Cable Chiefs Discuss Reality Programming, Apple Model And Rim Obsession

Ray Richmond is contributing to Payment dates TV coverage AMCs EVP original programming Joel Stillerman mentioned not to take into account the fact Mad Males might have been in the air in originals for a lot of 17 several days if this finally returns due to its fifth season on March 25. Speaking this mid-day within an HRTS Lunch within the Beverly Hilton billed just like a Cable Programming Summit, Stillerman expressed that Mad Mens audience has proven to become probably the most loyal in many of television, adding, So while its never easy to make organizing options which have a showcase the atmosphere a lot more than possibly youd like, In my opinion its potential to assist the show with time, I really do. Mad Males Jon Hamm stood a slightly different consider the problem when came out on Late Show with David Letterman the other day. When billionaires fight, it takes substantially longer to remain,” he mentioned. “So we'd some loaded people determining how extended we'd be in the air. The large event, moderated by Access Hollywoods Billy Rose rose bush, also featured Turner programming chief Michael Wright, MTV programming mind David Janollari, ABC Family programming/development EVP Kate Juergens, and Starz controlling director Carmi Zlotnik. All of the panelists agreed that nonscripted programming should be an growing part of their overall original slates. We have to come in the nonscripted space couple of years agi, Wright recognized, so were moving there very quickly now. Wright also needed the possibility at that time the ipad 3 was brought to praise the Apple model. The main one factor Ive always recognized relating to this company, he mentioned, can it be seems to own this kind of finger which people want. They are to own built a business based on products the customer would like. For television, we have to (also) create things the viewer would like. We actually should stay better attuned compared to that. A lighter moment arrived the conclusion in the discussion, when Rose rose bush asked for the panelists once they ever awaken in the heart of the evening, grab their Rim, and start to resolve emails. Yes, Zlotnck recognized, and my partner states, Put it lower. Quipped Rose rose bush: Were speaking relating to your Rim, I guess?

Jane Alexander Tackles Edward Albee's 'The Lady From Dubuque'

