Grease Actor Conaway Died Of Major Infections

FIRST Released: September 30, 2011 9:42 PM EDT La, Calif. -- An autopsy has ruled that Taxi and Grease star actor Shaun Conaways May 27 dying was accidental and triggered by major internal infection. La County coroner Craig Harvey states coroners didn't conduct a toxicology test because Conaway have been put in the hospital for days just before his dying, so his bloodstream might have return clean. However, Harvey states when Conaway joined a healthcare facility May 10, opiates along with other drugs were in the system. Conaway battled openly together with his destructive addictions on Celebrity Rehab with Dr. Came. Conaway, who had repeated back surgical procedures to have an injuries, blamed his substance abuse, simply, on his residual back problem. Conaway was noted for playing vain, battling actor Bobby Wheeler on Taxi and Kenicke, the swaggering closest friend of Travolta Qantas Video in Grease. Copyright 2011 by Connected Press. All privileges reserved.These components might not be released, broadcast, rewritten or redistributed.

Defense: Jackson Gave Himself Fatal Dose Of Drug

LOS ANGELES, Calif. -- Prosecutors told jurors Tuesday that Michael Jackson was killed by the actions of his personal physician, who used a dangerous anesthetic without adequate safeguards and botched recovery efforts when he found the singer unconscious. Defense attorneys countered that Jackson caused his own death by taking the drug propofol after his doctor left the room in a desperate attempt to overcome his chronic inability to sleep. Nothing Dr. Conrad Murray could have done would have saved the King of Pop, defense attorney Ed Chernoff told the panel, because Jackson was desperate to regain his fame and needed rest to prepare for a series of crucial comeback concerts. The competing versions of Jacksons death and Murrays role in it were laid out in opening statements at the physicians involuntary manslaughter trial. Speaking for more than an hour, prosecutor David Walgren relied heavily on photos and audio recordings to make his case that Murray was an inept and reckless caretaker of Jackson. He showed a photo of a lifeless Jackson on a hospital gurney, and played a recording of Jackson speaking to Murray while the prosecutor said he was under the influence of an unknown substance roughly six weeks before his death. The singers speech was heavily slurred but recognizable as the international superstar. He spoke of his hopes for the upcoming concerts. We have to be phenomenal, Jackson isheard telling Murray. When people leave this show, when people leave my show, I want them to say, Ive never seen nothing like this in my life. Go. Go. Ive never seen nothing like this. Go. Its amazing. Hes the greatest entertainer in the world. Murray is accused of giving Jackson a lethal dose of propofol in the bedroom of the singers rented mansion, but Chernoff said Jackson gave himself the fatal dose. He claimed the singer swallowed several pills of the sedative lorazepam on the morning of his death and that was enough to put six people to sleep. He also said Jackson self-ingested propofol, and it killed him instantly. Jackson did not even have a chance to close his eyes, Chernoff said. In his opening remarks, Walgren said Murray was grossly negligent by providing Jackson propofol. The prosecutor said while working for Jackson, the doctor was shipped more than four gallons of the anesthetic, which is normally given in hospital settings. He said Jackson trusted Murray as his physician. That misplaced trust in Conrad Murray cost Michael Jackson his life, Walgren said. He left him there, abandoned him to fend for himself, the prosecutor said later while winding down his opening remarks. The doctor had initially requested $5 million to work for the singer for a year, but accepted the lower rate of $150,000 a month, Walgren said. His contract to be Jacksons personal physician was never signed and he was never paid. He told jurors that Murray deceived paramedics and emergency room doctors by not telling them he had been giving Jackson propofol as a sleep aid. He also called the doctor inept and said he repeatedly deviated from the standard of care by leaving the singer alone while under sedation and not immediately calling 911 when he found the singer was unconscious. Murray never calledfor emergency services himself, instead waiting more than 20 minutes to have one of Jacksons bodyguards make the call. Basic common sense requires 911 be called immediately, Walgren said. Basic common sense. And we know that was not done. Chernoff told jurors it was not their job to determine whether Murray was a good doctor. He said Murray and Jackson were actually friends, and Murray was trying to wean Jackson off of propofol. Jackson, however, took a lethal dose before he died, the lawyer said. At times during the defense attorneys opening statements, Murray appeared to be crying and wiped his eyes with a tissue. Testimony was expected to begin later in the day, with prosecutors planning to call the pop superstars friend and choreographer, Kenny Ortega. A number of Jacksons family members were in the courthouse, including his father Joseph, mother Katherine, sisters LaToya and Janet, and brothers Jermaine, Randy and Tito. LaToya Jackson carried a sunflower, Michaels favorite flower. Murray arrived holding hands with his mother. If convicted, he faces up to four years in prison and the loss of his medical license. Copyright 2011 by Associated Press. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

