, Little Lamb, Dreamcrew, ADD Content Agency | HOT | TCDY Productions
Labrinth, Music & Lyrics


The Black Godfather • Song Title: Letter To My Godfather • Netflix
Boardwalk Pictures and Hudlin Entertainment
Pharrell Williams, Music & Lyrics
Chad Hugo, Music & Lyrics

Last Week Tonight With John Oliver • Episode 629 / Song Title: Eat Sh!t, Bob • HBO
HBO Entertainment in association with Sixteen String Jack Productions and Avalon Television
David Dabbon, Music by
Joanna Rothkopf, Lyrics by
Jill Twiss, Lyrics by
Seena Vali, Lyrics by

Little Fires Everywhere • Find A Way / Song Title: Build It Up • Hulu
ABC Signature Studios / Hello Sunshine
Ingrid Michaelson, Music & Lyrics

The Marvelous Mrs. Maisel • Strike Up The Band / Song Title: One Less Angel • Prime Video Amazon Studios
Thomas Mizer, Music & Lyrics
Curtis Moore, Music & Lyrics

This Is Us • Strangers / Song Title: Memorized • NBC
20th Century Fox Television
Siddhartha Khosla, Music & Lyrics
Taylor Goldsmith, Music & Lyrics

Watchmen • This Extraordinary Being / Song Title: The Way It Used To Be • HBO
HBO Entertainment in association with White Rabbit, Paramount Television, Warner Bros. Television & DC Comics
Trent Reznor, Music & Lyrics
Atticus Ross, Music & Lyrics

Outstanding Stunt Coordinator For A Comedy Or Variety Program
WINNER Shameless • Showtime
Warner Bros. Television, John Wells Productions
Eddie Perez, Stunt Coordinator


Ballers • HBO
HBO Entertainment in association with Seven Bucks Productions, Leverage Entertainment and Closest to the Hole Productions
Jeff Barnett, Stunt Coordinator

Brooklyn Nine-Nine • NBC
Universal Television in association with Fremulon, Dr. Goor Productions and 3 Arts Entertainment
Norman Howell, Stunt Coordinator

Henry Danger • Nickelodeon
Rocart, Inc.
Vince Deadrick Jr., Stunt Coordinator

Space Force • Netflix
Erik Solky, Stunt Coordinator

Source: Maya Rudolph and Quibi Emerge as Big Winners on Night 4 of Creative Arts Emmys (Full Winners List)
 

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TV/Legal Notes (Cable)
'Billions' Battle Won't Be Reconsidered by Judge
By Ashley Cullins, The Hollywood Reporter's 'THR ESQ.' Column - Sep. 17, 2020

A New York federal judge won't reconsider a hedge fund performance coach's claims that Showtime's Billions features a character based on her and that the network failed to compensate her for her role in its creation.

Denise Shull in January 2019 sued the Showtime, along with series creators and network execs, claiming the character of Wendy Rhoades (Maggie Siff) stems from her book Market Mind Games and she helped series co-creator Andrew Ross Sorkin develop the character but was never compensated.

U.S. District Judge George Daniels in October dismissed the complaint, finding that the women weren't substantially similar and neither is the nature of the works. Shull asked Daniels to reconsider his decision and allow her to file an amended complaint, arguing he relied heavily on the defendants' version of events instead of accepting as true the facts Shull alleged (as is required in considering a motion to dismiss.)

Daniels on Wednesday denied the motion.

"Plaintiffs do not offer any specific information that this Court apparently overlooked that would cause this Court to reach an alternative conclusion," he writes in the order, which is posted below. "Instead, Plaintiffs simply reassert the same or similar arguments they previously made, and this Court previously rejected, despite the Court's thorough review at the motion to dismiss phase."

Shull's lawyer Avi Turkel on Thursday sent The Hollywood Reporter a statement in response to the decision: “We are disappointed with the dismissal, but believe in the judicial system and Ms. Shull is inclined to continue to pursue her rights to exclusive ownership of her persona and original content and to seek adjudication of all her claims on their merits.”

Source: 'Billions' Battle Won't Be Reconsidered by Judge | Hollywood Reporter
 

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TV/Production Notes (Cable)
'Anything could happen': Jude Law teases 12-hour live episode of HBO's 'The Third Day'
By Patrick Ryan, USA Today - Sep. 15, 2020

Jude Law is about to enter his own version of "The Truman Show." Or maybe "Survivor."

Honestly, no one knows what, exactly, is in store Oct. 3, when Law and a group of actors will congregate on a remote British isle for a live 12-hour episode of their new HBO series "The Third Day," which premiered this week and airs Mondays (9 EDT/PDT).

The psychological thriller follows a grieving father named Sam (Law) who rescues a young girl and returns her home to the mysterious Osea Island off the coast of Essex, England. He soon finds himself stuck on the island after the tide comes in, and is introduced to its creepy inhabitants, who are preparing for an annual festival not unlike the pagan cults of "The Wicker Man" or "Midsommar."

After its third episode, the show pivots to an experimental all-day event, to be filmed in real time and broadcast uninterrupted online and on the U.K.'s Sky Arts channel. Pre-COVID, the idea was for members of the public to travel to the island, where they could interact with the actors and immerse themselves in the story. (The series was co-created by Felix Barrett, whose theater company Punchdrunk produced the popular "Sleep No More," an immersive riff on "Macbeth.")

But given social distancing concerns, the audacious episode is now limited to the "Third Day" cast, along with members of the Punchdrunk company, scattered across the island.

"We are still confident that it will feel like an event," Law tells USA TODAY. "We're all getting more and more used to experiencing things online, through our TV screens, our tablets and phones. The original idea was that we would continue the drama that plays out after (Episode 3), about this festival and these sort of rites of passage. And we'll be there doing that as such, just without 2,000 (visitors) witnessing it. But the islanders will be there, and it's also plays strangely into the narrative of the piece, which is that the island is very exclusive and closed off."

The "Third Day" miniseries is split into three parts: "Summer," "Winter" and "Autumn," the middle section and the only live portion of the show. ("Summer" and "Winter," which stars Naomie Harris, were filmed pre-pandemic and consist of three episodes each.) Like "Sleep No More," the actors in "Autumn" will follow a loose narrative over the course of the 12 hours.

"There is a very clear sense of what happens that day, because it's a day of this festival that the island has followed for hundreds of years, and there are certain stages that (the characters) have to accomplish for it to be a ritual success," Law says. "I've been working on that (storyline) with Felix for the best part of a year or so: talking it through and understanding it.

"But having said that, there are elements I've asked not to know about because I want it to be in the moment and real," he adds. "And there are also elements where anything could happen."

Law and his fellow performers will eat throughout the 12-hour shoot, and meals will be incorporated into the story. Technology, however, will be off limits.

