Category: News (Page 141 of 401)

“Southland” has been saved

In a delightful screw-you to the programming powers that be at NBC, TNT has saved the day and picked up “Southland.” Although I must, as ever, remind you that I have never claimed to be Nostradamus, I am pleased to say that I did predict that this would be the case when I originally posted about the show’s cancellation by NBC, so it’s nice to see that I can get something right once in awhile. (I’m still smarting over the fact that, in Bullz-Eye’s Fall TV Preview that “Trauma” has been canceled, but I stand by my position: based on their pilots, I can’t imagine anyone would’ve expected “Mercy” to last longer.)

Here’s the official word from TNT on the latest addition to their line-up:

TNT has picked up the critically acclaimed series “Southland,” closing a deal with Warner Bros. Television that will bring the drama from Emmy-winning producer John Wells (“ER,” “The West Wing”) to the network in January. TNT has obtained exclusive rights to air all six episodes that have been shot for the second season, as well as the seven episodes from the series’ first season. “Southland” will air on TNT Tuesdays at 10 p.m. (ET/PT), beginning with the first episode of the series on Jan. 12.

“This is a great win for fans of ‘Southland’ and a perfect opportunity to introduce the series to new viewers,” said Steve Koonin, president of Turner Entertainment Networks. “It’s also another outstanding example of how TNT has established itself as the go-to place for the best dramas on television.”

“We are extremely pleased that TNT has acquired all 13 episodes of ‘Southland,’ giving devoted fans the opportunity to watch a show that they passionately support,” said Peter Roth, president of Warner Bros. Television.

“We’re delighted that TNT has stepped forward to pick up ‘Southland.’ We are all extremely proud of the show,” Wells said.

Of course, if you’ve been following the Twitter feed of “Southland” star Michael Cudlitz since he started making with the obscenities over NBC’s treatment of the series, then this is old news to you, anyway. He reacted to the news minutes after the story broke, thanking everyone in Twitterland and saying, “The reason this happened was because of you. They never would have picked this show up if they didn’t think it had an audience.”

But will the audience make it over to TNT come January…?

Apparently, this is it

In something of a box office anticlimax to one of the most astonishing careers in entertainment history, despite surprisingly strong reviews, “This is It” with Michael Jackson has fallen somewhat short of expectations. The documentary about the preparations for Jackson’s never-to-be final tour won was, in fact, the #1 movie with an estimate of roughly $20.4-7 million for the weekend and $31.9-$32.5 for the “cume” since it’s Tuesday opening — that’s depending on whether you prefer the numbers offered by the breathlessly negative Nikki Finke or Variety’s more glass-half-full Pamela McClintock. The film was originally pegged for closer to $50 million or more.

Now, to be fair, I’ve never been a fan of this whole box office expectations game. In my book, a movie is a commercial success if it makes a profit; the bigger the profit, the bigger the success. That’s it. Still, considering who we’re talking about, it’s obvious why those expectations were sky high.

this-is-it-jackson

Given that Jackson was substantially more admired and less controversial/mocked abroad, it makes sense that the worldwide numbers for “This Is It” look a lot better, with a take so far of $101 million. MJ remains, of course, huge in Japan and lots and lots of other places. Supposedly in response to this response, Sony has made the deeply unsurprising move of extending the film’s putative two-week run through Thanksgiving. Nikki Finke’s cry of “Con Artists” might seem a bit over-dramatic in a business that has long been under the spell of P.T. Barnum, but I’m not going to deny that this was a pretty naked and unconvincing ploy to try to create artificial excitement that, at least in the U.S., didn’t much take. If anyone tries to use it again any time soon, if I may indulge in the subjunctive tense, they be putzes. Still, fair is fair and it appears as if the King of Pop did beat the Hannah Montana concert film internationally, so there’s that.

While “This Is It” was the only new major release this week, and the weekend’s numbers were low overall, at least partially because of an inevitably somewhat low-key Halloween Saturday, there were other movies in play. Not at all surprisingly, the holiday was kind to “Paranormal Activity” which declined a miniscule 22% while adding theaters for an estimated weekend total of about $16.5 million and a “cume” of about $84.8 million.

Considering that it’s still playing in roughly a thousand fewer theaters than “This Is It,” this is a genuinely outstanding box office performance for a film which had an original budget that was actually less than half of the budget of the “zero budget” “The Blair Witch Project.” Perhaps wisely, Paramount appears to be keeping Israeli-born video game designer and now film director Oren Peli under wraps for the time being – no need to turn him into Quentin Spielberg just yet – but I trust he enjoyed the happiest of Halloweens.

Other than that, there were few surprises this weekend with all the current films pretty much staying static. However, I’m sure some of our young male readership will be interested to note that, as per Box Office Mojo, the best per-screen average this Halloween was just under $6,800 and it was enjoyed by Apparition’s “The Boondock Saints II: All Saints Day” on 68 screens. Given the poor performance of my personal great black hope, “Black Dynamite,” which was released in seventy theaters by the same arm of Sony and did not even register this week, or last, at the Mojo, this kind of sets my teeth on edge. It ain’t fair but the most cinematically accurate spoof film since “Young Frankenstein” will be back for another try on DVD. That, as they say, is show biz, suckas.

boondocksaints_Aug

Friday film news dump, pre-Halloween edition

christopherlee

So much going on today that, unless my Google Reader is lying to me, not a single one of the many film sites and blogs on my list of usual suspects has mentioned that Christopher freaking Lee was knighted today. (I, however, will be paying my respects in the next post.)

Meanwhile….