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'Awkward' Finale: Jenna Makes Her Formal Choice Between Matty and Mike (Exclusive Video)

MTV As MTV's first season of Awkward involves a detailed at 11 p.m. on Tuesday, the figures finish up in a familiar spot for audiences, a large formal dance. Not to mention, the large real question is whom will Jenna choose ultimately? Situations are going better with Matty (Love Mirchoff), but Mike (Brett Davern) will still be a contender on her attention. STORY: 'Awkward's' Ashley Rickards Evaluates Matty and Mike's Benefits and drawbacks "In the finish of year she is going to come to a decision," Ashley Rickards, who plays Jenna, informs The Hollywood Reporter. "And she or he constitutes a decision you heard right on her at that time over time, and it is a difficult decision. And nobody eventually ends up winning, because nobody ever does." "I am talking about she eventually ends up happy, and among the boys eventually ends up happy," Rickards continues. "There is however still part of her, just like any person, that will doubt their decision. And ultimately, one person's likely to be upset, and something person's likely to have forfeit. And that is not really a victory." The show's creator Lauren Iungerich informs us the finale is going to be "heartbreaking and lovely" simultaneously. Even though she knows what happens, it does not exactly mean the option was simple for her. STORY: 'Awkward's' Love Mirchoff states Matty and Jenna 'Might Exercise In the Finish' "Her heart is by using Matty and she's beginning to become really surprised at Mike," Iungerich informs us about Jenna's options. "Mike is indeed a contender on her heart too. I believe that this is exactly why really I am unsure. I do not have that determined yet. I really like they both.Inch To ensure that the audiences to get themselves in Jenna's plight, Iungerich informs us she's needed to go through it all again herself. "You must see individuals painful places," she states. "I seem like individuals painful places have defined me but still are determining me," she continues. "I am still dealing with lots of discomfort during my existence. I love to discover that humor is exactly what saved me. I believe humor originates from probably the most painful encounters like that's how you'll be able to survive a few of the hard occasions is that you simply emerge from it with a few levity." STORY:'Awkward's' Jillian Rose Reed on Who Authored the Letter: 'Everyone Is really a Suspect' Then when it involves your decision that Jenna needs to make between your two boys, Iungerich takes note of what individuals feelings are just like. "I believe there is something very effective regarding your first love," Iungerich describes. "It always will get you," she continues. "I am talking about, I am certainly not 15 and that i get goose bumps each time I speak with that individual which i had that first real senior high school love despite the fact that I have developed past it and every one of that. Will still be just like a touchdown, you realize. So, I believe that's always something that's always a pull for Jenna to Matty, however i not have the concrete response to state that she'll ultimately find yourself with him." Watch THR's exclusive sneak look at Tuesday's finale below. Email: Jethro.Nededog@thr.com Twitter:@TheRealJethro RELATED Summer time TV's Those who win and Nonwinners: What Individuals Were Watching This Year 'Awkward' Restored for Second Season 'Awkward's' Creator Discloses the Strategies of Writing Complicated Teens MTV Awkward

Google, Dish Made Finest Hulu Bids in First Round (Report)

NEW You'll be able to - Google and Charlie Ergen's Dish Network published the two finest offers for movie partnership Hulu, introduced by Boss Jason Kilar, inside the recent first round of investing in an offer, Business Insider reported. They outshine Amazon . com . com.com and Yahoo inside the opening round. Stating two not named sources, it mentioned that satellite tv firm Dish, which taken acquired Blockbuster since it is constantly boost its movie services, offered around $1.9 billion, in contrast up up to the more than $2 billion that Hulu's entrepreneurs were trying to find. It mentioned Dish comes with an interest inside the Hulu content, but furthermore its back-finish technology. Meanwhile, YouTube owner Google bid in all the different $4 billion for Hulu, but recommended special conditions, according to Business Insider. Google asked for more content for just about any very long time than Hulu entrepreneurs Wally Disney, News Corp. and NBCUniversal have offered in the purchase. Analyst Richard Greenfield of BTIG recently referred to as Google the "most compelling" buyer for Hulu. Hulu's entrepreneurs must now choose their next steps. Many of them recently signaled they may choose to not sell once the cost is not right or possibly they see advantages of ongoing possession. Email: Georg.SzalaI@thr.com Twitter: @georgszalai Related Subjects Google Hulu Dish Network