"There won't be any cell phones anywhere," Law says. "I'm someone who quite likes to leave my cell phone as far away from me as possible, as often as possible. So the idea of having 12 hours away from it is my idea of heaven, actually. I don't know that I want to go to these extremes every time I want to put my phone down for 12 hours, but you know."

As for bathroom breaks, "they will probably be played in. I mean, there may be the old pit stop behind a bush if I need to take a pee. But there's no pausing (filming). If you're following Sam, my character, then what happens happens. I don't know that that means cameras follow me into the toilet, but it will be played out in real time. I guess I'm just going to have to control myself."

Source: 'Anything could happen': Jude Law teases 12-hour live episode of HBO's 'The Third Day'
 

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TV/Critic's Notes
Here's Who Will Win—and Who Should—at the 2020 Emmys
By Judy Berman, TIME.com - Sep. 16, 2020

Here’s what we know about this year’s 72nd Primetime Emmy Awards: it’s happening on Sunday, Sept. 20, in a live telecast that will air at 8 p.m. ET/5 p.m. PT on ABC. From the stage of L.A.’s Staples Center, Jimmy Kimmel will host a ceremony that promises 138 stars—including Oprah Winfrey, America Ferrera and Gabrielle Union, among others—in 114 locations across 10 countries. Singer-songwriter H.E.R. will perform alongside the “In Memoriam” segment. And the producers are going to great lengths to ensure that the program feels like a Hollywood production more than a three-hour Zoom meeting. That’s about it.

So, will the winners be as much of a surprise as the format? You’ll have to watch to find out. In the meantime, here are my picks and predictions for the socially distanced 2020 Emmys.

Drama Series
Better Call Saul
The Crown
The Handmaid’s Tale
Killing Eve
The Mandalorian
Ozark
Stranger Things
Succession


Will Win: Succession
Should Win: Succession or Better Call Saul

Woof. Of all the great dramas the 2019-20 TV season offered, these are the nominees? Most of the field is either past its prime (see: Killing Eve, The Handmaid’s Tale, The Crown) or an expensive, flash-over-substance flex on the part of its streaming platform (The Mandalorian), if not both (Stranger Things). Where were Pose, Dare Me, David Makes Man, Vida, Lodge 49?

Anyway! With last year’s ridiculous winner Game of Thrones finally out of the way and Succession flying high on a critically adored second season that even managed to top its excellent predecessor, pundits seem pretty sure it’s the latter show’s year. And I’m extremely fine with that. Still, it’s worth noting that Better Call Saul has been nominated in this category every single year it’s been eligible but never taken home the trophy—and its fifth season might’ve been its strongest yet.

Comedy Series
Curb Your Enthusiasm
Dead to Me
The Good Place
Insecure
The Kominsky Method
The Marvelous Mrs. Maisel
Schitt’s Creek
What We Do in the Shadows


Will Win: Schitt’s Creek
Should Win: The Good Place

Last year, Fleabag‘s upset in this category was the highlight of the evening. (That photo of Phoebe Waller-Bridge with a drink in one hand and a cigarette in the other, flanked by a small army of Emmy statues? Still iconic.) Now, with both that show and HBO’s Emmy darling Veep out of the running, consensus has settled on Schitt’s Creek as the frontrunner. Which is awesome! That a sweet family sitcom from Canada, starring two of that country’s most venerable comedy actors, could leverage its low-key early U.S. run on Pop TV into an international phenomenon remains one of the most heartening narratives of the streaming era. So, despite the fact that it peaked a few seasons before the finale, I’ll be crying tears of joy if Dan and Eugene Levy’s sleeper hit does indeed take the trophy.

But Mike Schur’s wonderful NBC afterlife dramedy The Good Place also ended this winter, with a finale that artfully balanced narrative resolution, character development, philosophical resonance, humor and fan service. It has never won a single Emmy, remains one of the most ambitious and timely comedies of its generation—and may go down in history as the last great network primetime series. Meanwhile, when it comes to pure laughs, FX’s What We Do in the Shadows is easily the funniest show of the bunch. It has already been renewed for a third season, and the network has said that its audience is growing thanks to FX’s new Hulu presence. So be sure to watch this space in 2021.

Limited Series
Little Fires Everywhere
Mrs. America
Unbelievable
Unorthodox
Watchmen


Will Win: Watchmen
Should Win: Watchmen or Mrs. America

Limited series are increasingly where the real art gets made on TV these days, with comedies (and their half-hour dramedy cousins) placing a close second. With the exception of Hulu’s Little Fires Everywhere—which clobbered viewers over the head with well-worn ideas about race and gender, even as its competitors applied more nuance and specificity to similar themes—you could make an argument for anything on this list. HBO’s Watchmen is the clear favorite for plenty of reasons: a partnership between star Regina King and creator Damon Lindelof that lived up to both artists’ top-shelf reputations, it’s also a smart, inspired update of one of the greatest, most difficult comics of all time. And it would be hard to top the timeliness of a show that cloaks a reckoning with American racism, imperialism and policing in the trappings of the indefatigable superhero genre.

I was, however, equally impressed by FX on Hulu’s Mrs. America, a richly observant period piece about the rise and fall of the women’s liberation movement. Maybe that’s because I tend to prefer realistic drama to fantasy tales, because I’m kind of a nerd about feminist history or simply because I love Cate Blanchett with my whole heart. (A hall-of-fame supporting cast that also includes Uzo Aduba, Rose Byrne, Tracey Ullman, Margo Martindale, Sarah Paulson, John Slattery, Melanie Lynskey, Niecy Nash, Ari Graynor, Jay Ellis and Elizabeth Banks certainly doesn’t hurt.) But in a less personal sense, what puts this miniseries in the same league as Watchmen is the degree of narrative, political and particularly intersectional complexity both shows weave into their scripts, without sacrificing aesthetics or performance quality or entertainment value.

Lead Actress in a Drama Series
Jennifer Aniston, The Morning Show
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Laura Linney, Ozark
Sandra Oh, Killing Eve
Zendaya, Euphoria

Will Win: Jennifer Aniston
Should Win: Zendaya

There’s no clear frontrunner in this category, and with good reason: every performance here has something to recommend it. But Killing Eve got a bit redundant in its third season, and its two stars have already been handsomely rewarded for the superior work they’ve done in years past. On merit alone, the Emmy should go to Zendaya. A young multi-hyphenate who imbues her antihero character with the perfect mix of precocious gravitas and adolescent angst, she—along with co-star Hunter Schafer—was the best reason to watch HBO’s druggy, depressive teen drama Euphoria. Sadly, it’s hard to imagine the not-exactly-youthful Television Academy membership rewarding her performance. That leaves Linney, Colman and Aniston. While I wouldn’t be surprised by any of those three outcomes, and Colman’s first season as Queen Elizabeth II would be my pick from that bunch, Aniston is TV’s returning sweetheart. Everybody loves a comeback (that’s also a chance to pat Apple TV+ on the head for all the money it spent on The Morning Show, its star-studded flagship series).