Jane Alexander Tackles Edward Albee's 'The Lady From Dubuque' By Simi Horwitz March 1, 2012 Photo by Joan Marcus Jane Alexander in "The Lady from Dubuque" Imagine playing an amorphous figure who may or may not represent impending doom. Not that the title character, Elizabeth, is delineated as such in Edward Albee's "The Lady From Dubuque," now running Off-Broadway at the Pershing Square Signature Center. But she's clearly on another plane, says the patrician Jane Alexander, who's tackling the part in the intense drama centering on Jo, a dying woman (Laila Robins), and her tormented relationships with her spouse and their friends. After a raucous evening, mysterious strangers Elizabeth and Oscar (Peter Francis James) arrive, seemingly out of nowhere, to soothe Jo. "Edward says you cannot play a character as a metaphor," Alexander says. "Edward won't define her, not even in private. So I play it as I feel it, as a flesh-and-blood woman, who's there as a comforter. That's what Jo needs. Edward says reality is defined by what we need."Often playing aristocratic women, Alexander has had a stellar career in theater, film, and television and garnered a shelf-ful of awards along the way. She also served as the chair of the National Endowment for the Arts from 1993 to 1997. A lifelong activistfrom civil rights to anti-Vietnam protests to feminismAlexander now focuses her attention on environmental issues, with a special interest in conserving natural habitats for wildlife.Though she never envisioned a life in government, Alexander had her sights set on acting when she was growing up in Boston. But to accommodate her father, who firmly believed everyone should have a fallback career, Alexander majored in math as well as theater at Sarah Lawrence College. Computers were beginning to appear, and Alexander thought if acting didn't pan out she could work as a programmer. Her junior year abroad at the University of Edinburgh, however, changed the course of her life. She performed with the school's drama club, and her talents were touted by the local papers. No longer open to pursuing backup gigs, she dropped out of college and forged ahead with acting. "My poor dad," Alexander recalls. "But he told me to go ahead with it and gave me two years."As it turned out, within that deadline she was working as an actor. Throughout her career, she honed her craft and played an array of parts in regional theaters. But a pivotal momentindeed, an artistic epiphanyoccurred when she was starring in "Saint Joan" at the Arena Stage in Washington, D.C. Her future husband, Edwin Sherin, was directing. At the time she had been studying with a teacher in NY"who will remain nameless," she chortles. "Ed said to me, 'There's only one problem with your acting. You can't be seen, and you can't be heard.' So I jettisoned the method I had been working on and listened to Ed. I learned how to put more emphasis on the vocal and took ownership of my roles."Her professional watershed was starring opposite James Earl Jones in "The Great White Hope," playing a black boxer's white mistress. It was launched at the Arena Stage and moved on to Broadway in 1968 before becoming a major film. The production established the careers of both actors. "We both got Tony Awards, Academy Award nominations, and were off and sailing in all three mediums," she remarks, sounding thrilled even in retrospect. " 'The Great White Hope' was remarkable especially during the height of the civil rights movement. There were 63 actors in the cast, playing over 200 roles, and more than half of them were African-American. The audience was diverse. It was incredible to be part of that."A Proactive CareerNever one to rest on her laurels, Alexander decidedafter close to 20 years of working steadilyshe needed to become proactive and produce her own work. It was not simply to give herself choice roles: "I felt there were stories I wanted to tell," she says. The projects she produced and starred in included "Calamity Jane" for CBS and "A Marriage: Georgia O'Keeffe and Alfred Stieglitz" for PBS.But mounting self-generated work was not easy, and Alexander soon tired of the relentless struggle. "Being in Hollywood when you're a woman in your late 40s was very tough, especially then," she points out. "There was a lot of pressure and humiliation. Many of the producers didn't know who I was."Interestingly, for mature screenwriters, she felt there was far more discrimination than for female actors of a certain age. "Producers were known to have said, 'Don't send me scripts written by writers over 35' or some other young age," she recalls. "The only discrimination I felt as an actor is that there have always been more roles for mature men than mature women in film." A major shift in Alexander's life took place when she was tapped by President Bill Clinton to helm the NEA. It was the capstone of a lifetime dedicated to progressive movements. Still, she was not fully prepared for what came with her new post."I became the focus of media attention," she says. "It was during the time of the NEA Four, Andres Serrano, and Robert Mapplethorpe." This was a brouhaha surrounding the public funding of four controversial performance artists and two equally provocative visual artists. "I became the target during the Newt Gingrich Congress," she continues. "During those four years I was shifted into a political arena."Alexander does not regret her role at the NEA. Indeed, she met fascinating artists and politicians who never would have crossed her path otherwise, she says. "And I have wonderful stories to tell about Newt Gingrich." Still, it took her close to seven years to be viewed as an actor again and make the transition back to the stage. She likens acting to riding a bike. "You never forget it," she says. Alexander has indeed had a fortunate career. There are no roles she's dying to do. She concludes, "I made that list when I was 16, and I've now done most of them.""The Lady From Dubuque" will play through March 25 at the Pershing Square Signature Center, 480 W. 42nd St., NYC. (212) 244-7529 or www.signaturetheatre.org. Outtakes Mother of Jace Alexander, an actor, a director, and a co-founder of the NY theater company Naked AngelsAppeared on Broadway in 13 plays, was nominated for six Tony Awards, and won a Tony for "The Great White Hope"Has more than 55 film and TV credits, earning four Academy Award nominations, six Emmy nominations, and Emmy Awards for her performances in "Warm Springs" and "Playing for Time"Wrote a memoir, "Command Performance: An Actress in the Theater of Politics," and co-wrote "The Blue Fish Cookbook" Jane Alexander Tackles Edward Albee's 'The Lady From Dubuque' By Simi Horwitz March 1, 2012 Jane Alexander in "The Lady from Dubuque" PHOTO CREDIT Joan Marcus Imagine playing an amorphous figure who may or may not represent impending doom. Not that the title character, Elizabeth, is delineated as such in Edward Albee's "The Lady From Dubuque," now running Off-Broadway at the Pershing Square Signature Center. But she's clearly on another plane, says the patrician Jane Alexander, who's tackling the part in the intense drama centering on Jo, a dying woman (Laila Robins), and her tormented relationships with her spouse and their friends. After a raucous evening, mysterious strangers Elizabeth and Oscar (Peter Francis James) arrive, seemingly out of nowhere, to soothe Jo. "Edward says you cannot play a character as a metaphor," Alexander says. "Edward won't define her, not even in private. So I play it as I feel it, as a flesh-and-blood woman, who's there as a comforter. That's what Jo needs. Edward says reality is defined by what we need."Often playing aristocratic women, Alexander has had a stellar career in theater, film, and television and garnered a shelf-ful of awards along the way. She also served as the chair of the National Endowment for the Arts from 1993 to 1997. A lifelong activistfrom civil rights to anti-Vietnam protests to feminismAlexander now focuses her attention on environmental issues, with a special interest in conserving natural habitats for wildlife.Though she never envisioned a life in government, Alexander had her sights set on acting when she was growing up in Boston. But to accommodate her father, who firmly believed everyone should have a fallback career, Alexander majored in math as well as theater at Sarah Lawrence College. Computers were beginning to appear, and Alexander thought if acting didn't pan out she could work as a programmer. Her junior year abroad at the University of Edinburgh, however, changed the course of her life. She performed with the school's drama club, and her talents were touted by the local papers. No longer open to pursuing backup gigs, she dropped out of college and forged ahead with acting. "My poor dad," Alexander recalls. "But he told me to go ahead with it and gave me two years."As it turned out, within that deadline she was working as an actor. Throughout her career, she honed her craft and played an array of parts in regional theaters. But a pivotal momentindeed, an artistic epiphanyoccurred when she was starring in "Saint Joan" at the Arena Stage in Washington, D.C. Her future husband, Edwin Sherin, was directing. At the time she had been studying with a teacher in NY"who will remain nameless," she chortles. "Ed said to me, 'There's only one problem with your acting. You can't be seen, and you can't be heard.' So I jettisoned the method I had been working on and listened to Ed. I learned how to put more emphasis on the vocal and took ownership of my roles."Her professional watershed was starring opposite James Earl Jones in "The Great White Hope," playing a black boxer's white mistress. It was launched at the Arena Stage and moved on to Broadway in 1968 before becoming a major film. The production established the careers of both actors. "We both got Tony Awards, Academy Award nominations, and were off and sailing in all three mediums," she remarks, sounding thrilled even in retrospect. " 'The Great White Hope' was remarkable especially during the height of the civil rights movement. There were 63 actors in the cast, playing over 200 roles, and more than half of them were African-American. The audience was diverse. It was incredible to be part of that."A Proactive CareerNever one to rest on her laurels, Alexander decidedafter close to 20 years of working steadilyshe needed to become proactive and produce her own work. It was not simply to give herself choice roles: "I felt there were stories I wanted to tell," she says. The projects she produced and starred in included "Calamity Jane" for CBS and "A Marriage: Georgia O'Keeffe and Alfred Stieglitz" for PBS.But mounting self-generated work was not easy, and Alexander soon tired of the relentless struggle. "Being in Hollywood when you're a woman in your late 40s was very tough, especially then," she points out. "There was a lot of pressure and humiliation. Many of the producers didn't know who I was."Interestingly, for mature screenwriters, she felt there was far more discrimination than for female actors of a certain age. "Producers were known to have said, 'Don't send me scripts written by writers over 35' or some other young age," she recalls. "The only discrimination I felt as an actor is that there have always been more roles for mature men than mature women in film." A major shift in Alexander's life took place when she was tapped by President Bill Clinton to helm the NEA. It was the capstone of a lifetime dedicated to progressive movements. Still, she was not fully prepared for what came with her new post."I became the focus of media attention," she says. "It was during the time of the NEA Four, Andres Serrano, and Robert Mapplethorpe." This was a brouhaha surrounding the public funding of four controversial performance artists and two equally provocative visual artists. "I became the target during the Newt Gingrich Congress," she continues. "During those four years I was shifted into a political arena."Alexander does not regret her role at the NEA. Indeed, she met fascinating artists and politicians who never would have crossed her path otherwise, she says. "And I have wonderful stories to tell about Newt Gingrich." Still, it took her close to seven years to be viewed as an actor again and make the transition back to the stage. She likens acting to riding a bike. "You never forget it," she says. Alexander has indeed had a fortunate career. There are no roles she's dying to do. She concludes, "I made that list when I was 16, and I've now done most of them.""The Lady From Dubuque" will play through March 25 at the Pershing Square Signature Center, 480 W. 42nd St., NYC. (212) 244-7529 or www.signaturetheatre.org. Outtakes Mother of Jace Alexander, an actor, a director, and a co-founder of the NY theater company Naked AngelsAppeared on Broadway in 13 plays, was nominated for six Tony Awards, and won a Tony for "The Great White Hope"Has more than 55 film and TV credits, earning four Academy Award nominations, six Emmy nominations, and Emmy Awards for her performances in "Warm Springs" and "Playing for Time"Wrote a memoir, "Command Performance: An Actress in the Theater of Politics," and co-wrote "The Blue Fish Cookbook"

NBCUnis Maury Spinoff Talk Show Trisha Formally A Go For Fall With 80% Clearances

NBCUniversal Domestic Television Distribution’s new syndicated talk show Trisha, a spinoff in the organization’s veteran Maury, has turned into a apply for fall with clearances in than 80% in the U.S., including 27 in the top 30 areas. Trisha‘s core station group is Sinclair, which acquired the series situated by popular British talk-show host Trisha Goddard in October. In those days, the show wasn't firmed up for just about any national rollout because it was yet to discover stations inside the top three areas — NY La and Chicago — something it is accomplished. Within the last several seasons, Goddard offered just like a guest host and conflict expert on Maury, and her new show is predicted to give consideration to conflict resolution. Maury executive producer Paul Faulhaber may even executive result in the offshoot. This can be the 5th syndicated talk show to create across the nation inside the fall, along with NBCU’s Steve Harvey additionally to Disney’s Katie, CBS’ Rob Probst and Twentieth TV’s Ricki Lake.

