Critic Roundup: The 86th Academy Awards

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As the 86th Academy Awards approach on Sunday, the heated battle for Oscar supremacy intensifies. Hollywood critics, industry analysts and editors across the country all have an opinion on who will receive the top prizes. We’ve wrangled up feedback from a few of them on a couple of the main categories. The Ellen DeGeneres-hosted event airs on ABC at 8:30 p.m. on March 2, 2014. Red Carpet interviews begin broadcasting at 7 p.m. Best of luck to all the deserving nominees.






Best Picture

-“Gravity” – Ramin Setoodeh, Variety
12 Years a Slave
12 Years a Slave
“The movie that wins this award can’t polarize audiences … It needs to be mostly consistently liked, and “Gravity,” which received 10 Oscar nominations, will receive a high ranking on most ballots.

-“American Hustle” – Time Out, N.Y.
“David O Russell’s crime caper sports stunning costume design, whip-smart dialogue and terrific performances, which, given the huge number of actors who vote in this category, could well swing the vote in its favor.”

-“12 Years a Slave” – Glenn Whipp, L.A. Times
“With so many choices, it feels like a year when picture and director will split. It’s time for the pendulum to swing back toward serious fare.”

Best Director

-Alfonso Cuarón, "Gravity" – Variety
Alfonso Cuarón
Alfonso Cuarón
"While the technical aspects of “Gravity” are clearly remarkable, he also draws great performances out of Sandra Bullock and George Clooney."

-Alfonso Cuarón, "Gravity" – Time Out, N.Y.
“While some naysayers have grumbled about the plot of Gravity, there’s a consensus afoot that Cuarón’s work has widened the boundaries of sci-fi storytelling and harnessed the power of special effects in a manner that’s sensitive and intelligent.”

-Alfonso Cuarón, "Gravity" – Glenn Whipp, L.A. Times
“Cuarón. Well-liked and respected, Cuarón took Directors Guild of America honors for his landmark effort.”

Best Actor

-Matthew McConaughey, “Dallas Buyers Club” – Time Out, N.Y.
“It’s a frank, powerful performance, refusing to shy away from the uglier aspects of both the man and the disease.”
Leonardo DiCaprio in "The Wolf of Wall Street"
Leonardo DiCaprio

-Leonardo DiCaprio, “The Wolf of Wall Street” – Justin Chang, Variety
“In a performance whose supple dramatic progression has been largely overlooked amid all the coke-snorting, wife-punching antics, we see this talented but untested young trader begin to make a name for himself, we see him swindle and seduce his way to the top, and finally, we see the ferocious, borderline-irredeemable monster he becomes.”

-Matthew McConaughey, “Dallas Buyers Club” – Glenn Whipp, L.A. Times
“All right, all right, all right!”

Best Supporting Actor

-Jared Leto, “Dallas Buyers Club” – Scott Feinberg, The Hollywood Reporter
Leto dropped 40 pounds to convincingly portray the sweet but tortured associate of Matthew McConaughey's Ron Woodruff -- and, remarkably, remained in-character for the entire shoot.”
Jared Leto in "Dallas Buyers Club"
Jared Leto

-Michael Fassbender, “12 Years a Slave” – Justin Chang, Variety
“The supporting actor who’d get my vote is Michael Fassbender, who delivers such a viciously charismatic piece of screen villainy in “12 Years a Slave” that it almost threatens, at times, to unbalance Steve McQueen’s otherwise coolly calibrated film. In the role of a particular malevolent slave owner, Fassbender must bear the symbolic weight of the institution, in all its evil and banality, that oppressed Solomon Northup and countless others.”

-Jared Leto, “Dallas Buyers Club” – Glenn Whipp, L.A. Times
“He and McConaughey will become the fourth pair of male actors from the same film to win lead and supporting Oscars.”

Best Actress

-Cate Blanchett, “Blue Jasmine” – Time Out, N.Y.

Blue Jasmine
Blue Jasmine
“The Aussie actress has been bookies’ favorite from the get-go for her devastating performance in Blue Jasmine. Wins at the Baftas, Golden Globes and the Screen Actors Guild awards have only cemented her position.”

-Amy Adams, “American Hustle” – Ramin Setoodeh, Variety
“This is Adams’ fifth Oscar nomination. She’s worked with almost everybody in the industry, and her performance in “American Hustle” is a nimble tightrope walk that serves as the backbone of the movie.”

-Cate Blanchett, “Blue Jasmine” – Glenn Whipp, L.A. Times
“After winning every prize leading up to the Oscars, the academy won’t shun her for headlines involving Woody Allen.”

Best Supporting Actress

-Jennifer Lawrence, “American Hustle” – Scott Feinberg, The Hollywood Reporter
“Of the 14 films that received noms in all four acting categories before Hustle did, all but two won at least one of them, which bodes well for J-Law, who clearly represents Hustle's best chance.”
American Hustle
American Hustle

-Sally Hawkins, “Blue Jasmine” – Justin Chang, Variety
“In a film rightly dominated by Cate Blanchett’s galvanizing lead turn, and in a role that could have easily tilted into blue-collar caricature, Hawkins supported her co-star with consummate grace and an unshowy depth of feeling, while setting the tone for similarly tough-and-tender character work all around…”

-Lupita Nyong’o, “12 Years a Slave” – Glenn Whipp, L.A. Times
“She’s deserving, and many will feel it’s a bit soon to reward Lawrence again.”



Let us know what critic you think is the most accurate, and tell us who you think will win the other categories at the ceremony! FYI Television maintains a thorough database of all the award winners, including movie and celebrity images.

Author: Brian Cameron



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The On-Screen EPG Industry: Past, Present and Future

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AT&T U-Verse EPG
The Modern AT&T U-Verse EPG
On-screen electronic program guides, or EPGs, have been around for approximately 33 years. Over the past three decades, the look and purpose of this mechanism has undergone quite the evolution, and looking ahead to the future of the industry, will only continue to grow to suit the demands of data-craving audiences.








The Old Days



In 1981, the United Video Satellite Group (UVSG) provided the very first Electronic Program Guide Channel in the U.S., which allowed cable subscribers to access television listings on their screens for the first time. It was a simple arrangement that was essentially just comprised of the channel number and program name.



Towards the tail end of the decade, the system was rebranded as the Prevue Guide, and continued under this name until the new millennium. In addition to television listings, advertisements and music were also added to the mix.
StarSight Telecast
The original StarSight Telecast guide

The 1990s were a time of EPG innovation. StarSight Telecast, Inc. debuted an interactive on-screen guide service (IPG) in 1994 to accommodate the continually increasing amount of cable and satellite channels. This service was available to monthly-subscribers only, and featured synopses and descriptive data. As the years continued, set-top boxes across the U.S. received this new type of guide from StarSight and its competitors.

With the rise of the IPG, the need for a scrolling EPG quickly dwindled. Viewers could navigate to whatever channel they wanted to learn more about a show. The IPG became an industry standard in the 2000s, and the content for them only improved. Actors, celebrities and entities are now attached to individual programs, as well as station logos and program showcards. Everything is easily organized and searchable.

What’s present today is effectively more than just an IPG or EPG: it’s an entertainment and information gateway on the TV screen.

But what’s in store for this interface?

The global number of TVs connected to the internet is expected to grow 150% in the next five years, which could dramatically alter the navigational landscape.

U.S. Patent US20130229344 A1
EchoStar's U.S. Patent US20130229344 A1
In recent times, several cable operators have decided to insert advertising into the television schedules in an effort to raise more revenue. A study from video ad technology provider YuMe found that 90% of connected TV users notice and engage with placements.

A current industry buzz phrase is “social TV.” In 2012, KIT Digital revealed what they described as a “Social Program Guide” (SPG), which allows viewers to connect their social media networks to their EPG for listings recommendations and interaction with friends.

Also that year, a study released by research firm Gigaom indicated that EPGs will soon move to a cloud-based format.