Lead Actor in a Drama Series
Jason Bateman, Ozark
Sterling K. Brown, This Is Us
Steve Carell, The Morning Show
Brian Cox, Succession
Billy Porter, Pose
Jeremy Strong, Succession

Will Win: Brian Cox
Should Win: Jeremy Strong

How did this turn into an all-Succession race? Well, Billy Porter got the well-deserved win in 2019. Steve Carell’s Morning Show character doesn’t feel like a lead, and the writing in most of his scenes made me cringe. Jason Bateman and this category’s 2017 winner Sterling K. Brown may be doing a lot of acting, but their roles aren’t necessarily highlighting new aspects of their talents several seasons into their runs. And though it’s always possible that two names from the same series will split the vote, it’s hard to imagine anyone else doing well enough to capitalize on that advantage. Neither actor was nominated for their show’s first season, but Cox is both Succession‘s center (if not its most memorable presence) and a universally esteemed, highly decorated elder statesman of stage and screen, so my prediction is that the Emmy goes to him. Meanwhile, if Strong is turning in a performance that’s equal parts serious and comic (see: Kendall Roy’s infamous rap), it’s that willingness to humiliate in a desperate attempt to earn his father’s love that makes his sad-clown character so poignant.

Lead Actor in a Comedy Series
Anthony Anderson, Black-ish
Don Cheadle, Black Monday
Ted Danson, The Good Place
Michael Douglas, The Kominsky Method
Eugene Levy, Schitt’s Creek
Ramy Youssef, Ramy

Will Win: Eugene Levy
Should Win: Eugene Levy

What a boring category! With the exception of two-time winner Bill Hader, whose ineligibility in 2020 created space for a fresh face in Ramy Youssef, this year’s nominees are exactly the same as last year’s nominees. I mean, how about some recognition for Nicholas Hoult in The Great or Rob McElhenney in Mythic Quest or Julio Torres in Los Espookys? Ramy was both stronger and more focused on its protagonist in its first season (for which Youssef won a Golden Globe in this category) than it was in the recent sequel. Anthony Anderson is on his sixth straight nomination for Black-ish, with a win looking less likely after every passing season. Don Cheadle, Michael Douglas and Ted Danson are fun to watch on their respective shows, but they’re all essentially getting lifetime-achievement nominations. So is Eugene Levy, to a certain extent, but he’s also just starting to get the respect he deserves from American audiences who mostly know the SCTV legend as the dorky dad from American Pie. As a star and co-creator of Schitt’s Creek (as well as a co-creator of its other creator-star, his son Dan Levy), he gives the show its core of familial warmth. What a gift.

Lead Actress in a Comedy Series
Christina Applegate, Dead to Me
Rachel Brosnahan, The Marvelous Mrs. Maisel
Linda Cardellini, Dead to Me
Catherine O’Hara, Schitt’s Creek
Issa Rae, Insecure
Tracee Ellis Ross, Black-ish

Will Win: Catherine O’Hara
Should Win: Catherine O’Hara

See above: like her frequent collaborator Levy, O’Hara just deserves this. As frustrated diva Moira Rose, she was the spice to his sugar and—between Moira’s fruit-wine commercial, her strange pronunciations, her even stranger outfits and her sorta-triumphant comeback as the star of The Crows Have Eyes III: The Crowening—the breakout character of a show that offered no shortage of competition. Christina Applegate and Linda Cardellini have fantastic chemistry in Dead to Me, which makes it hard to say that either one of them deserves the award on her own. Rachel Brosnahan already won it for the first season of a fun series whose novelty is now in decline. Tracee Ellis Ross probably should’ve gotten her Emmy sometime during Julia Louis-Dreyfus’ six-year streak, before Black-ish became a launching pad for spinoffs. Insecure just had what was, in my estimation, its most satisfying season to date, but the breakthrough had more to do with creator-star Issa Rae’s writing than her acting.

Lead Actress in a Limited Series or Movie
Cate Blanchett, Mrs. America
Shira Haas, Unorthodox
Regina King, Watchmen
Octavia Spencer, Self Made
Kerry Washington, Little Fires Everywhere

Will Win: Regina King
Should Win: Regina King or Shira Haas

Even as a longtime stan who adored her as the smart, charismatic, empathy-challenged Equal Rights Amendment foe Phyllis Schlafly, I get that, although an A-list movie star has a decent shot, this is probably not Cate Blanchett’s year. Regina King was perhaps the only actor capable of doing justice to all the different facets of a character who is part-superhero, part-cop, part-regular-Black-woman-wrestling-with-history. And the Emmys love her; Watchmen would be the third series, after American Crime and Seven Seconds, to earn her an award since 2015. (She also earned an Oscar for her role in If Beale Street Could Talk during that period.) The argument for giving Shira Haas the prize instead is that, while King is already among the most celebrated actors of our time, Unorthodox‘s young Israeli star—who gave one of the rawest, most embodied performances I’ve ever seen as a teenage wife escaping Hasidic Brooklyn—doesn’t have much name recognition stateside. While the role and the nomination have already boosted her visibility in the U.S., a win would make her return to Hollywood even more likely.

Lead Actor in a Limited Series or Movie
Jeremy Irons, Watchmen
Hugh Jackman, Bad Education
Paul Mescal, Normal People
Jeremy Pope, Hollywood
Mark Ruffalo, I Know This Much Is True

Will Win: Hugh Jackman
Should Win: Mark Ruffalo

Jeremy Irons is a legend, but if we’re being honest, I’d forgotten he was even in Watchmen—that’s how much King dominated my (and I suspect many other viewers’) experience of the show. Jeremy Pope was great in Hollywood, but Hollywood was a disappointment, and his grounded performance got lost amid so much scenery chewing from the rest of the cast. All three of the remaining nominees have a shot. Among them, tender Irish newcomer Paul Mescal is one of the season’s best finds. Even so, I slightly prefer Mark Ruffalo’s dual performance as a pair of very different, very disturbed twins, which was precisely the right kind of role for an actor who tends toward maximalism. But I think Hugh Jackman will take it for his memorable portrayal of a superintendent with secrets in a buzzy feature that was one of few made-for-TV movies to make an impact this season.

Supporting Actress in a Comedy Series
Betty Gilpin, GLOW
D’Arcy Carden, The Good Place
Yvonne Orji, Insecure
Alex Borstein, The Marvelous Mrs. Maisel
Marin Hinkle, The Marvelous Mrs. Maisel
Kate McKinnon, Saturday Night Live
Cecily Strong, Saturday Night Live
Annie Murphy, Schitt’s Creek

Will Win: Alex Borstein, because the Academy loves her. Last year, she won her second consecutive Emmy for this role despite tougher competition in Olivia Colman and Sian Clifford from Fleabag.
Should Win: Yvonne Orji, who has become an indispensable co-lead in Insecure—and whose storyline in the most recent season encompassed such emotional trials as an interracial relationship and a rift with her best friend (Rae).

Supporting Actor in a Comedy Series
Andre Braugher, Brooklyn Nine-Nine
William Jackson Harper, The Good Place
Alan Arkin, The Kominsky Method
Sterling K. Brown, The Marvelous Mrs. Maisel
Tony Shalhoub, The Marvelous Mrs. Maisel
Mahershala Ali, Ramy
Kenan Thompson, Saturday Night Live
Daniel Levy, Schitt’s Creek

Will Win: Dan Levy, because Schitt’s Creek was his beautiful brainchild and because David’s wedding was a rare bright spot in a terrible year for humanity.
Should Win: William Jackson Harper, because his character Chidi was the sweet, nerdy conscience of a show about a moral philosophy and because more than one of his final scenes with Kristen Bell’s Eleanor made me weep.

Supporting Actor in a Drama Series
Giancarlo Esposito, Better Call Saul
Bradley Whitford, The Handmaid’s Tale
Billy Crudup, The Morning Show
Mark Duplass, The Morning Show
Nicholas Braun, Succession
Kieran Culkin, Succession
Matthew Macfadyen, Succession
Jeffrey Wright, Westworld

Will Win: Billy Crudup, because his performance was easily the best part of The Morning Show.
Should Win: Matthew Macfadyen, because “THANK YOU FOR THE CHICKEN.” (Giancarlo Esposito would also be fine, because Better Call Saul deserves all the accolades it can get.)

Supporting Actress in a Drama Series
Laura Dern, Big Little Lies
Meryl Streep, Big Little Lies
Helena Bonham Carter, The Crown
Samira Wiley, The Handmaid’s Tale
Fiona Shaw, Killing Eve
Julia Garner, Ozark
Sarah Snook, Succession
Thandie Newton, Westworld

Will Win: Helena Bonham Carter, because she’s a high-profile, smartly cast addition to the category and The Crown, an expensive drama whose continued existence seemed tied to its capacity to nab awards for Netflix, has to win something.
Should Win: Sarah Snook, because Shiv’s storyline this season amounted to watching the only competent human being in the Roy family quietly surrender her last iota of a soul and Snook’s performance, though restrained, vividly captured her inner life.

Source: Here's Who Will Win—and Who Should—at the 2020 Emmys
 

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TV Review (Streaming)
'Departure' Makes Its Arrival to the U.S. on Peacock
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Sep. 17, 2020

In the absence of the new U.S. dramas we would normally be seeing this month, the Canadian miniseries Departure fills in admirably.

Departure, which becomes available Thursday on Peacock, spends its six episodes tracking down the mystery of a plane that disappears over the Atlantic Ocean en route from New York to London.

It's one of those miniseries that comes in at the right length, with enough time to weave a complicated story and still maintain a quick enough pace, so there's always something developing.

Its main asset is Archie Panjabi, who was so memorable in The Good Wife and here plays Kendra Malley, the lead investigator into the disappearance.

Kendra is fair and pleasant. She's also impatient when other agencies try to muscle in on the investigation. On the personal side, she's roped into this gig against her will as she's been on leave from the job since a serious incident sometime earlier where she apparently resolved a situation and suffered a personal tragedy.

When we meet her, she's channeling her frustrations into strenuously rowing along a London river. Her boss, Howard Lawson (Christopher Plummer), bullies her, to a degree, into climbing back in the saddle, saying she's the only person he trusts to crack the case.

The disappearance of British Global Airlines (BGA) flight 716 is a big deal. The plane has 256 people on board, which would make this the biggest tragedy BGA's history.

It also might sink BGA, since the plane that goes down is a new model, and BGA has just sold 100 of them to the Saudis and Chinese. If the plane now seems suspect, those deals would be off, and BGA itself would go down.

Kendra doesn't have much to work with when she arrives at headquarters. The plane sent no mayday message, simply vanishing from radar surveillance. Potential rescue ships have been mobilized, but the possible crash area can't be pinpointed closely enough to give them anything other than a long-shot chance of finding it.

Departure spends some time giving a lesson on how current technology can work to locate a lost plane. It spends more of its time on a couple of human dramas.

Those include the backstory of passenger Madelyn Strong (Rebecca Liddiard), who was on the disappeared flight because she missed her earlier scheduled connection, and pilot Captain Richard Donovan (Allan Hawco), who has some secrets.

It also includes the interplay among Kendra and various other investigators, including Dominic (Kris Holden-Ried, top), whose presence she initially resents, and Levi Hall (Peter Mensah), an old colleague.

Kendra meanwhile juggles drama at the home she shares with her adopted 18-year-old son AJ (Alexandre Bourgeois). He's a teenage boy. Do the math.

Panjabi's character isn't as shadowy here as she was on The Good Wife, but she's no less interesting. She still wears boots.

Departure arrives, let's admit it, as one of the many substitutes networks have had to find for the original programming they couldn't produce because of the COVID pandemic. Happily, it's quite ready for the Lower 48.

Source: 'Departure' Makes Its Arrival to the U.S. on Peacock
 

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TV Sports
College Football Friday TV Schedule
By - Sep. 18, 2020

Game / Time / Network-Channel (all times CT)
Campbell at Coastal Carolina6:30 pmESPN / ESPN Video
 

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TV Notes
On The Air

FRIDAY SEP. 18, 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 - Shark Tank
(R)
9PM - 20/20: Mystery in Memphis (119 min.)
* * * *
11:35PM - Jimmy Kimmel Live! (David Spade guest hosts; Dan Levy; Elle King performs)
(R)
12:06AM - Nightline
12:36AM - Jimmy Kimmel Live!
(R)

CBS:
8PM - MacGyver
(R)
9PM - Love Island
10PM - Blue Bloods
(R)
* * * *
11:35PM - The Late Show With Stephen Colbert (Journalist Bob Woodward; Luke Combs performs)
(R)
12:37AM - The Late Late Show With James Corden (Bryan Cranston; Declan McKenna performs) (R)

NBC:
8PM - America's Got Talent (120 min.)
(R)
10PM - Dateline NBC: Secrets From the Grave
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Jessica Alba; Jack Huston; Keith Urban performs)
12:37AM - Late Night With Seth Meyers (John Cleese; Glenn Howerton)
(R)
1:38AM - A Little Late With Lilly Singh (Podcaster Jay Shetty; author Humble the Poet; comic Subhah Agarwal) (R)

FOX:
8PM - WWE Friday Night SmackDown (120 min., LIVE)

THE CW:
8PM - Masters of Illusion
8:30PM - Masters of Illusion
(R)
9PM - World's Funniest Animals (Series Premiere)
9:30PM - World's Funniest Animals

PBS:
8PM - Washington Week
8:30PM - Firing Line With Margaret Hoover
9PM - Great Performances - Now Hear This: Haydn: The King of Strings
10PM - Art of the Twenty-First Century: London (Premiere)

UNIVISION:
8PM - Médicos, Línea de Vida (120 min.)
10PM - Dulce Ambición

TELEMUNDO:
7PM - Exatlón Estados Unidos (120 min.)
9PM - Todo Por Mi Hija
10PM - Enemigo Intimo


ESPN U:
6:30PM - Women's College Soccer: Baylor at Texas Tech (LIVE)
8:30PM - High School Football: Thompson (AL) vs. Hewitt-Trussville (AL) (LIVE)


NBCSN:

7PM - NASCAR XFinity Racing Series: Food City 300 (120 min., LIVE)
9PM - To Be Announced (3 hrs.)