Courtney Love Twitter Defamation Case Moves Forward

Stephen Lovekin/Getty Images Courtney Loveis one step closer to facing a jury over comments made on Twitter about a former lawyer who she claimed took bribes in a case involving allegedly stolen money from the estate of Kurt Cobain.A California judge this week has limited a defamation lawsuit against the rocker but is allowing the main claim to move forward. PHOTOS: A History of Grunge Gordon & Holmes, a San Diego-based law firm, represented Love between December 2008 and May 2009 in a fraud lawsuit, but it stopped providing legal counsel after Love hooked up with another lawyer who made the rocker second-guess the firm's litigation strategy. Later, according to a lawsuit filed by the firm against Love in May, she became dissatisfied with her new lawyer and returned to have Gordon & Holmes once again pick up her case over the Cobain money.Love allegedly was told her substance abuse precluded that possibility. So Love unloaded on Twitter. PHOTOS: MTV VMAs Greatest Feuds Gallery The rocker has a history of writing flamboyant tweets. Earlier in the year, Love paid $430,000 to settle a lawsuit brought by a fashion designer who claimed to be on the receiving end of nasty Twitter rampages. In this instance, Love is said to have directed her venom atthe firm's partnerRhonda Holmes. "I was f---ing devastated (sic) when Rhonda J Holmes Esq of San Diego was bought off [...]" Love tweeted. STORY: Memories of Nirvana, Grunge Scene: A Reporter's First-Hand Account Soon after, Love also made comments to a gossip reporter at The NY Post about a female attorney who had "stopped taking her calls" because "they got to her." In response, Holmes sued. This week, California judge Ramona See considered Love's motion to dismiss the lawsuit. The judge reportedly threw out many of the claims, including whether the law firm at large was defamed and whether there was an invasion of privacy, but gave the firm ten days to amend their complaint. STORY: Nirvana Producer Reflects on 'Nevermind's' Legacy, Kurt Cobain's 'Mood Swings,' Band's Early Days (Q&A) Most importantly, Judge See rejected Love's bid to dismiss the charge that Holmes was defamed by that Twitter comment suggesting bribery, ruling the statements could be seen as fact rather than opinion. There's been some question as to whether the casual nature of Twitter would lead courts to see the social forum akin to an op-ed section of a newspaper, but thus far courts are taking Love's tweets pretty seriously. Her last reported Twitter handle, @cloverxxxlove, now seems to be disabled. E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner Courtney Love Twitter Nirvana

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Diablo Cody Saddened by Bobcat Goldthwait's New Movie

Screenwriter Diablo Cody gets a lot of flak for being Diablo Cody, but a funny thing about the Oscar winner: she's actually kinda awesome and -- thanks to the backlash to her 'Juno' backlash -- not really as mainstream as her critics would have you believe. She wrote underrated gems like 'Jennifer's Body' and the television series 'The United States of Tara'! She hosts and produces the underrated web series Red Band Trailer! Isn't she actually... underrated? Not according to Bobcat Goldthwait, who apparently uses his new film -- the Toronto International Film Festival premiere 'God Bless America' -- to take down Cody along with other pop culture mainstays like 'Jersey Shore' and the Kardashian family. Wait, what? Cody herself was flummoxed by the conflation, taking to her blog to elaborate. I've been sad because I heard Bobcat Goldthwait (who is actually a really talented writer/director) brought a movie to Toronto that rips on everything stupid about American pop culture; namely, reality TV, Idol, Kardashians and...me? I don't even consider myself a part of "pop culture" these days. I'm a screenwriter with a hit-or-miss career. I don't really go out to events. I don't have a million Twitter followers or a massive fandom (In fact, I seem to have a much larger and more vocal "un-fandom," if you know what I'm saying.) I would think that to pollute pop culture to such a degree that it warrants being eviscerated in a movie, one would need to be, you know, powerful. Visible. