Archive for June, 2013

'NCIS' tops the list of 2012-13 season TV shows

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June 21st, 2013



CBS’ “NCIS” series, anchored on the Tuesday night lineup, edged  NBC’s “Sunday Night Football” as the top network series of the just-finished 2012-13 TV season.

The procedural, starring an ensemble led by Mark Harmon, attracted 21.5  million viewers, compared to “Sunday Night Football,” a seasonal Sunday fixture, which logged 21.4 million viewers, according to Nielsen ratings of the Top 50 shows.

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CBS’ “Hawaii Five-0,” which had a challenging third season on Mondays but earned a fourth-season renewal along with a switch to the Friday TVscape this fall, finished No. 32 with 10.5 million viewers. “Last Resort,” ABC’s filmed-in-Hawaii canceled series, was No. 47 with 8.1 million viewers.

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The shows with the top 18 to 49 demographic numbers were “Sunday Night  Football” at No. 1, and CBS’ “The Big Bang Theory” at No. 2.

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To sort out whether you’re watching a ratings hottie or a lukewarm on-the-way-out  show, this list might shed some light.

PROGRAM....................................................... VIEWERS (in millions)

1 — “NCIS” (CBS, Tuesdays)........................................... 21.5

2 — “Sunday Night Football” (NBC, Sundays)..................21.4

3 — “The Big Bang Theory” (CBS, Thursdays).................18.5

4 — “NCIS: Los Angeles” (CBS, Tuesdays).......................17.4

5 — “Person of Interest” (CBS, Thursdays).........................15.9

6 — “American Idol” (Fox, Wednesdays)............................15.1

7 — “Dancing With the Stars” (ABC, Mondays).................14.9

8 — “American Idol” (Fox, Thursdays)................................14.7

9 — “The Voice” (NBC, Mondays)......................................14.3

10 — “Dancing With the Stars” (ABC, Tuesdays)...............13.8

11 — “Two and a Half Men” (CBS, Thursdays)..................13.7

12 — “The Voice” (NBC, Tuesdays) ...................................13.5

13 — “Blue Bloods” (CBS, Fridays).....................................13.0

14 — “Elementary” (CBS, Thursdays)..................................12.5

15 — “Modern Family” (ABC, Wednesdays).......................12.4

(tie) — “60 Minutes” (CBS, Sundays)...................................12.4

(tie) — “Castle” (ABC, Mondays).........................................12.4

18 — “Criminal Minds” (CBS, Wednesdays)........................12.3

19 — “Vegas” (CBS, Tuesdays and Fridays).........................12.0

20 — “The Following” (Fox, Mondays).................................11.9

(tie) — “Survivor: Philippines” (CBS, Wednesdays).............11.9

22 — “CSI” (CBS, Wednesdays)............................................11.7

(tie) — “The Mentalist” (CBS, Sundays)................................11.7

24 — “CSI: N.Y.” (CBS, Fridays)..........................................11.3

25 — “Grey’s Anatomy” (ABC, Thursdays)..........................11.2

26 — “Survivor: Caramoan” (CBS, Wednesdays)..................10.9

27 — “Revolution” (NBC, Mondays).....................................10.7

(tie)  — “2 Broke Girls” (CBS, Mondays)..............................10.7

(tie) — “The Amazing Race” (CBS, Sundays).......................10.7

(tie) — “The Good Wife” (CBS, Sundays).............................10.7

31 — “Body of Proof” (ABC, Tuesdays)................................10.6

32 — “Hawaii Five-0” (CBS, Mondays).................................10.5

33 — “Once Upon a Time” (ABC, Sundays)..........................10.3

(tie) — “Mike & Molly” (CBS, Mondays)..............................10.3

35 — “The Amazing Race 22” (CBS, Sundays)......................10.2

36 — “The X Factor” (Fox, Thursdays)....................................9.9

37 — “Golden Boy” (CBS, Tuesdays)......................................9.8

38 — “The X Factor” (Fox, Thursdays)....................................9.7

39 — “Bones” (Fox, Mondays).................................................9.5

(tie) — “The Bachelor” (ABC, Mondays).................................9.5

41  — “How I Met Your Mother” (CBS, Mondays).................9.1

42 — “Revenge” (ABC, Sundays)............................................9.0

43 — “Scandal” (ABC, Thursdays)...........................................8.5

44 — “The Middle” (ABC, Wednesdays).................................8.4

(tie) — “Glee” (Fox, Tuesdays).................................................8.4

46 — “Undercover Boss” (CBS, Fridays).................................8.2

47 — “Last Resort” (ABC, Tuesdays).......................................8.1

48 — “Made in Jersey” (CBS, Fridays).....................................8.0

49 — “Last Man Standing” (ABC, Fridays)..............................7.9

(tie) — “Chicago Fire” (NBC, Wednesdays).............................7.9

Wassup with Tonouchi? His 'Faddah' book is one beeg winnah!

