<p>&quot;Sean Saves the World&quot;</p>

"Sean Saves the World"

Credit: NBC

NBC halts 'Sean Saves the World' production

The remaining two episodes may air at some point
NBC has not officially cancelled "Sean Saves the World," but halting production on a low-rated comedy with four episodes remaining in its order is not a sign of confidence.
 
News of the "Sean Saves the World" production half came on Tuesday (January 28) evening, but it won't impact fans of the show for a while. In its last original airing, "Sean Saves the World" averaged only 2.6 million viewers and did a woeful 0.7 rating among adults 18-49, but "Sean" wasn't scheduled to air another new episode until late February after the Olympics.
 
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<p>The Emmy trophy</p>

The Emmy trophy

Credit: AP

NBC moves the 2014 Emmys to August and to a Monday

As usual, Sunday Night Football plays a role in scheduling mayhem
As expected, NBC announced today (January 28) that the Prime Emmys will move to August this year. Somewhat less expectedly, NBC also announced that the 66th Primetime Emmy Awards will take place on a Monday.
 
More specifically, the Emmys will be broadcast live, coast-to-coast, on Monday, August 25, 2014. As usual, the Emmys will take place at the Nokia Theatre.
 
The Emmys in August? That's pretty normal stuff. Because of NBC's Sunday Night Football commitment, the Emmys were also held in August in 2010 and 2006, the past two times the network had the ceremony.
 
But the Emmys on a Monday? Well, that's a bit strange.
 
NBC also announced that the Creative Arts Emmys will be held on Saturday, August 16. Per NBC, the Creative Arts Emmys were already locked down and the Primetime Emmys have to be the weekend after, but due to Sunday Night Football, a Sunday ceremony was impossible. Hence, Monday Night Emmys!
 
Thus far, the network has not revealed either producers or a host for the Emmys. The last time NBC had the Emmys, Jimmy Fallon hosted. The time before that, it was Conan O'Brien. Does that put Seth Meyers in line for this year? Probably not.
 
Guess it's time to start prepping my Emmy preview galleries. If you're looking for a dark horse, I'm predicting "Breaking Bad" might get some award consideration.
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Listen: Firewall & Iceberg Podcast No. 217

Dan and Alan talk 'Fleming' and catch up from two weeks away

The

Happy Tuesday, Boys & Girls.
 
Sorry for two weeks away, but we're back for another installment of The Firewall & Iceberg Podcast. 
 
As we explain in this week's podcast, between Alan's physical circumstances and my TCA Press Tour and Sundance circumstances, we missed out on two weeks of potentially busy podcasts, but we returned for a week with almost nothing.
 
So we reviewed BBC America's "Fleming" just because it happened to be new and premiering this week. And then we also did a quick check-in on a bunch of shows that premiered over the past couple weeks, discussed the press tour, talked Golden Globes and more.
 
Here's today's breakdown:
"Fleming" (00:03:20 - 00:11:20)
Press tour recap (00:11:25 - 00:27:15)
Golden Globes (00:27:20 - 00:34:30)
"Rake" (00:34:40 - 00:43:05)
"Black Sails" (00:43:05 - 00:48:35)
"Suburgatory" (00:48:35 - 00:54:20)
"Looking" (00:54:20 - 01:03:30)
"How Your Mother Met Me" (01:03:30 - 01:09:05)
"Sleepy Hollow" (01:09:05 - 01:18:45)

As always, you can subscribe to The Firewall & Iceberg Podcast over at the iTunes Store, where you can also rate us and comment on us. [Or you can always follow our RSS Feed or subscribe on IHeartRadio.] 

And as always, feel free to e-mail us questions for the podcast.

 

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<p>Monday's &quot;How I Met Your Mother&quot;</p>

Monday's "How I Met Your Mother"

Credit: CBS

TV Ratings: 'How I Met Your Mother' 200th episode bump lifts CBS on Monday

'The Blacklist' and 'Intelligence' rise, while 'The Following' is so-so
Fast National ratings for Monday, January 27, 2014.
 
The 200th episode of "How I Met Your Mother" got a big bump for CBS and delivered Monday's biggest audience among young viewers. Combined with "Mike & Molly," which did Monday's largest overall audience and CBS won the night in most key measures.
 
I say "most key measures" because ABC won among younger female viewers -- 18-49, but not 25-54 -- thanks to "The Bachelor."
 
Meanwhile, NBC's "The Blacklist" rose week-to-week, as did CBS' "Intelligence."
 
Taking a predictable drop from its preview airing after playoff football was "The Following" and while it wouldn't be even vaguely fair to compare the drama's time period premiere to last weekend's sneak, it would be totally fair to observe that "The Following" came in solidly below season averages for "Sleepy Hollow" in the time period, including last week's finale.
 
On to the numbers...
 