* The biggest news of the day was expected, I guess. The New York offices of the once might mini-major Miramax, founded by Harvey and Bob Weinstein and since sold off to Disney, have been closed and the annual slate of films significantly downsized. In addition, the division’s “prexy” Daniel Battsek is stepping down, though he is supposed to be supervising the consolidation of the NYC and L.A. offices through January and no replacement has been set. Not surprising in tough times for “small” films. Anne Thompson partially blames what you might call movie mission creep, among other factors.

The main problem with the studio sub-divisions that are being slashed if not eliminated is that they simply don’t return enough on investment. They inevitably drift away from small-scale divisions that push low-budget films into more ambitious upscale operations with more employees and more overhead. With growth comes bigger budgets, more P & A, wider releases, more grandiose Oscar campaigns and often, smaller profits.

Her entire piece is definitely worth a look as she mentions how even some seemingly successful award pictures as “There Will Be Blood” and “Doubt” became money losers or earned less than you might think due to marketing costs and award campaigns.

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WitStream is the comedian’s answer to Twitter

Michael Ian Black

I understand that Twitter is a cultural phenomenon, but for one reason or another, I don’t have one. Maybe it’s because none of my friends use the service either, I don’t know. However, do I really want to know what my friends are doing every half hour? I’ve known most of them for years and, judging by that familiarity, they maybe experience one exciting moment per week on average, if that. Thus, I use my $15 cell phone, or my email, or I surprise them by knocking on their door (nobody does this anymore).

So, if people aren’t following the minutia of their friends’ lives on Twitter, who are they actually following? The company is supposedly valued at over $1 billion, so somebody is using the damn thing.

The service would have never blown up without celebrities, many of whom have millions of followers. In a way, Twitter is becoming the MySpace of micro-blogging. Companies use the service as a vehicle to advertise their products and celebrities use it as a vehicle to advertise themselves. The only “social networking” really happening is when users comment, most often on celebrities’ accounts. In the end, everybody is selling something. This isn’t a bad thing, but it’s just proof that Twitter is more of a giant billboard board than a worldwide chat room. Perhaps that was their ulterior motive. For companies, Twitter is a wonderful and free promotional tool.

Since Twitter is a powerful social amalgam of celebrities, companies, and people like you, there is obviously a ton of junk flying around their site. In response, Twitter has a new “lists” feature, which allows users to organize accounts by various categories. While this should clean things up a bit, users are still on the mother site, and will undoubtedly encounter unwanted information.

Lisa Cohen is attempting to capitalize on this idea of categorizing. She has partnered with the hilarious Michael Ian Black to create WitStream, a social networking site exclusive to comedians.

Per The Comic’s Comic:

They’re all representative of the kinds of funny people WitStream wants to be in business with, sharing short bits of comedy and starting dialogues. The launch press release noted that “founding contributors” also included Rainn Wilson, Al Yankovic, Mike Birbiglia and Rob Corddry, and mentioned that Black would be leaving behind his 1.36 million Twitter followers @michaelianblack, hopefully bringing them with him over to the new site.

The site also spotlights each member with a profile page that includes a bio, schedule for upcoming live shows, and pages for them to share videos, reviews and sell merchandise.

What about Twitter?

“One of my many problems is the double-edged sword that is Twitter,” she said. “It’s the quickest way to describe what I’m doing and what micro-blogging is. On the other hand, there are people who hate Twitter and won’t go on it. I have comics who go on WitStream and love it and they won’t go on Twitter. Twitter has this code. It has its own little language with the hashtags. It’s not very friendly to non-users. If you don’t speak that language — I think by creating threaded responses, it allows people to read it so you’re not hashtagging. It’s an easier introduction to the medium.”

That’s where Cohen feels WitStream can help. “I’m bascially the filter in between the creators and the audience,” she said. “With Twitter, people like it because it’s democratic. People have the same rights and the same tools. Not everybody in the world is as talented enough to broadcast and to publish. I think people are finding the same thing with YouTube. Everybody has come around to, it’s too much, there’s too much crap out there. I don’t know how to dive in. We’re the Funny or Die is to YouTube as Witstream is to Twitter.”

Of course, the comedians will post updates of their upcoming appearances and promote their CDs. The main appeal, however, is that followers will be able to read the humorous thoughts of some of their favorite comedians. Isn’t that really why people read Twitter — to be entertained?

The History Channel gives you a reason to buy a new TV: “WWII in HD”

I am neither a history buff nor a particular aficionado of war footage, but when The History Channel presented its TCA panel for the upcoming series, “WWII in HD,” premiering on Nov. 15th, I don’t mind telling you that I was absolutely enthralled. Culled from thousands of hours of lost and rare color archival footage gathered from a two-year-long worldwide search through basements and archives, the miniseries – narrated by Gary Sinese, with additional contributions from Ron Livingston, LL Cool J, Rob Lowe, Steve Zahn, and others – is unquestionably going to change the way a lot of younger people think of World War II…and by “younger,” I’m talking from, like, 50-year-olds on down the line.

I’ve seen the first couple of episodes, and it’s just mindblowing to see all of this color footage, so much so that you’ll almost be embarrassed that you’re having a hard time accepting that it’s real. For instance, my wife and I were watching footage of a Nazi rally, with Adolf Hitler riding down the street to a crowd chanting his name, and we were just stunned. I mean, you’ve seen pictures of Hitler, and you’ve seen the grainy black and white footage, but to see him in living color…? It’s truly bizarre, and the same goes for the moments where you see FDR, Churchill, and any number of other familiar faces from the era. It’s almost disconcerting, frankly, and that’s not even getting started on seeing the scenes of combat.

Here’s the trailer for “WWII in HD,” so you see at least a little bit of what I’m going on about:

Keep in mind that the trailer itself isn’t in HD, of course, but I dare say you can see how much they’ve cleaned up this found footage. It’s truly remarkable, and it is absolutely must-see.

Mark it on your calendar now: Nov. 15, 9 PM, The History Channel.

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