ESPN:
7:30PM - College Football: Campbell at Coastal Carolina (LIVE)

A&E:

8PM - The First 48: The Case That Haunts Me (Time Slot Premiere)
9PM - Live Rescue (120 min.)

ESPN 2:
8PM - The Infinite Race (Special, 90 min.)

LIFETIME MOVIE NETWORK:
8PM - Movie: The Au Pair Nightmare (2018)


TLC:
8PM - 90 Day Fiancé: Happily Ever After? (120 min.)

TNT:
8PM - NBA Playoffs Pre-Game Show (LIVE)
9PM - NBA Basketball, Western Finals Game 1: Denver Nuggets vs. Los Angeles Lakers (LIVE)


VH1:
8PM - RuPaul's Drag Race (60 min.)

HGTV:
8:30PM - My Lottery Dream Home
9PM - Selling The Big Easy
9:30PM - Selling the Big Easy

NAT GEO:
9PM - World's Deadliest Whale (63 min.)
10:03PM - Ocean Fight Night

FX:
10PM - The New York Times Presents: Hurricane of Fire (61 min.)

HBO:
10PM - Real Time With Bill Maher (LIVE: Podcast host and author Michael Cohen; Academy Award winning actress Jane Fonda; writer Tim Miller; comedian Trae Crowder)
* * * *
11PM - Room 104 (30 min.)


E!:
10:30PM - 10 Things You Don't Know: Reese Witherspoon

* * * *
11PM - Emmys: E!'s Inside Guide (60 min.)

ANIMAL PLANET:
11PM - Chasing Monsters

MTV:
11PM - Ridiculousness: Chanel and Sterling CCVI (30 min.)

TBS:
Midnight - ELEAGUE: Super Punch (60 min.)


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

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TV/Legal Notes (Streaming)
Cheer's Jerry Harris Arrested, Charged With Production of Child Pornography
By Kimberly Roots, TVLine.com - Sep. 17, 2020

Jerry Harris, a subject of Netflix’s Cheer docuseries, was arrested Thursday and charged with production of child pornography , the Chicago Tribune reports.

Earlier in the week, the Federal Bureau of Investigation raided Harris’ home in the Chicago suburb of Naperville, Ill. Per USA Today, the FBI is looking into reports that Harris allegedly solicited sexually explicit photos and sex from minors.

The allegations stem from 14-year-old twin brothers who maintain that Harris repeatedly harassed them online and in person when they were 13 and he was 19. One of the brothers also accuses Harris of asking him for sex at two cheerleading competitions.

Netflix responded to the charges with a statement: “Like everyone, we are shocked by this news. Any abuse of minors is a terrible crime, and we respect the legal process.” TVLine has reached out to representatives for Harris for comment.

After Cheer was released in January, Harris quickly became one of the docuseries’ most recognizable faces. The show follows a competitive cheerleading team at Navarro College in Corsicana, Texas. In it, Harris comes across as a sweet, supportive presence known for his motivational “mat talk,” or shouted kudos from the sidelines as his teammates practice gravity-defying routines.

Harris’ popularity with viewers eventually led to other opportunities, including serving as a red carpet interviewer for Ellen DeGeneres’ daytime talk show.

Cheer Season 2 had already hit a major snag when the national cheerleading competition for which the team prepares all year was cancelled due to the COVID-19 pandemic, putting the future of the show in limbo. “We’re still trying to figure that out,” director and executive producer Greg Whiteley told TheWrap in July, adding: “There’s enough interest in there being a subsequent season that it’d be silly for us not to explore it. But under the current conditions it’s made it complicated, I’ll say that. We’re still working through it.”

Source: Cheer's Jerry Harris Arrested, Charged With Production of Child Pornography
 

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TV/Nielsen Notes (Broadcast)
‘NCIS’ Spurs CBS To Another Full-Year Season Viewer Win; Network & NBC Tied For Total Reach
By Dominic Patten, Deadline.com - Sep. 17, 2020

EXCLUSIVE: CBS has topped primetime, daytime and late-night TV viewership for a second 52-week season in a row.

While in a virtual dead-heat with NBC for overall total reach, the ViacomCBS-owned network averaged 6.32 million viewers in the highly valued 8-11 PM period for the 2019-2020 full-year season, says Nielsen. To put that in another perspective, CBS beat the Comcast-owned network by 723,000 sets of eyeballs in primetime, according to data spanning from September 23, 2019-September 13, 2020.

That primetime win for CBS was in no small part thanks to NCIS. The 20-episode 17th season of the Mark Harmon-led procedural snared an average audience of 15.3 million, making it the most watched series on the small screen. The most watched show on primetime last season was NBC’s flagship NFL show Sunday Night Football, which averaged 20 million viewers.

In total reach for the full year, Nielsen says NBC averaged 228.2 million viewers across all dayparts. CBS was mathematically on the nose with 227.8 million, followed by 226 million for Fox and 221.4 million for ABC in the 6+-minute qualifier metric.

Now, except for 2020 Super Bowl hosts Fox and Univision, every network was down this season in the 52-week averages. Looking over the viewership landscape excluding sports, NBC actually moved closer to CBS in the past two seasons than at any point since 2002-03.

However, a win is a win, and to toss in some more sweet math for CBS, this is the 11th time in the past 12 years that the George Cheeks-led network has been the winner in full-year primetime. In 2017-2018, CBS won the season but NBC got the gold medal for the full year thanks in part to the Winter Olympics in South Korea.

CBS also grabbed its 34th consecutive win in Daytime with an average of 3.34 million viewers, compared with runner-up ABC’s 2.21 million.

CBS also has extended its midnight hour victory lap. For a fourth year in a row, The Late Show with Stephen Colbert has proven the late-night winner over The Tonight Show Starring Jimmy Fallon. Colbert topped the ex-SNLer by 1.52 million viewers with 3.46 million on average to Fallon’s 1.94 million. In fact, The Late Show scored another demo win over the Tonight Show with an average of 532,000 in the adults 18-49 demo.