This past September, satellite provider EchoStar received a patent for “systems and methods for hand gesture control of an electronic device,” which would let the end user cause “movement of an active pane of [an] EPG” with hand signals. Israeli software developer PointGrab has also established similar technology.

Sky's 2014 EPG
Sky's 2014 EPG
In the United Kingdom, satellite provider Sky has observed a record-breaking desire for on-demand programming, and later this spring will be launchingthe biggest shake up to [their EPG] since its introduction at the launch of digital TV in 1998,” featuring a portal centered around this kind of content.

And at the Consumer Electronics Show Las Vegas in January 2014, Philips demonstrated their uWand remote control, a device that lets one record content through an inventive drag-and-drop EPG.

As new pioneers and trailblazers arise in the EPG industry, FYI Television plans on remaining at the forefront, with flexible data to accommodate all kinds of IPG and EPG needs, including TV listings, rich media content, images, biographical information and more. We can’t wait to see what comes next.

Author: Brian Cameron

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No, TV Isn't Dead

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Television: Don't toss it away
In a January 28, 2014 Forbes editorial, Magnify founder Steven Rosenbaum zestfully declared that “television is dead,” a topic that has been hashed and rehashed frequently in recent years by many critics and industry analysts.

This time it’s different, according to Rosenbaum, because lately “mainstream media buyers [have been] pointing a firehose of new money at the emerging web video creation market,” and as the advertising dollars will no longer be invested into the realm of broadcast, the Internet market will soon vanquish that of the traditional model.

Unfortunately, Rosenbaum is viewing the matter in entirely the wrong way, and his prophecy of doom will soon be forgotten. Television’s heart is beating strongly, and the evolution and development of new technologies and methods for viewing only serves to fortify the industry, not devitalize it.

In an internationally-conducted February 2014 TV Connect survey of media firms, 79.6% of respondents believed that although over-the-top content (OTT) is gaining more attention, the end of the broadcast industry is not nigh. In fact, a large consensus of 95.5% of participants concurred that better-utilized interfaces would only increase the effectiveness for broadcast.

Last autumn, an Ad Age article denounced thinkers in Rosenbaum’s camp, noting that an analysis of Nielsen data found that “the web is over-indexing.”

While the amount of people abandoning cable providers (Comcast, Charter, etc.) has been on the rise, what many fail to realize is that the number of consumers utilizing telecoms (AT&T, Verizon, etc.) has also been on the rise.

And further: a majority of viewers are still watching the affiliate stations in their regions. According to a 2013 Pew Research Center report, 71% of U.S. adults continue to watch local television network news; additionally, media company revenues were shown to have increased compared to the previous year. Industry leaders Nexstar and Sinclair grew 40% and 32.3%, respectively.

Sinclair CEO David Smith observed that “2013 was a historic year for us … we benefited from 6.9% same station growth in our largest advertising category.”

A February 2014 study from StepLeader, a mobile advertising firm, revealed even more intriguing information about newshounds. 36% stated that they prefer TV for breaking stories, as opposed to only 26% for an app. Fueling the television loyalty, 47% admitted that even though they use a local news app, they’re inclined to watch their local broadcast anyway. In fact, those who use apps for local news were found to be twice as likely to tune in to the TV.

Live broadcasts have been showing record audience numbers, an incredible 111.5 million viewers watched the Super Bowl on FOX. On day one of the Sochi 2014 Winter Olympics, the best Saturday primetime on any of the big four networks since the 2010 Vancouver Games occurred on NBC. During the U.S.-Russia ice hockey game on Feb. 15, about 4 million viewers tuned in to NBCSN at 7:30 a.m., providing the network with its best-ever daytime viewership. Advertising for the upcoming Academy Awards ceremony on ABC is already sold out, with approximately 40 million expected to watch.

And in the premium channel arena, HBO continues to dominate, having recently announced their largest increase of subscribers in 17 years, as well as revenue growth of 4%, despite the fact that one of its shows was the most pirated last year.

Even President Obama finds time for HBO programming, making a point to ask head honcho Richard Plepler “Where is my True Detective and Game of Thrones?”, as he prepared to binge-watch over the Presidents’ Day weekend.