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<p>The cast of &quot;The Amazing Race&quot;</p>

The cast of "The Amazing Race"

Credit: CBS

CBS announces the latest 'Amazing Race' All-Stars cast

We'll never be rid of Brendon & Rachel. NEVER.
There had been rumors for months, but CBS officially announced the teams returning for the latest All-Stars cast of "The Amazing Race."
 
Unlike "Survivor," "The Amazing Race" has been fairly judicious in its use of returning teams over the years, so we're only just beginning to break into three-time "Amazing Race" competitors. This group of 11 teams includes likable favorites Flight Time & Big Easy and Jet & Cord, plus Margie & Luke, who allegedly people like, even if I can't find any evidence of which people those are. [Brendan & Rachel are only making their second "Amazing Race" appearance, but with two "Big Brother" appearances apiece, they've spent more time on CBS than any of the other teams.]
 
The producers have also heavily cast this season with high energy teams that polarized viewers and their rival teams. You might not have thought that Leo & Jamal, Natalie & Nadiya and Joey & Meghan *all* needed to return at the same time, but you'd be wrong.
 
"The Amazing Race" returns on Sunday, February 23 with a one-hour episode. 
 
Check out all 11 teams in the gallery below, along with the thing I think they've best remembered for, as well as my exit interviews from most of the teams' original runs.
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<p>Lang Lang was on fire at the Grammys</p>

Lang Lang was on fire at the Grammys

Credit: AP

TV Ratings: The Grammys cruise past The Pro Bowl on Sunday

'The Bachelor' wedding fails to offer much competition
Fast National ratings for Sunday, January 26, 2014.  
 
The NFL held its annual star-depleted Pro Bowl on Sunday night and earned big enough ratings for a solid second place finish, coming in well behind the Grammy Awards telecast on CBS.
 
For the primetime segment, the Grammys and Pro Bowl were both down single-digits from last year.
 
Audiences were less enamored with ABC's "The Bachelor: Sean and Catherine's Wedding" and with FOX's Animation Domination, which lagged well behind.
 
Remember, of course, that the Grammys aired live on the right side of the country, but taped on the left and that the telecast ran through 11:40-ish, while these numbers only reflect the 8-to-11 segment of the ratings. And the Pro Bowl aired live nationwise, so those numbers are also preliminary.
 
On to those numbers...
 
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<p>Madonna</p>

Madonna

Credit: Jordan Strauss/AP

2014 Grammy Awards Live-Blog

Join us for 3.5 hours of music celebrating itself

HitFix's awesome and well-informed music team is covering the Grammy Awards from the red carpet and backstage. 

That leaves me to cover the telecast itself, which is a challenge for three reasons:

1) I mostly know new music from who makes guest appearances on "American Idol" or "The X Factor."

2) CBS sucks and doesn't broadcast the Grammys live across the country, unlike the Oscars, Emmys, Golden Globes and even the SAG Awards.

3)The Grammys are *scheduled* for 3.5 hours. Oy. 

So please join the conversation below, because if folks don't stick with this recap, I'm gonna commit Boy Named Sue-icide.

Yup. That's the kind of up-to-date commentary you can expect from this live-blog.

So read, or else I'll have to commit suicIdes of March. This blog is your vehicle, baby! It'll take you anywhere you wanna go. Click through...

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<p>&quot;The Internet's Own Boy: The Story of Aaron Swartz&quot;</p>

"The Internet's Own Boy: The Story of Aaron Swartz"

Credit: Sundance

Review: 'The Internet's Own Boy: The Story of Aaron Swartz' is a harrowing cyber-thriller

HitFix
B+
Readers
n/a
Brian Knappenberger's Sundance doc generates sadness and anger
There is a perception that on the list of liberal enclaves, the Sundance Film Festival ranks only slightly below a poetry reading in San Francisco and Communist Party fundraiser in Boston.
 
There's probably some truth to that. 
 
However, hell hath no fury like a Sundance documentary director disappointed and the unfulfilled potential of President Obama has been a running theme over the past couple years. No amount of Fox News Obama condemnation could ever match the sense of betrayal illustrated in Rick Rowley's "Dirty Wars." Michelle Obama hasn't been immune either, as the First Lady's difficulties taking a hard line with food mass-producers is depicted as a major letdown in "Fed Up." Half of the World Docs seem to wish their central dilemma were receiving more or less attention from the Obama Administration.
 
With the possible exception of "Mitt," you'd be hard-pressed to find a Sundance documentary that wants to claim things would be better had the election results gone differently, but a consistent running undercurrent of recent Sundances is, "President Obama. Dude. You were supposed to be better than this."
 
When it comes to eroded idealism, it's hard to get more damning than Brian Knappenberger's "The Internet's Own Boy: The Story of Aaron Swartz," which begins with news talking heads declaring that the title cyber-activist was "killed by the government" and spends the next 100 minutes confidently underlining that point. No, President Obama isn't really blamed for Aaron Swartz's death, at least not directly, but when it comes to the overzealous prosecution of the Reddit co-founder, there's little doubt that the message is, once again, "We expected better."
 