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June 21st, 2013



Island author Lee A. Tonouchi, a master of pidgin poetry and da kine fun talk, is one beeg winnah.

His 2011 book, “Significant Moments in da Life of Oriental Faddah and Son,” has won the 2013 Book Award for poetry-prose from the Association for Asian American Studies. Better late than nevah, right?

imgres-1“Lee is one of our community’s best writers,” said his publisher, Buddy Bess, of Bess Press. “His words capture the essence of local culture so intimately that his work transcends generations. His writing in Pidgin really connects with readers throughout our state and nationally, as this award is a testament to.”

The recognition outside of Hawaii confirms the growing interestin and joy of Pidgin tales and chatter. Tonouchi, often called “Da Pidgin Guerilla,” is also author of “DaKine Dictionary: Da Hawaii Community Pidgin Directionary Projeck,” along with “Da Word,”a collection of Pidgin stories and a play, “Three Year Swim Club.”

National media such as the Los Angeles Times, The Wall Street Journal and The Washington Post has acknowledged Tonouchi’s wide-reaching Pidgin pendulum.
You go, bro!

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'Les Miz' booking completes Ron Bright's trifecta of plays

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June 19th, 2013



“Les Miserables,” the Tony- and Academy Award-winning musical inspired by the valor and humanity of the French revolution, will open a five-weekend run Sept. 20 at Paliku Theatre, Windward Community College.
For Ronald Bright, the veteran director, the British musical about everyday heroes in extraordinary situations completes his trifecta  of dream productions.
“The three biggies in my directorial career are ‘Miss Saigon’ (we had a helicopter), ‘Phantom of the Opera’ (we had a chandelier) and now it’s ‘Les Miz’ (we will have a barricade),” said Bright. “My theater career might not have been complete had we not decided to include this show in our repertoire.”

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An open-call audition for plum roles will be held at 6 p.m. Monday (June 24) and Tuesday (June 25), with callbacks on Wednesday (June 26). A swarm of auditioners is anticipated.
Tickets will be available later this summer, but expect admission to be $45 regular seats, $49 central premium seats.
Tom Holowach, Paliku’s general manager and the lone paid theatrical hire on the Windward campus, had been working on acquiring the production for about two years.
“I’ve been sweating this one out for a long time,” said Holowach. The snag was in the language of the MTI (Music Theatre International) contract and the dispute was finally resolved this week.
“We had a contract back in November, but nobody to sign it, which started a long process of modifying the language to retain the protection of the original wording,” said Holowach.
“Les Miz, ” based on the Victor Hugo novel, long has been a favorite for theater actors and audiences. It still is playing in London and it has had a successful original run, along with a revival, on Broadway.
The December release of the all-star movie version, featuring Hugh Jackman as Jean Valjean, Russell Crowe as Inspector Javert, and Anne Hathaway as Fantine, has heightened audience interest, including a generation of film-goers who may not have been exposed to the stage production.
The show’s leading characters, along with the roles of Eponine, Marius, Cosette, Thenardier, Madame Thernadier, and young Cosette and Gavroche, are plums in the annals of theater, requiring strong voices to deliver the emotional score of Alain Boublil and Claude-Michel Schoenberg.
The score is rich in melody and texture, including such signature tunes as “I Dreamed a Dream,” “Castle on a Cloud,” “Bring Him Home,” “On My Own,” “Empty Chairs at Empty Tables,” “Do You Hear the People Sing,” and “Master of the House.”
Bright recalls seeing the show in London in 1993, sitting in the very last row of the balcony, and became immersed in the emotion of the story, and “not being able to move after witnessing the power of the human heart and all it can endure. It is, and always will be, the best musical I’ve ever experienced.”
Holowach said that the auditions will be an open call, with no pre-cast roles. “Every singing teacher will send students,” he said. “My advice is, learn the song the character sings; if you act and look and sound like the character, you’re in a pretty strong position (to get selected).”