Piaget Producer's Award: Sophia Lin

LinMondBurrisSophia Lin Author-director Shaun Nichols and star Michael Shannon might have become the majority of the attention for that hallucinatory Sundance darling "Take Shelter," but it is unlikely the pic could have been recognized with no efforts of producer Sophia Lin."Stretching assets and taking advantage of our crazy schedule" were the greatest challenges for that practical-minded Lin, who, employed in close harmony with Nichols, handled the budgeting, personal time management and physical facets of production, permitting the director to understand his complex vision inside the project's limited means.Lin has strained in a variety of facets of film production for 16 many favors to collaborate with "practical, yet creative" company directors like David Gordon Eco-friendly whose on-set methodology mirrors her very own and that do not "fresh paint themselves right into a corner using their own ambitions."Lin's current project may be the horror pic "The Beach House" helmed by Shaun Brown, another in her own web of longtime affiliates, and that is scheduled to shoot in May.RUNNERS-UP Josh Mond"Martha Marcy May Marlene" Founding the development company Borderline Films, together with company directors Sean Durkin and Antonio Campos enables producer Mond to create uncompromising films towards the bigscreen. The critical success of Durkin's film along with a recent distribution cope with Fox Searchlight guarantees that Mond's efforts continues to obtain ample exposure.Chad Burris"Mosquita y Mari" An advocate for Native American participation within the arts plus an accomplished producer, Burris may be the leader from the Oklahoma Territory Film Council the director of Yuwita, a nonprofit supporting American Indian media initiatives and also the guy behind such celebrated film projects as "Woofing Water" and "Mosquita y Mari."FILM INDEPENDENT SPIRIT Honours 2012FIND finds fresh Spirit guidesHonoreesPiaget Producer's Award Audi Anyone to Watch Award Nokia Truer Than Fiction Award Contact the range newsroom at news@variety.com

Nachmanoff Shooting American Assassin

He'll dominate the thrillerIt's all change for your adaptation of Vince Flynn potboiler American Assassin, as Jeffrey Nachmanoff has signed onto dominate writing and pointing duties from Erection dysfunction Zwick.The Love Together With Other Drugs co-author/director has dropped out because he'll be too busy pointing Legendary East's The Fantastic Wall and CBS Films has made a decision this didn't desire to watch out for him to become proven.Now Nachmanoff will tackle pointing it which, although it's Flynn's eleventh inside the series, flashes to stay with the foundation story in the central hero, Mitch Rapp.It calculates that Rapp happen to be a greater-flying college student and promising athlete until an urgent situation saw him switch career paths and become most likely probably the most devoted terrorist potential predators coping with the CIA.No decision continues to be produced on who'll play Rapp: while stars like Matthew Fox, Gerard Butler and Colin Farrell happen to be options when the film will be a straight adventure, the producers are really trying to find someone somewhat youthful.Nachmanoff has some understanding about spies and double crosses, getting co-written and directed Traitor. He's been working behind the digital camera for ace US conspiracy series Homeland. And also the script for Last Stand will rapidly be on-screen, starring Arnold Schwarzenegger since the small town sheriff who needs to handle a criminal offence master developing a bolt for your Mexican border through his territory.

Fox skeds 'Q'Viva' Saturdays in March

Fox will air unscripted series "Q'Viva! The Chosen" in primetime beginning Saturdays next month, completing the U.S. piece of Endemol's massive global distribution strategy. "Q'Viva," which will air in two-hour blocks over six weeks beginning March 3, is a music-competition skein featureing Jennifer Lopez and Marc Anthony traveling throughout Latin America in search of talent. A Spanish-language version of the series began running on Univision last month in the U.S., one of 21 countries where it is scheduled to run. "Q'Viva," which will step in for Fox series "Cops" at 8 p.m., is a joint production from Simon Fuller's XIX Entertainment,Lopez's NuYoRican Prods., Anthony and Jamie King. Fox isn't the only network putting originals on rerun-heavy Saturday at that time. ABC is rolling out "My Strange Addiction: A Special Edition of 20/20" throughout March, the same month that CBS will turn over its primetime to its annual coverage of the NCAA men's basketball tournament. Contact Andrew Wallenstein at andrew.wallenstein@variety.com

The Artist Rules The 2012 BAFTAs!