“For the second consecutive year, CBS has come out on top in primetime, daytime and late night,” CBS Entertainment boss Kelly Kahl told Deadline on Thursday. “This is a clear demonstration of a consistently strong schedule that benefits our stations, our affiliates, and our marketing partners,” the exec added. “We’re now excited to turn the page to a new season, a Super Bowl season for CBS, and another opportunity to build on our winning track record.”

As production continues to reopen after the coronavirus pandemic shutdowns, the ViacomCBS-owned net has Super Bowl LV set for February 7, 2021, in Tampa Bay. There may be little more than a handful of fans in the giant stadiums because of COVID-19 safety protocols, but the past week has seen the NFL take to the field on schedule for its new season. That can only be good news for CBS and its Super Bowl plans going into the 2020-21 season.

Source: ‘NCIS’ Spurs CBS To Another Full-Year Season Viewer Win; Network & NBC Tied For Total Reach
 

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TV Sports/Critic's Notes
NFL, networks keep glorifying and justifying showboating
By Phil Mushnick, New York Post's 'Equal Times' Column - Sep. 17, 2020

Source: NFL, networks keep glorifying and justifying showboating
Who-dee friggin' cares. Seriously.

As long as they aren't taunting the other team or doing something obscene, let them dancing around like idiots. Seriously, if they want to look foolish, let them.

There are more important concerns, like how hard they're hitting their skulls - which could be a part of the foolish part.
 

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Discussion Starter #38,117 (Edited)
TV Review (Streaming)
Despite Its Heavy Hitters, 'Ratched' Fails to Hit a Home Run
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Sep. 18, 2020

Ryan Murphy and Sarah Paulson apparently had so much fun doing the monster mash in American Horror Story that they've reunited for an encore.

You know, just in case we were finally starting to sleep without nightmares.

This time they've gone with an icon of sorts: Nurse Mildred Ratched, one of the great psycho-villains of modern popular culture from the novel and movie versions of Ken Kesey's One Flew Over the Cuckoo's Nest.

Nurse Ratched entered the popular vernacular as the sadistic sociopath who tormented the patients in her psych ward, most famously the Randle McMurphy character played in the 1975 film by Jack Nicholson.

Ratched, which becomes available Friday on Netflix, is set some years before Cuckoo's Nest and imagines Nurse Ratched's origin story.

Ratched doesn't attempt the impossible task of making her sympathetic. It does attempt to show that her patient management philosophy didn't magically appear, that she suffered legitimate psychological terrors of her own while growing up.

For Murphy, who reportedly spent more than a year negotiating for the rights to resurrect Nurse Ratched, this would seem to fall right into his wheelhouse. He's got a character with a proven horror brand, and now he can amplify it.

Murphy loves to go further than he sees other creators going, an approach that has served him extraordinarily well, and given what we know of Nurse Ratched, almost no backstory would seem too extreme or outrageous.

Outrageous, of course, is Murphy's go-to move.

Unfortunately, this time the move never really gets into gear.

Without spoiling anything, it can be revealed the story starts in 1947, where Paulson's Mildred Ratched dresses up in lovely 1940s outfits as she applies for her first professional nursing position.

She explains to her target employer that she was a battlefield nurse during the war, tending to wounded soldiers during the island-hopping campaign in the Pacific.

She comes across as impressive and polite. However, we soon see that she has little interest in waiting for "the system" to embrace or reward her. She wants to get ahead fast and has few qualms about how she makes it happen.

That's the point at which Ratched starts to fray at the edges. To catapult Mildred Ratched from a seemingly ordinary job-seeker to a certified psycho, Murphy has to put her in a situation and surround her with other characters that feel more cartoonish than credible.

That includes a childhood story that would have made Charles Dickens cringe and connects her to several characters, including one Dr. Richard Hanover (Jon Jon Briones) and serial killer Edward Tolleson (Finn Wittrock), whose confluence stretches good storytelling just a little too far.

In the midst of all this, Murphy also gives Nurse Ratched a friend, Gwendolyn Briggs (Cynthia Nixon), whose presence doesn't humanize Ratched as much as it makes her harder to digest.

The performances are fine. Paulson works valiantly to give Ratched a credible balance between residual human instincts and a chilling amorality. The people around her who are normal, at least relatively speaking, fit the story.

But in the end, her backstory plays more like a graphic novel filled with comic-book action than a serious attempt to explore how a regular young woman could turn into the sadist who tormented Randle McMurphy.

That would have been more interesting than another American horror story.

Source: Despite Its Heavy Hitters, 'Ratched' Fails to Hit a Home Run
 

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TV/Legal Notes (Streaming)
'The Mary Tyler Moore Show' anniversary: 50 ways we still love the classic sitcom
By Bill Keveney, USA Today - Sep. 18, 2020

Happy 50th anniversary to "The Mary Tyler Moore Show." Let's hope notorious party killer Mary Richards isn't throwing the celebratory bash.

Mary Tyler Moore's hilarious, TV-changing CBS sitcom premiered on Sept. 19, 1970, introducing viewers to a charming, single working woman and her workplace family, elements that veered from traditional sitcom fare and created a setting for new levels of funny.

Viewers lapped it up, joining Mary, Lou & Co. for a seven-season run that resulted in critical adulation, 29 Emmys and three spin-offs. "MTM" influenced TV that followed, including such comedies as "Cheers," "30 Rock" and "Broad City," and many millions still love it today.

To commemorate the milestone, we compiled 50 things we love about the series, which is available to stream on Hulu or buy on Amazon and iTunes.

Breaking Ground
1. The modern woman: Mary (Moore), who moved to Minneapolis after a long relationship ended, stood out in a TV landscape populated with married homemaker moms. It connected with and influenced a changing culture, where millions of women were entering the workforce.

2. No marriage, no problem: Mary had boyfriends, but marriage and motherhood were not her primary goals, as had been the case for so many TV characters who preceded her. Her fulfilling life delivered a strong message.

3. Serious laughter: After a decade of silly sitcoms featuring hillbillies, castaways and a Martian, "MTM" found comedy in real-life situations and relationships, mining countless laughs from brilliant character development, rather than ridiculous concepts.

4. Home at work: It established a new dynamic, the workplace family, which soon became its own comedy format.

5. Subtle shifts: "MTM" wasn't as rabble-rousing as Norman Lear's "All in the Family," but it had a feminist sensibility and stealthily took aim at cultural stress points, slyly alluding to premarital sex and birth control. Sometimes, it was more direct, as when Mary objected to her male predecessor being paid more or dropped a friend who was anti-Semitic.