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'Five-0's' move to Friday nights will start on Sept. 27

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June 17th, 2013



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“Hawaii Five-0” will launch its fourth season — in its new Friday night slot — on Sept. 27.
CBS has announced its 2013-14 season launch and the Island-based series will be sandwiched between the reality show, “Undercover Boss,” and the Friday night staple, “Blue Bloods.” The move brings less pressure on the procedural, which had a bumpy ratings ride this season.
The show will be at 8 p.m. locally, an hour earlier than its previous 9 p.m. airtime (on the Mainland, “Five-0” will screen at 9 p.m.).
“Five-0” was transplanted to the Friday schedule prior to the end of the series’ third season. The show, starring Alex O’Loughlin as Steve McGarrett, had an erratic ratings performance this year, struggling to keep up the momentum of the earlier years on air, and generally taking the second slot behind ABC’s “Castle.”
Industry observers and critics viewed the shift to the Friday lineup as a safe haven — since Nielsen TV ratings are softer and expectations lower — or the beginning of the end, since a few shows in this slot have been canceled. , “Five-0,” however, already has a feather in its cap: A syndication deal with TNT, beginning in 2014.
With loose threads and the fate of one of the key four again in jeopardy as season three ended, season four will include revisists to story arcs and recurring characters to resolve some of the plot issues.

Leave film classics alone; no need to reboot, remake

By
June 14th, 2013



Hope they never ever remake “Gone With the Wind.” It’s a classic because it is what it is: the No. 1 box office hit of all time.
Ditto, the Harry Potter series.
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Even “Grease” as well as “Saturday Night Fever.”
These tales don’t have to be retold; how can they go one-up on the originals?
“Casablanca,” too. Let’s hope they don’t play it again, Sam.
Where there have been remakes for everything and anything, from “King Kong” to “Gozilla” from the monster genre, to “Mission: Impossible” to “The Bourne Identity”
in the action category, the real plums are the ones that stand alone. OK, sequels are understandable and welcome, like “The Godfather” and “The Lord of the Rings” fanchises. Even the “Twilight” sagas. Yes, include “Back to the Future.” In rare instances, you beg for more stories, as long as they are relevant, fresh, non-redundant.
And with the catalogue of James Bond literature, a succession of tales are welcome.
But no, no, no, no remakes to cash in on the iconic items.
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No reinterpretation of “The Sound of Music,” please; Julie Andrews should own this one forever, for every do-re-mi sung and choreographed.
Ditto, “Avatar.” And “Titanic.” Such art should remain one-of-a-kind, like a Mona Lisa.
Why would the world need another interpretation of “E.T.: The Extra-Terrestial”?

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And how could the spectacle be repeated, much less recaptured, after you’ve seen a “Dr. Zhivago” or a “Bridge Over the River Kwai”?
Why would anyone venture to revisit “The Graduate” or “Rain Man.”
And Disney’s classics, from “Snow White” to “Pinocchio,” from “Cinderella” to “The Lion King,” shouldn’t be messed with. OK, Disney did it spot-on when the animated film was magically and inventively rebooted and redefined as a musical, thanks to director Julie Taymor's vision.
Then again, Disney did a musical film some years ago of “Newsies,” which had a hit song, “Seize the Day,” and a cult following; but only when it was reconceptualized as a stage musical last year, did the sparks fly and the awards bestowed. So this was one of the handful of exceptions when a remodel can renew life in a project.
I’d say if a new wrinkle can be unveiled — the way “West Side Story” reinterpreted the “Romeo and Juliet” story — then a revisit might be saluted.
But some projects shed off lightning and glory but once, like “Ghost.” Revamping it as a musical for the stage, like Broadway did last year, didn’t work out, with even “Unchained Melody” diminished in delivery.
Then there’s the quandary of “Carrie.” It was a cult horror film in its original screen outing based on a Stephen King work; it was a bloody bomb when it was transformed into a Broadway musical. An update last year on stage generated some attention, but still no hit status. One wonders, then, why another film is being produced with the same story of a bullied high school misfit with special powers who finds her sparks on prom night.

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