Seven honours for that quiet filmThe French are coming!Michel Hazanavicius' The Artist ruled the 2012 BritishAcademyFilmAwards with seven awards, such as the large ones for the best Film, Best Director, Best Actor and finest Original Script. As well as gentlemen, c'est incroyable.In France They quiet film also won Best Original Music, Best Cinematography and finest Costume Design within an impressive haul. As the BAFTAs aren't typically an ideal predictor from the Academy awards, with Brit home-area advantage along with a slightly different group of focal points, this can increase the film's momentum starting that final push. Trailing behind that achievement were four films with two honours each:Mess Tailor Soldier Spy, The Iron Lady, Hugo and Senna. The Descendants and Moneyball, to not mentionGeorge Clooney and Kaira Pitt, went home empty-handed, as did the kind of War Equine and Shame.Mess Tailor, on home turf, required Outstanding British Film and finest Modified Script, with film writer Peter Straughan wryly saying thanks to The Artist because of not being nominated for the reason that category before delivering a psychological tribute to his late wife and co-film writer Bridget O'Connor.Best Actress visited MerylStreep on her submit The Iron Lady, that also acquired a properly-deserved Best Make-Up &Hair - because getting that helmet hair in position isn't any mean task. Streep lost footwear in route onstage, compelling a Cinderella moment when presenter Colin Firth went to retrieve it and changed it on her.Somewhere else, Hugo beat Harry Potter to Best Production Design as well as required Best Seem - but Potter got Best Visual Effects as some kind of compensation. Senna, meanwhile, required home Best Documentary and finest Editing. Our full BAFTAnight blog Photos of all of the those who win Photos in the red-colored carpetThe full listing of those who win is below.BEST FILMThe ArtistTheDescendantsDriveThe HelpTinker Tailor Soldier SpyOUTSTANDING BRITISH FILMMy Week WithMarilynSennaShameTinker Tailor Soldier SpyWe Have To Discuss KevinOUTSTANDING DEBUT With A BRITISH Author, DIRECTOR OR PRODUCERAttack The Block - Joe Cornish (Director/Author)Black Pond - Will Ho (Director/Author), Tom Kingsley (Director), Sarah Brocklehurst (Producer)Coriolanus - Rob Fiennes (Director) Submarine - Richard Ayoade (Director/Author) Tyrannosaur - Paddy Considine (Director), Diarmid Scrimshaw (Producer)FILM NOT Within The British LANGUAGE IncendiesPinaPoticheA SeparationThe Skin I Live InDOCUMENTARYGeorge Harrison:Residing In The Fabric WorldProject NimSennaANIMATED FILMThe Adventures Of Tintin:The Key From The UnicornArthur ChristmasRangoDIRECTORMichel Hazanavicius - The ArtistNicolas Winding Refn - DriveMartin Scorsese - HugoTomas Alfredson - Mess Tailor Soldier SpyLynne Ramsay - We Have To Discuss KevinORIGINAL SCREENPLAYMichel Hazanavicius - The ArtistAnnie Mumolo, Kristen Wiig - BridesmaidsJohn Michael McDonagh - The GuardAbi Morgan - The Iron LadyWoody Allen - Night time In ParisADAPTED SCREENPLAYAlexander Payne, Nat Faxon, Jim Rash - The DescendantsTate Taylor - The HelpGeorge Clooney, Grant Heslov, Love Willimon - TheIdes Of MarchSteven Zaillian, Aaron Sorkin - MoneyballBridget O'Connor, Peter Straughan - Mess Tailor Soldier SpyLEADING ACTORBrad Pitt - MoneyballGary Oldman - Mess Tailor Soldier SpyGeorge Clooney - The DescendantsJean Dujardin - The ArtistMichael Fassbender - ShameLEADING ACTRESSBerenice Bejo - The ArtistMeryl Streep - The Iron LadyMichelle Williams - My Week with MarilynTilda Swinton - We have to Discuss KevinViola Davis - The HelpSUPPORTING ACTORChristopher Plummer - BeginnersJim Broadbent - The Iron LadyJonah Hill - MoneyballKenneth Branagh - My Week with MarilynPhilip Seymour Hoffman - The Ides of MarchSUPPORTING ACTRESSCarey Mulligan - DriveJessica Chastain - The HelpJudi Dench - My Week with MarilynMelissa McCarthy - Bridesmaids Octavia Spencer - The HelpORIGINAL MUSIC The Artist - Ludovic BourceThe Girl WithThe Dragon Tattoo - Trent Reznor, Atticus RossHugo - Howard ShoreTinker Tailor Soldier Spy - Alberto IglesiasWar Equine - John WilliamsCINEMATOGRAPHYThe Artist - Guillaume SchiffmanThe Girl WithThe Dragon Tattoo - Shaun CronenwethHugo - Robert RichardsonTinker Tailor Soldier Spy - Hoyte van HoytemaWar Equine - Janusz KaminskiEDITING The Artist - Anne-Sophie Bion, Michel HazanaviciusDrive - Pad NewmanHugo - Thelma SchoonmakerSenna - Gregers Sall, Chris KingTinker Tailor Soldier Spy - Dino JonsaterPRODUCTION DESIGNThe Artist - Laurence Bennett, Robert GouldHarry Potter And Also The Deathly Hallows Part 2 - Stuart Craig, Stephenie McMillanHugo - Dante Ferretti, Francesca Lo SchiavoTinker Tailor Soldier Spy - Maria Djurkovic, Tatiana MacDonaldWar Equine - Ron Carter, Lee SandalesCOSTUME DESIGNThe Artist - Mark BridgesHugo - Sandy PowellJane Eyre - Michael O'ConnorMy Week WithMarilyn - Jill TaylorTinker Tailor Soldier Spy - Jacqueline DurranMAKE UP & HAIRThe Artist - Julie Hewett, Cydney CornellHarry Potter AndThe Deathly Hallows Part 2 - Amanda Dark night, Lisa TomblinHugo - Morag Ross, Jan ArchibaldThe Iron Lady - Marese Langan, Mark Coulier, J. Roy HellandMy Week With Marilyn - Jenny ShircoreSOUNDThe Artist - Nadine Muse, Gérard Lamps, Michael KrikorianHarry Potter And Also The Deathly Hallows - Part 2 - James Mather, Stuart Wilson, Stuart Hilliker, Mike Dowson, Adam ScrivenerHugo - Philip Stockton, Eugene Gearty, Tom Fleischman, John MidgleyTinker Tailor Soldier Spy - John Casali, Howard Bargroff, Doug Cooper, Stephen Griffiths, Andy ShelleyWar Equine - Stuart Wilson, Gary Rydstrom, Andy Nelson, Tom Manley, Richard HymnsSPECIAL VISUAL EFFECTSThe Adventures Of Tintin:The Key OfThe Unicorn - Joe LetteriHarry Potter And Also The Deathly Hallows Part 2 - Tim Burke, John Richardson, Greg Butler, David VickeryHugo - Take advantage of Legato, Ben Grossman, Joss WilliamsRise From The Planet From The Apes - Joe Letteri, Serta Lemmon, R. Christopher WhiteWar Equine - Ben Morris, Neil CorbouldSHORT ANIMATION AbuelasBobby YeahA Morning StrollSHORT FILMChalkMwansa The GreatOnly Seem RemainsPitch Black HeistTwo And TwoTHE ORANGE WEDNESDAYS RISING STAR AWARD (chosen for through the public) Adam DeaconChris HemsworthChris O'DowdEddie RedmayneTom HiddlestonThose who win Gallery