6. Inclusion (incrementally): The show was one of the first to feature a gay character, Phyllis Lindstrom's brother, in a 1973 episode, and it wasn't the kind of negative portrayal common at the time.

7. Women write: At the time, "MTM" provided rare behind-the-camera opportunities for women, including writers Pat Nardo, Susan Silver and Emmy winner Treva Silverman. Joan Darling directed the acclaimed "Chuckles Bites the Dust" (written by David Lloyd, father of "Modern Family" co-creator Christopher Lloyd).

Everyone wants a friendship like the one shared by Rhoda Morgenstern (Valerie Harper), left, and Mary Richards (Mary Tyler Moore) in 'The Mary Tyler Moore Show.'


Characters
8. Mary Richards (Moore), a kind, decent person establishing a new life in Minneapolis, where she took a job in a TV newsroom. She learned, sometimes hesitantly, to assert herself, gaining confidence and building her own work/home family.

9. Rhoda Morgenstern (Valerie Harper). the yang to Mary's yin, a brash New Yorker who bonded with her demure Midwestern neighbor. Viewers laughed at her self-deprecating humor, but cheered as she overcame her sad-sack identity.

10. Lou Grant (Edward Asner), the crusty WJM newsroom boss with a soft and chewy center.

11. Ted Baxter (Ted Knight), the narcissistic news anchor, owner of a deep voice and a shallow intellect. Originally the most one-dimensional character, he gained depth over time, but remained blissfully unaware of his ignorance to the hilarious end.

12. Murray Slaughter (Gavin McLeod), the smart but frustrated news writer who had a crush on Mary and a million insults for Ted.

13. Phyllis Lindstrom (Cloris Leachman), Mary's friend and landlord, whose haughtiness hardly hid her insecurity.

14.Sue Ann Nivens (Betty White), WJM's "Happy Homemaker," who projected domestic serenity but had a naughty sensibility and scheming heart roiling beneath.

15. Georgette Franklin (Georgia Engel), Ted's soft-spoken girlfriend and eventual wife. Her simple goodness more than made up for a lack of worldliness.
Happy Homemaker Sue Ann Nivens (Betty White), center, talks to Mary Richards (Mary Tyler Moore), left, and Murray Slaughter (Gavin McLeod), right in the WJM newsroom on 'The Mary Tyler Moore Show.' She and Murray engaged in epic insult battles.


Relationships
16. Mary and Rhoda: "MTM" was all about friendship, and these BFFs were the epitome of a sisterhood. Fans and succeeding sitcoms aspire to that kind of chemistry to this day.

17. Mary and "Mr. Grant": Lou hired Mary, who broke through his shell to become a trusted confidante. Their friendship survived an almost-firing, a betrayal of confidence, Mary's inability to call him Lou and even a date, which ended with an awkward kiss and the decision that romance was not to be.

18. Ted and a mirror.

Frenemies
19. Phyllis and Rhoda: Phyllis competed with Rhoda to be Mary's best friend, but never had a chance. She tried to lord her money and marital status over her Bronx-born tenant, but Rhoda always had the last laugh.

20. Murray and Ted: Murray was jealous of Ted's money and fame; Ted would have envied Murray's biting wit had he understood it.

21. Sue Ann and Murray: This was tennis if players volleyed insults. Murray jabbed Sue Ann over her promiscuity (yes, it was a different era), and she hit back with an array of baldness barbs. Mean, but evenly matched.

Episodes
22. "Love Is All Around" (Season 1): The series premiere gets so many things right: Mary parrying Lou's inappropriate job interview questions; Mary and Rhoda bonding after an apartment battle; and Mary, in a series-defining stand, declaring independence from her ex.

23. "Christmas and the Hard Luck Kid II" (Season 1): In perhaps the best Christmas-themed episode ever, too-nice Mary works a Christmas shift after a family man guilts her. Lou, Murray and Ted arrive to cure Mary's loneliness.

24. “Put on a Happy Face” (Season 3): Moore was an immensely talented comic actor who generously gave castmates most of the best lines. In this episode, she shows her range as Mary suffers a stained dress, a sprained foot, a bad cold and a hair bump on her way to winning a Teddy Award. "I usually look much better than this," a plaintive Mary says while accepting.

25. "The Dinner Party” (Season 4): A Mary party disaster is in the offing when dictatorial Sue Ann caters a dinner where there's not enough food and serving is timed to the second. Sue Ann: "Mary, dear, do you have any idea what happens when you let Veal Prince Orloff sit in an oven too long?" Mary: "Noooo. What?" Sue Ann: "He dies."

26. "Chuckles Bites the Dust" (Season 6): The grimly hilarious death of WJM's Chuckles the Clown – a parade elephant tried to shell him when he was dressed as character Peter Peanut – is a wonderful treatise on grief and has been hailed as the best sitcom episode ever. Mary's laughing/crying jag at Chuckles' funeral is genius.

27. "The Last Show" (series finale): As new station management fires the staff – keeping only the incompetent Ted – everyone says goodbye to each other as viewers say goodbye to them. The group-hug shuffle to Mary's tissue box is an indelible highlight of one of TV's best finales.

Quotables
28. "You've got spunk. I hate spunk!" "MTM" signaled its originality when Lou rejected, rather than embraced, Mary's all-American moxie.

29. "And this is my date, Mr. and Mrs. Armond Lynton." Poor Rhoda performing introductions after making a date with a man she didn't realize was married.

30. “If you can’t stand the heat, dear, get out of my kitchen.” Sue Ann, after using food poisoning to her advantage in this "All About Eve" takeoff, narrated her parting shot to a vanquished younger competitor.

31. "A little song, a little dance, a little seltzer down your pants.” Chuckles the Clown's motto-turned-eulogy.

32. "It's a Long Way to Tipperary." Ted inexplicably chose a World War I marching song to salute his fired colleagues in the finale. Then the gang sang it as they left the newsroom for the last time and it all made sense.

33. Ted Baxter's Famous Broadcasters School: Not dialogue, just funny.

Classic images
34. Rhoda's look of exasperation when dealing with her irresistible-force mother, Ida (Nancy Walker), a TV mom hall-of-famer.

35. Mary at her perfectly organized newsroom desk, welcoming viewers to her workplace home.

36. Mary crushing Ted's hat with a hug – then fixing it – after he, Lou and Murray join her for Christmas Eve in the newsroom.

37. Lou, murder in his eyes, catapulting from his office after Ted's regular assaults on journalism and the English language.

38. Sue Ann'ssmile: Make that baring of teeth.

39. The anticipatory pause between Murray's insult and Sue Ann's nuclear rejoinder.

40. Farmer Ted: The anchor as commercial pitchman hawking country sausage during his own newscast.

41. The big "M" on Mary's apartment wall: Her first apartment was so much better than her second.

Special guests
42. Fabled TV news anchor Walter Cronkite rightly looking at Ted as if he were a different species.