Actually, I should change the punctuation there. It has to be "We expected better!" because Knappenberger's doc, playing in the US Documentary Competition at Sundance, is all about exclamatory mood. For maybe 30 minutes, you go "Wow, look at this brilliant young man!" Then for maybe 40 minutes you go, "Wow, I'm so angry about what was done to this brilliant young man" and then for the last 30 minutes, you go, "Boy, it's so sad what happened to that brilliant young man!" Of course, all of that exclamation can sometimes be exhausting and Knappenberger maybe underlines some of his points a little aggressively, but he really wants to make sure you feel the outrage of Swartz's tragically brief life. 
 
And I did.
 
[More after the break...]
 
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<p>&quot;The Overnighters&quot;</p>

"The Overnighters"

Credit: Sundance

Review: 'The Overnighters' is a frontier tale for 2014

HitFix
B+
Readers
n/a
Jesse Moss' Sundance doc received some of the Fest's best reviews
[Preamble: I saw "The Overnighters" before touching down in Park City last Sunday, which meant I saw it kinda in a vacuum. When I got to the Festival, I wasn't hugely surprised that "The Overnighters" was the doc I was hearing the most buzz about. At that point, I'd written the intro to the review, the part that precedes the page break. I never finished the review, because Sundance is all about starting reviews that I never finish. It's fun! Anyway, I'm expecting "The Overnighters" to be a big winner at Saturday night's closing awards ceremony, so I'm taking one last stab at the review.]
 
Jesse Moss' "The Overnighters," featured in the US Documentary Competition at the Sundance Film Festival, plays at times like a modern frontier Western. 
 
Like HBO's classic "Deadwood" or AMC's much-admired [by the people who pop up in online comments whenever its renewed] "Hell on Wheels" or Discovery's decent new miniseries "Klondike," it's the story of a migration of desperate men, many of them criminals and reprobates, seeking riches in the unspoiled wilderness. Like most Westerns, there seem to be fortunes to be made, but the brass ring remains just out of reach for most settlers. Like many a Western, there are clashes with the natives, who feel like they're being disenfranchised by the scruffy, dirty, dangerous men pushing in on their land. And, like more than a few Westerns, there's a wacky priest at the heart of the story, trying to save souls in the influx of sinners. 
 
I may be overselling "The Overnighters" with that description. Moss' film is slightly at war with itself, trying to tell two stories, not necessarily arcing either story satisfactorily and then relying on what's presented as a somewhat strange twist in the final act to tie the whole thing up in a bow that either makes the whole movie feel too neat or too messy, depending on how you view it. [A couple critics I've talked to have said that they don't think Moss is trying to use the twist to tie things up or explain them. I think that in terms of authorial intent, they're right. However, I know how the story presented on the screen arcs. Causation is implied, even if it's not intended.]
 
And the more I think back on "The Overnighters," the less I buy the "twist," the less the twist satisfies the arc of the story and the more I wish that Moss could have better focused on one of his two stories. But I still wanted to use the frontier Western analogy, because I'm sure it's part of what Moss is going for and, even if it doesn't always work, it's still a big part of what keeps "The Overnighters" watchable, probably endlessly discussable and, in the end, tantalizing.
 
[More after the break...]
 
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Aaron Paul discusses 'Hellion,' 'Better Call Saul' and Corn Pops

Aaron Paul discusses 'Hellion,' 'Better Call Saul' and Corn Pops

Also from Sundance, young star Josh Wiggins discusses this big break
PARK CITY, UTAH. Aaron Paul has been wearing out a groove between Los Angeles and Sundance over the past 10 weeks, making appearances for the Golden Globes and SAG Awards in one location and zipping back and forth for premiere and press on the indie drama "Hellion" in the other.
 
In "Hellion," directed by Kat Candler, Paul plays a widower struggling to keep his family together, particularly rebellious, motocross-loving teen son Jacob (Josh Wiggins).
 
"Hellion" is Wiggins' first credit on any screen bigger than YouTube, which led me to ask Paul about his own first screen role and how his work in that project compared to his Sundance co-star. We also discussed how they kept things estranged on-screen, but warm and convivial off. 
 
Since this is the second time in three Sundances that I've interviewed Paul for a film in which he plays an alcoholic (following 2012's "Smashed"), I asked about different versions of addiction.
 
And, of course, we discussed "Breaking Bad," Jesse Pinkman and Paul's relief at escaping from that character's tortured headspace, but his excitement about returning to a younger, goofier version for the AMC spinoff "Better Call Saul." How soon will Paul be ready to return to that world? He explains.
 
"I love that family so much. Whenever they want me, I'm there, because it would be nice to jump into Jesse again in his lighter days," he says of the prequel.
 
Check out the full interview above.
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