Performer Unions Use Electronic Innovations To Interact With Members

Performer Unions Use Electronic Innovations To Interact With Members By Frank Nestor February 9, 2012 Over the past few years, the American Federation of Television and Radio Artists, the Screen Actors Guild, and Actors' Equity Association have expanded the ways in which they communicate with their members. All use the social media websites Facebook, Twitter, and YouTube, as well as innovative technology, but in unique ways.Mobilizing Through Media "Everybody has a Facebook page, but not everybody knows how to utilize it," says Leslie Simmons, the assistant director of national communications for AFTRA. The union, particularly in the last year, used social media to help its members stay informed about, or participate in, various campaigns. For instance, during the Wisconsin and Ohio labor protests in early 2011, AFTRA posted information on its Facebook page about solidarity rallies all around the country. "Even if our members couldn't go to those two states, they could still participate and show their solidarity," she explains. The union used Twitter, Facebook, and YouTube to advertise several other initiatives last year, especially one for performers who act and dance in music videos. Members of the group called It's About Time have been attempting to secure a contract with major record labels, which would include fair and safe working conditions and contributions for their retirement. "They're young, energized performers and are so plugged into the social media universe; it's like a second language for them," says Simmons. AFTRA has worked with the group to give its campaign more exposure across the Web. According to Simmons, the group has been successful in garnering support from the dance and music video community: "They've had a lot of meetings to update people. A lot of times those meeting notices go out through social networking, and then they have 160 people attending a meeting." AFTRA has also been using gotomeeting.com to conduct webinars with its leaders and committee members without requiring everybody to come into the office. "We understand that our members have schedules that are very different than a nine-to-five, so if they are out on a set or on an audition, they can plug in through their smart phone and participate while waiting or on a break." Simmons adds, "We still have a lot of face-to-face interaction. That's still very important, because there is a little of a separation if you're just using social media. You have to have that one-on-one contact with people, as well, and try to find ways to integrate the two together." An Electronic Expansion "Utilizing technology increases the reach of our communications," says Pamela Greenwalt, SAG's communications executive director. "Electronic communications not only helps the union to be more efficient in a more environmentally friendly manner, it also provides more immediate communication and an easier avenue for feedback." The union regularly sends electronic-only invitations for national events, and members are responding actively, often filling them to capacity. Over the last few years, SAG has web-streamed many events, and according to Greenwalt, "thousands of members tune in at one timemany more than we would be able to host in a physical venue." The union recently partnered with the USO to raise funds for calling cards and digital communication service for American troops deployed overseas. "Less than 24 hours after we sent an e-blast to members, they responded with donations of more than $5,000," says Greenwalt. The campaign raised more than $15,000 for the USO over the holiday season, thanks to emails, Facebook, and Twitter."The entertainment industry is changing, and our aim isn't just to change with it but to help lead the way," says Greenwalt. One way SAG plans to accomplish this is through its online SAG Production Center, which allows producers to download forms and rate sheets as well as to sign agreements online. The center saves time and avoids large amounts of paperwork. Since its debut in June 2011, the production center has received more than 3,300 signatory applications from producers through its online tools. "Those who have used it have given the streamlined system rave reviews. Better still, they have generated a lot of positive word-of-mouth, sharing their experiences with other producers," says Greenwalt.SAG believes its online signatory application will help revolutionize the way unions work in the industry and plans to keep developing its capabilities. "We will continue to explore how we can expand its functionality, as well as engage our members using a variety of media in ways that don't just use technology for technology's sake but offer an effective means for empowering members," Greenwalt says.New Expectations "The changing face of technology has driven everything to be based in real time," says Doug Beebe, the national IT director at Actors' Equity Association. "There is a different expectation now. Someone used to say, 'I'll get back to you Monday morning,' but now it's 'I just sent you a message. Can you help me right now?' " Equity has been conscious of this shift to faster service and reached out to its members and staff to figure out areas to technologically improve. As a result, Actors' Equity will launch a revamp of its members-only portal some time this quarter. The union has been rebuilding its entire digital internal system and infrastructure to support the portal, which will contain and manage membership information. One of Equity's goals is to help its members communicate with the union in real time and allow people to update basic profile information rapidly and efficiently. In addition, Equity will open a new website for theatrical employers and producers. According to Beebe, the website will capture all production-related information that normally is transmitted through paper and email: "There's a lot of paperwork right now, and we're trying to streamline that into a portal that will tell us about the productions that these employers are working on quickly." Though many members of all three unions are adept with new technology, there may be some resistance from older industry professionals. Beebe acknowledges it may not be a smooth transition for everybody: "There are still letters being written in lieu of email, but I think that's sort of an act of attrition at this point. The challenge is that we do have to do a balancing act between the people who are embracing technology and those that either can't or won't." Beebe was not concerned over the possibility that some members may wish to use technology but may have difficulty with the new portal. "Our intent was that if we design it correctly, then it would not require any sort of tutorial," he says. Beebe believes that people tend to avoid help screens and often try to figure out how to use products on their own. Even though the portal will not be launched for several months, Beebe is already thinking about the future. He says, "I would call this sort of like a phase one. The portal is never a finished product. It's a living, breathing, moving, changing thing." Performer Unions Use Electronic Innovations To Interact With Members By Frank Nestor February 9, 2012 Over the past few years, the American Federation of Television and Radio Artists, the Screen Actors Guild, and Actors' Equity Association have expanded the ways in which they communicate with their members. All use the social media websites Facebook, Twitter, and YouTube, as well as innovative technology, but in unique ways.Mobilizing Through Media "Everybody has a Facebook page, but not everybody knows how to utilize it," says Leslie Simmons, the assistant director of national communications for AFTRA. The union, particularly in the last year, used social media to help its members stay informed about, or participate in, various campaigns. For instance, during the Wisconsin and Ohio labor protests in early 2011, AFTRA posted information on its Facebook page about solidarity rallies all around the country. "Even if our members couldn't go to those two states, they could still participate and show their solidarity," she explains. The union used Twitter, Facebook, and YouTube to advertise several other initiatives last year, especially one for performers who act and dance in music videos. Members of the group called It's About Time have been attempting to secure a contract with major record labels, which would include fair and safe working conditions and contributions for their retirement. "They're young, energized performers and are so plugged into the social media universe; it's like a second language for them," says Simmons. AFTRA has worked with the group to give its campaign more exposure across the Web. According to Simmons, the group has been successful in garnering support from the dance and music video community: "They've had a lot of meetings to update people. A lot of times those meeting notices go out through social networking, and then they have 160 people attending a meeting." AFTRA has also been using gotomeeting.com to conduct webinars with its leaders and committee members without requiring everybody to come into the office. "We understand that our members have schedules that are very different than a nine-to-five, so if they are out on a set or on an audition, they can plug in through their smart phone and participate while waiting or on a break." Simmons adds, "We still have a lot of face-to-face interaction. That's still very important, because there is a little of a separation if you're just using social media. You have to have that one-on-one contact with people, as well, and try to find ways to integrate the two together." An Electronic Expansion "Utilizing technology increases the reach of our communications," says Pamela Greenwalt, SAG's communications executive director. "Electronic communications not only helps the union to be more efficient in a more environmentally friendly manner, it also provides more immediate communication and an easier avenue for feedback." The union regularly sends electronic-only invitations for national events, and members are responding actively, often filling them to capacity. Over the last few years, SAG has web-streamed many events, and according to Greenwalt, "thousands of members tune in at one timemany more than we would be able to host in a physical venue." The union recently partnered with the USO to raise funds for calling cards and digital communication service for American troops deployed overseas. "Less than 24 hours after we sent an e-blast to members, they responded with donations of more than $5,000," says Greenwalt. The campaign raised more than $15,000 for the USO over the holiday season, thanks to emails, Facebook, and Twitter."The entertainment industry is changing, and our aim isn't just to change with it but to help lead the way," says Greenwalt. One way SAG plans to accomplish this is through its online SAG Production Center, which allows producers to download forms and rate sheets as well as to sign agreements online. The center saves time and avoids large amounts of paperwork. Since its debut in June 2011, the production center has received more than 3,300 signatory applications from producers through its online tools. "Those who have used it have given the streamlined system rave reviews. Better still, they have generated a lot of positive word-of-mouth, sharing their experiences with other producers," says Greenwalt.SAG believes its online signatory application will help revolutionize the way unions work in the industry and plans to keep developing its capabilities. "We will continue to explore how we can expand its functionality, as well as engage our members using a variety of media in ways that don't just use technology for technology's sake but offer an effective means for empowering members," Greenwalt says.New Expectations "The changing face of technology has driven everything to be based in real time," says Doug Beebe, the national IT director at Actors' Equity Association. "There is a different expectation now. Someone used to say, 'I'll get back to you Monday morning,' but now it's 'I just sent you a message. Can you help me right now?' " Equity has been conscious of this shift to faster service and reached out to its members and staff to figure out areas to technologically improve. As a result, Actors' Equity will launch a revamp of its members-only portal some time this quarter. The union has been rebuilding its entire digital internal system and infrastructure to support the portal, which will contain and manage membership information. One of Equity's goals is to help its members communicate with the union in real time and allow people to update basic profile information rapidly and efficiently. In addition, Equity will open a new website for theatrical employers and producers. According to Beebe, the website will capture all production-related information that normally is transmitted through paper and email: "There's a lot of paperwork right now, and we're trying to streamline that into a portal that will tell us about the productions that these employers are working on quickly." Though many members of all three unions are adept with new technology, there may be some resistance from older industry professionals. Beebe acknowledges it may not be a smooth transition for everybody: "There are still letters being written in lieu of email, but I think that's sort of an act of attrition at this point. The challenge is that we do have to do a balancing act between the people who are embracing technology and those that either can't or won't." Beebe was not concerned over the possibility that some members may wish to use technology but may have difficulty with the new portal. "Our intent was that if we design it correctly, then it would not require any sort of tutorial," he says. Beebe believes that people tend to avoid help screens and often try to figure out how to use products on their own. Even though the portal will not be launched for several months, Beebe is already thinking about the future. He says, "I would call this sort of like a phase one. The portal is never a finished product. It's a living, breathing, moving, changing thing."