If, as Rosenbaum stated, this year is the one that the Internet will “eclipse TV,” one would believe that digital companies wouldn't have an issue releasing their internal metrics, something that is routinely done in the television field.

This isn't the case.

At a February 6, 2014, programming executive conference, Netflix chief content officer Ted Sarandos insisted that his company is not competing against broadcasters, stating “I can’t get any win” if their ratings were revealed.

Finally, every big-time player in the industry, from broadcast to digital, has experienced major stock growth in the past year. While the web does indeed have its fans, traditional TV will not be displaced anytime soon.
2014 stock market
Stocks are up

So no, TV isn't dead. In short, telecom customers are up, live audiences are up, premium subscribers are up, overall revenues are up and local viewers maintain their dedication.

Time to look at the bigger picture.

Author: Brian Cameron

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Six Starry-Eyed Valentine’s Day Specials

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A Charlie Brown Valentine
A Charlie Brown Valentine


As the holiday of romance is here, several networks are airing Valentine's movies and animated specials in an effort to celebrate. Here’s a look at a few of them, one o f which could definitely provide the perfect opportunity to canoodle by candlelight with a cared for companion on the couch for an enchanting evening. Don't forget the artisanal chocolates.


The Lost Valentine
Hallmark 4 p.m. EST / 3 p.m CST

The Lost Valentine
The Lost Valentine
Based on the same-named novel by author James Michael Pratt, this 2011 Hallmark production showcases a television reporter investigating the story of an older woman who has been searching for her long-lost husband for more than six decades. After the man, who served in the U.S. Navy, was declared missing-in-action during World War II, she took it upon herself to visit the train station from which he departed every Valentine’s Day, anticipating his return. Actress Betty White received a Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Miniseries or Television Movie nomination for her work.

Be My Valentine
Be My Valentine
Be My Valentine
Hallmark 6 p.m. EST / 5 p.m. CST

In this 2013 Hallmark Channel original film, a widowed firefighter encounters a florist when responding to a conflagration, and the pair soon start getting to know one another. Meanwhile, the man’s son crushes on a fellow peer, and seeks his advice on romance. Together, father-and-son experience the trials and tribulations of love. Actors Billy Baldwin, Christian Maryn and Natalie Brown star.


Monster High: Why Do Ghouls Fall in Love? 
Nickelodeon 6 p.m. EST / 5 p.m. CST

Monster High: Why Do Ghouls Fall in Love?
Monster High
The denizens of an all-monster high school attempt to hold a celebratory event in this 2012 special, and two desirable young men try to woo the party’s hostess, Draculaura. The lady vampire is forced to decide between a former love and a brand new suitor before the tidings begin.


Be My Valentine, Charlie Brown; A Charlie Brown Valentine
ABC 8 p.m EST / 7 p.m. CST; 8:30 p.m. EST / 7:30 p.m. CST

Be My Valentine, Charlie Brown
Be My Valentine, Charlie Brown
ABC is showing two back-to-back specials featuring the resolute bald boy. 1975’s “Be My Valentine, Charlie Brown” will be broadcast first, and as the child remains hopeful that he will receive a holiday gift from a member of his class, the other students encounter struggles of their own, including Linus, who attempts to curry favor with his teacher.


In 2002’s “A Charlie Brown Valentine,” the hero pursues a chance at romance with his beloved Little Red-Haired Girl, but he doesn’t seem to realize that some of the girls in his class are trying to gain his affections.

Family Guy - Valentine's Day in Quahog
Cartoon Network 11 p.m. EST / 10 p.m. CST

Valentine's Day in Quahog
Valentine's Day in Quahog
In the animated comedy series’ 200th episode, the Rhode Island residents all run into various problems. Lois and Peter decide to spend the day together in bed, but it doesn’t work out as planned. Meg embarks upon a date with a boy from the Internet, and his intentions are a bit sinister in nature. Finally, family dog Brian hopes to learn why he’s a failure with women, so Stewie conducts a forum with his former love interests.

Author: Brian Cameron



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