43. Late-night king Johnny Carson, heard but not seen as a blackout doomed yet another Mary party.

44. Up-and-comers Henry Winkler in his first primetime appearance at the Prince Orloff fiasco; John Ritter as a minister who married Ted and Georgette; and Helen Hunt as Murray's daughter.

Theme song and credits
45.“Love Is All Around: The theme's memorable lyrics, recorded by Sonny Curtis, evolved from uncertain hope in Season 1 ("How will you make it on your own?"/"You might just make it after all") into an anthem of affirmation (“You’re gonna make it after all”).

46. “Love Is All Around,” Part II: Joan Jett’s tribute cover, which punches the original’s sweet melody in the gut, is even better.

47. The opening-credits shot of Mary flinging her tam into the air is one of TV’s most iconic moments. A Minneapolis statue commemorates the image. Long may she stand.

Legacy
48. MTM Enterprises: Moore created a powerhouse studio with then-husband Grant Tinker and sparked a TV golden age with such illustrious fare as "The Bob Newhart Show," "Hill Street Blues," "St. Elsewhere" and "The White Shadow."

49. Moore's namesake sitcom spawned popular CBS spinoffs "Rhoda," whose TV wedding drew a whopping 52 million viewers; "Lou Grant," a drama that won 13 Emmys as Lou morphed into a Los Angeles newspaper editor; and short-lived "Phyllis." God bless Mother Dexter.

50. Launching pad: "MTM" was a springboard for entertainment auteurs with similar-sounding names. Co-creator James L. Brooks moved on to direct "Terms of Endearment" and "Broadcast News" and produce another TV classic, "The Simpsons." Moore's comedy was the first TV gig for legendary director James Burrows ("Will & Grace," "Cheers"). And it made a star of Mimsie, the logo cat who meowed each episode to a close, becoming the studio's answer to MGM's roaring lion, Leo.

Finally, why not close where the series did, with Lou's tribute to his colleagues in the show's last scene: "I treasure you people."

We feel that way, too.

Source: 'The Mary Tyler Moore Show' anniversary: 50 ways we still love the classic sitcom
 

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Technology/Washington Notes (Mobile)
Trump to ban US TikTok and WeChat app store downloads on September 20th
By Makena Kelly, TheVerge.com - Sep. 18, 2020

The US Commerce Department has issued a new order to block people in the US from downloading the popular video-sharing app TikTok as of September 20th, Reuters first reported Friday.

The full order was published by the Department of Commerce on Friday morning. “Any transaction by any person, or with respect to any property, subject to the jurisdiction of the United States, with ByteDance Ltd,” the order reads, “shall be prohibited to the extent permitted under applicable law.” It is set to take effect on September 20th.

Over the last few weeks, TikTok’s Chinese parent company, ByteDance, has been engaged in talks with US companies like Microsoft and Oracle to create a new company, TikTok Global, that would meet the Trump administration’s concerns over user data security. Earlier this month, President Trump sparked negotiations after calling for US TikTok operations to be shut down unless sold to a US company by September 15th. Microsoft has dropped out of the bidding, leaving Oracle and Walmart as the leading candidates to hold stake in the new TikTok company. Still, the administration has yet to strike a deal that meets all of its requirements.

Officials told Reuters that a Commerce Department rule banning US downloads of TikTok and other Chinese-owned apps like the messaging platform WeChat could be issued as early as Friday. That rule would reportedly go into effect Sunday, September 20th, banning new downloads of both WeChat and TikTok.

“We’ve already committed to unprecedented levels of additional transparency and accountability well beyond what other apps are willing to do, including third-party audits, verification of code security, and US government oversight of US data security,” TikTok said in a statement Friday. “We will continue to challenge the executive order, which was enacted without due process and threatens to deprive American people and small businesses across the US of a significant platform for both a voice and livelihoods.”

Reuters said that the administration’s ban would bar Apple and Google from offering any of these Chinese-owned apps in their app stores for US users. The tech companies would still be allowed to offer TikTok to users outside of the US. US-based companies would not be barred from conducting business with the Chinese-owned apps, like how Walmart and Starbucks allow users to make transactions through WeChat.

Commerce Secretary Wilbur Ross told Reuters Friday, “We have taken significant action to combat China’s malicious collection of American citizens’ personal data, while promoting our national values, democratic rules-based norms, and aggressive enforcement of U.S. laws and regulations.”

Apple and Google did not immediately respond to requests for comment from The Verge.

Source: Trump to ban US TikTok and WeChat app store downloads on September 20th
 

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TV/Nielsen Overnights (Broadcast)
TV Ratings: Love Island Ticks Up, Eyes Biggest Audience of Season
By Matt Webb Mitovich, TVLine.com - Sep. 18, 2020

In the latest TV show ratings, CBS’ Love Island this Thursday drew a sliver more than 2 million total viewers along with a 0.5 demo rating (pending possible adjustment due to NFL preemption in Cincinnati), ticking up week-to-week on both counts and marking a season high in audience.

Opening the Eye’s night, Big Brother (4.1 mil/1.0) dipped a tenth in the demo week-to-week but still led the night in that measure.

Over on ABC, Holey Moley‘s latest space-filling recap special (2.5 mil/0.5) was up sharply from last week’s (pending possible adjustment due to NFL preemption in Cleveland). A Celebrity Family Feud rerun delivered Thursday’s largest audience: 4.3 million.

The CW’s Mysteries Decoded (740K/0.1) was steady.

Cable ratings, such as for the CNN Town Hall and Thursday Night Football on NFL Network, come in much, much later and as warranted are reported under separate cover.

Source: TV Ratings: Love Island Ticks Up, Eyes Biggest Audience of Season

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TV/Nielsen Overnights (Broadcast)
Ratings: Biden Town Hall Sets CNN Record, Audience Falls Shy of Trump's

CNN‘s town hall Q&A with Democratic presidential candidate Joe Biden on Thursday night drew 3.33 million total viewers (with 718K landing in cable’s coveted 25-54 demo), per Nielsen fast nationals.

Those tallies for the Anderson Cooper-moderated town hall, which was held, drive-in style, in the parking lot of PNC Field in Moosic, represent a CNN record for a single-candidate town hall.

President Donald Trump’s own town hall Q&A this week, held Tuesday on the ABC broadcast network, reported a total audience of 3.8 million viewers in its own Nielsen fast nationals (and later inched up closer to 4 million in the finals).

This election season’s first presidential debate between Trump and Biden will be held Tuesday, Sept. 29, at Case Western Reserve University and Cleveland Clinic in Ohio, starting at 9/8c and lasting 90 minutes with no commercial breaks.

Source: Ratings: Biden Town Hall Sets CNN Record, Audience Falls Shy of Trump's
 
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