Andy Serkis talks The Hobbit

With The Hobbit now only ten months away (not that we're counting the days or anything), cast and crew interviews are beginning to find their way back from Middle-earth. Andy Serkis has been the latest to give an update on proceedings, and says the new technology on offer to Peter Jackson has made the set a joy to work on."It's fantastic," says Serkis of his return to New Zealand. "What's great is that, with the technology, we can shoot on a live-action set. I don't have to go back and repeat the process. There's no disconnect anymore.""When I'm acting with my fellow actor on a live-action set, it's all for real and whatever happens between those two actors is what's recorded," he explains. "The live-action actor is recorded with film cameras while my performance as Gollum is recorded with performance capture cameras."What's also different this time around, is that Serkis has been involved behind the camera as well. "Because I'm directing the Second Unit on The Hobbit, I feel very at home with Middle-earth," continues the star. "I feel equipped to be Peter's eyes and ears on the Second Unit, which is a big operation. We're covering a lot of stuff. We shoot everything from drama to aerial shots to battle sequences. I'm very pleased to be at this point."And as for Gollum? Well, seeing as this film is a prequel to The Lord Of The Rings, he's a little different to how we remember. "All I can say is that he's 60 years younger," says Serkis, "and a lot more handsome."The Hobbit: An Unexpected Journey opens in the UK on 14 December 2012.

Ian Abercrombie dies at 77

British-born actor Ian Abercrombie, who memorably played Mr. Pitt, Elaine's wealthy, persnickety boss, on "Seinfeld," died Thursday, Jan. 26, in Los Angeles from complications of kidney failure. He was 77 and recently had been diagnosed with lymphoma. In recent years Abercrombie had recurred as an 800-year-old wizard on Disney Channel's "The Wizards of Waverly Place," did voicework for "Star Wars: Clone Wars" as Chancellor Palpatine and Darth Sidious and was a series regular on "Birds of Prey" (as Alfred Pennyworth, Batman's butler). But while he was a near-constant presence on the smallscreen since the late 1960s -- with 127 TV credits, according to the IMDb -- and appeared in dozens of films, Abercrombie considered himself a stage actor first and foremost. Born in Grays, Essex, Abercrombie began his showbiz career as a dancer onstage during WWII. Later he made his U.S. stage debut in a 1955 production of "Stalag 17" with Jason Robards and performed in plays in summer stock, regional and Off Broadway venues. Drafted into the U.S. Army in 1957, he served in Special Services stationed in Germany, directing a production of "Separate Tables" and appearing with Olivia de Havilland in her touring show. The actor settled in California after his Army stint. Stage credits over the past four decades include "Mary Stuart," with Marsha Mason; "Crucifer of Blood," with Charlton Heston; "The Wrong Box," with Bill Hutton; "Bent"; "The Vortex," with Rupert Everett; "Lettice and Lovage"; "Sweet Prince," with Keir Dullea; "A Doll's House," with Linda Purl; and "The Arcata Promise" opposite Anthony Hopkins. The actor drew acclaim for the one-man show "Jean Cocteau -- A Mirror Image" and played Alfie Doolittle in "My Fair Lady." After making his smallscreen debut in 1965 on "Burke's Law," Abercrombie went on to make guest appearances on "Dragnet" and "Get Smart"; on "Columbo," "Barnaby Jones," "Cannon" and "The Six Million Dollar Man"; and, during the 1980s, on shows including "Quincy," "Happy Days," "Fantasy Island," "Three's Company," "L.A. Law" and "Moonlighting." During the decade he also had a recurring role on the NBC soap "Santa Barbara," and he guested on primetime sudsers including "Falcon Crest" and "Dynasty," while later he appeared on "General Hospital" and "Days of Our Lives." During the 1990s he appeared on "The Nanny," "Murphy Brown," "Northern Exposure," "Blossom," "Touched by an Angel" and "Buffy the Vampire Slayer," to name just a few. Recent credits included "Desperate Housewives" and "How I Met Your Mother." Abercrombie's film credits include "Army of Darkness" (in which he played Wiseman), "Wild Wild West," "Marilyn Hotchkiss' Ballroom Dancing and Charm School" and David Lynch's "Inland Empire," and he did voicework on animated pics including "Garfield: A Tail of Two Kitties" and last year's "Rango." The actor was a founding member and former board member of BAFTA-LA as well as a board member for the Actors Fund. Abercrombie is survived by three brothers. Contact Variety Staff at news@variety.com

Tate Taylor draws WGAW's Selvin Award

Tate Taylor is set to receive the Writers Guild of America West's Paul Selvin Award for his adapted screenplay for the civil rights-era drama "The Help." The Selvin Award "recognizes written work which embodies the spirit of constitutional rights and civil liberties." Taylor, who also directed, will be honored at the guild's West Coast ceremony on Feb. 19 at the Hollywood Palladium. He's also been nommed for the WGA adapted screenplay award. "Tate Taylor's adapted screenplay for 'The Help' artfully distills the empowering essence and core emotional truths of Kathryn Stockwell's novel, translating it into a film that forcefully illustrates how ordinary people can impact positive social change. Evoking a specific time and place, the film's message is ultimately universal and remains relevant today," said WGAW president Christopher Keyser. Taylor's script "does Paul Selvin's legacy proud by conveying the continuing power of the written word." Taylor said he was keenly aware of the many heroes from the battle for civil rights when he penned the script. "But to me, ordinary heroes such as Aibileen and Minny are often the ones we find most relatable and empowered by," he said. "After all, the ordinary hero hiding in each of us is often the most powerful catalyst for change." Contact Dave McNary at dave.mcnary@variety.com

'The Artist' tops DGA Honours

"The Artist" director Michel Hazanavicius has won the Company directors Guild of America feature film award. In France They director capped Woodsy Allen for "Night time in Paris," David Fincher for "The Lady using the Dragon Tattoo," Alexander Payne for "The Descendants" and Martin Scorsese for "Hugo." "It's maybe the greatest recognition I possibly could hope," Hazanavicius stated in the acceptance. "I really like company directors, I recognition company directors making this an recognition for me personally.InchThe black and whitened quiet -- referred to through the helmer like a "love letter" to Hollywood -- is occur the times throughout the transition to talkies."It's strange to check films and say which is better but I am thrilled to understand this,Inch Hazanavicius came to the conclusion in the acceptance speech.The trophy was presented Saturday evening in the Hollywood and Highland ballroom by Tom Hooper, champion of last year's DGA award for "The King's Speech." James Marsh won the documentary trophy for "Project Nim," dedicated to a chimpanzee's existence among humans. The comedy series trophy visited Robert B. Weide for "Palestinian Chicken" episode of HBO's "Curb Your Enthusiasm." "Modern Family" had won the course for 2 years consecutively.Patty Jenkins won the dramatic series award applies to the pilot of AMC's "The Killing."The DGA win came around the first nomination for Hazanavicius - and marks the very first time that the quiet film has won the DGA trophy.The champion from the DGA Award has matched up the Oscar champion in most but six years since 1948, including this past year, when Tom Hooper required both trophies for "The King's Speech." The final divergence arrived 2002, when Take advantage of Marshall won the DGA Award for "Chicago" and Roman Polanski received the Academy Award for "The Pianist."Amy Schatz won the DGA Award for kids programming for "Children's Garden of Poetry"Noam Murro won the DGA advertisements award and also got a large laugh together with his two-word acceptance -- "ThanksInchDay time serials award visited William Ludel for "General Hospital." The truth award visited Neil P. DeGroot for "The Greatest Loser."Woodsy Allen would be a no-show as always but received large laughs on his videotaped speech for getting a DGA nom -- "This really is approximately the very best, the Nobel Prize, and also the bottom, the Republican primary." Contact Dork McNary at dork.mcnary@variety.com

UMPG to manage Irving Berlin catalog

The Universal Music Posting Group will administer the background music posting catalog of Irving Berlin -- the songwriter who composed such perennials as "Whitened Christmas," "There Is No Business Like Show Business," "Puttin' Around The Ritz" and also the "God Bless America" -- for privileges outdoors of The United States.Based on the announcement by Paul Connolly, UMPG's leader of Europe & Uk, together with Berlin's kids Mary Ellin Barrett, Linda Emmet and Elizabeth Peters who partially manage the songwriter's trust, UMPG gets control administration for the majority of the catalog through the territory effective immediately, along with other tunes incorporated later.Based on ASCAP, "Whitened Christmas" is easily the most recorded holiday song ever, with more than 500 versions in a large number of languages.Over Berlin's 60-year career he authored 1,500 tunes, 19 Broadway shows and gained nine Oscar nominations and something win. His chart-topping tunes happen to be construed by the kind of Sinatra, Streisand, Garland, Merman, Jolson, Crosby and Billie Holiday, among numerous others.Berlin's tunes, stated Connolly inside a statement, "truly transcend decades and they are woven in to the very fabric in our culture." Contact Steve Chagollan at steve.chagollan@variety.com

Start searching at Judd Apatow's This Can Be Forty

The initial image went online from Judd Apatow's This Can Be Forty, plus it features the identical happy(ant) family everyone knows and love from Knocked Up.Paul Rudd and Leslie Mann are reprising their roles as Pete and Darlene, the narrative acquiring a few years after Knocked Tabs on the happy couple facing new challenges and struggles.In line with the LA Occasions, Pete's music label is fighting, with Debbie's dress shop (now staffed by Megan Fox) requiring to obtain a couple of from the slack. As Leslie Mann puts it, the film is stuffed with, "the kind of stuff about marriage you do not see in movies.""It comes down lower to getting older,In . continues Mann. "'What the hell happened? Am I Held making all the right options? Is how I'm stated to become? Could it be?A All people dreams you'd if you were youthful, all of the options, if you lock into marriage and kids, carry out the options dwindle or disappear?InchFor the cash, the bond between Pete and Darlene was one of the better elements in Knocked Up, therefore we are quietly positive that Apatow can offer the products with that certain. Let's just hope they can absorb it at under two several hours for something different...

MTV Movie Brawl 2012: 'Hunger Games' Vs. 'John Carter'

Forget the Volturi. In "Twilight" star Peter Facinelli's screenwriting debut, "Loosies," the actor's traded in villainous vamps for a more real (albeit, less toothy) foe: NYPD's finest. Facinelli plays Bobby, a charismatic pickpocket who roams the NY City subway looking for hapless marks while alluding the cop whose badge he pilfered. The script took Facinelli only three weeks to write, but seven years to bring to the big-screen, giving him plenty of time to prepare—including mastering his character's career skills. "I worked with a magician. I tried to keep it all on the up and up," Facinelli told MTV News when asked if he consulted any real-life lifters for authenticity. "His forte was pickpocketing, so he taught me how to swipe watches. It's very much a distraction. You distract them in one area and go for the other area. And then I just practiced on crew members." Facinelli's training clearly paid off judging from the romantic caper's many blick-and-you'll-miss-it snatching scenes. But don't fret too much if you ever find yourself face to face with the actor on a crowded train: he said his new-found talent hasn't left the back lot. "I've been tempted," Facinelli said about practicing on bystanders. "People on the subway, they have their purses wide open. They sit there with their wallets and cell phones hanging out. It'd be so easy to go and have a second job as a pick-pocket on the side. But it's illegal and frowned upon by most societies." "Loosies" is in theaters now. Will you be checking out Peter Facinelli's "Loosies"? Tell us in the comments and on Twitter!

'The Grey' Exclusive Clip: Liam Neeson Faces The Wild

You will watch a distinctive clip from Liam Neeson's approaching thriller, "The Grey." This time around around, he is not fighting terrorists who've kidnapped his daughter or possibly a name crook, but something a lot more immutable: the backwoods itself. Several men're stranded in Alaska undertaking an airplane crash, and Neeson's the best option who must take it well to civilization. While trekking using the unknown, they're expected to use their intelligence to live the potential risks in the wild: baby baby wolves, and lots of them. Inside the clip, Neeson and also the partner are sitting on our prime high cliff, thinking about the fall below them. "You're going,In . Neeson states for the other guy, who polishes his glasses before sliding inside the edge and onto a sagging trip line connecting up him having a unseen surface inside the distance. While fighting to help keep position, he turns his mind for just about any brief moment after which it watches his glasses disappear to the abyss (in slow motion, clearly). Film talk for just about any second: the moderate colors look beautiful, as well as the whole interaction is nicely underscored with the wind, which obscures the dialogue getting a relentless whoosh. It feels as if you're in Alaska, basically. At least, "The Grey" will definitely be not just a simple point about "that movie where Liam Neeson fights a wolf." (Though he's doing fight a wolf, remember that.) The film involves theaters around the month of the month of january 27. What can you consider the exclusive clip from "The Grey"? Reveal inside the comments section and also on Twitter!

'Grey's Anatomy' strong as a swap

ABC's 'Grey's Anatomy' came 12. million audiences on Thursday known as the night's No. 1 broadcast enter in most key demos. It'll face harder competition in future, but ABC's ''Grey's Anatomy'' returned in the two-month break getting a powerful showing Thursday and aided the web win the evening over mostly repeats round the rivals. ''Grey's'' and lead-out ''Private Practice'' hit season levels, while CW's ''The Vampire Diaries'' also came back nicely.According to preliminary national estimations from Nielsen, ABC started the evening by having an excellent debut for ''Winter Wipeout'' (2.8/8 in 18-49, 8.5 million audiences overall), which placed second to CBS comedy repeats due to its hour but was lower about 25% in the premiere on one evening this past year. ''Wipeout'' can be a large upgrade inside the timeslot for ABC, easily outperforming former slot occupant ''Charlie's Angels.''''Grey's Anatomy'' then elevated next (4.5 rating/11 participate grownups 18-49, 12. million audiences overall), standing since the night's No. 1 broadcast enter in most key demos and rising 10% in the latest episode on November. 10 to write its best demo score since late March the vet medical drama went facing repeats on CBS, NBC and Fox, with people nets coming back their Thursday shows in originals inside a couple of days. Closing the evening for ABC, ''Private Practice'' (2.8/7 in 18-49, 7.8 million audiences overall) hit a season high known as the apparent broadcast leader in demos, even though it likely placed behind MTV's season premiere of ''Jersey Shoreline.''For the evening, ABC won in 18-49 and 25-54 in addition to edged out CBS in general audiences. The 3.3 rating in 18-49 marks the most effective for just about any regular ABC Thursday selection this season.Cbs television studios television galleries placed second in demos, introduced by comedies ''The Large Bang Theory'' (3.5/10 in 18-49, 11.6 000 0000 audiences overall) and ''Rules of Engagement'' (2.6/7 in 18-49, 8.7 million audiences overall). The web also did decent amounts with repeats of crime dramas ''Person of Interest'' (1.9/5 in 18-49, 8.7 million audiences overall) and ''The Mentalist'' (1.9/5 in 18-49, 9.2 million audiences overall).NBC broadcast a thrilling-repeat comedy evening: ''Community'' (.8/2 in 18-49, 2.6 000 0000 audiences overall), ''Parks and Recreation'' (.9/2 in 18-49, 2.4 million audiences overall), ''The Office'' (1.1/3 in 18-49, 2.6 000 0000 audiences overall), ''Whitney'' (.9/2 in 18-49, 2.3 million audiences overall), a distinctive 10 p.m. airing of ''The Office'' (.7/2 in 18-49, 1.8 million audiences overall) after which it ''Up All Night'' (.7/2 in 18-49, 1.9 million audiences overall). And Fox broadcast some ''Bones'' repeats, producing single.2/3 in 18-49 and 4.8 million audiences overall at 8 together with single.1/3 in 18-49 and 4.3 million audiences overall at 9.At CW, ''The Vampire Diaries'' returned from an eight-week break to great amounts (1.4/4 in 18-49, 3.2 million audiences overall), matching its best women 18-34 score of the year (2.3/7) and rising 14% in 18-34 versus. its last original (1.6 versus. 1.4). Also back was rookie drama ''The Secret Circle'' (.8/2 in 18-49, 2.millions of audiences overall), in line with its recent shipping.Next Thursday will dsicover the series premieres of CBS comedy ''Rob'' (looking for ''Rules of Engagement'') and Fox drama ''The Finder'' (altering ''Bones'') together with the return of NBC's ''30 Rock'' within the new 8 o'clock timeslot as well as the new-evening debut in the net's ''Up All Night'' (altering ''Whitney'' at 9:30).Preliminary 18-49 earnings for your evening: ABC, 3.3/9 CBS, 2.3/6 Univision, 1.5/4 Fox and CW, 1.1/3 NBC, .8/2.In general audiences: ABC, 9.5 million CBS, 9.3 million Fox, 4.6 000 0000 Univision, 3.6 000 0000 CW, 2.6 000 0000 NBC, 2.3 million. Contact Ron Kissell at ron.kissell@variety.com

Ratings: Modern Family Returns Large

Modern Family ABC's reigning Emmy-winning sitcom Modern Family returned in the holiday hiatus towards the usual perch atop Wednesday's prime-time ratings, Nielsen overnights show. The show enhanced by some ten percent over its last first-work on 12 ,. 7 the network's other sitcoms also counseled me up in contrast utilizing their last fresh activities on that date. I Buy That lots of, CBS' recurring special on stars snookering other people by showing up in regular jobs, was up an incredible 130 percent versus. the ultimate who's was on (12 ,. 17, 2010). See the relaxation in the day's news on TVGuide.com 8 p.m.CBS: I Buy That lots of 8.32 million audiences (2.3 demo rating)ABC: The Middle 9.95 million (3.) Suburgatory 8.73 million (2.9)Fox: Glee [rerun] 2.35 million (.8)NBC: Up With The Evening [rerun] 3.52 million (1.) Whitney [rerun] 3.14 million (1.)CW: The Important Thing Circle [rerun] 971,000 (.3) 9 p.m.CBS: Criminal Minds [rerun] 8.21 million audiences (2.3 demo rating)ABC: Modern Family 13.98 million (5.6) Happy Being 7.73 million (3.3)Fox: Mobbed 3.02 million (1.2)NBC: Harry's Law [rerun] 4.46 million (.8)CW: The Important Thing Circle [rerun] 838,000 (.3) 10 p.m.CBS: CSI: Crime Scene Analysis [rerun] 8.06 million audiences (1.7 demo rating)ABC: Revenge 7.96 million (2.5)NBC: Law & Order: Special Sufferers Unit [rerun] 3.72 million (1.1)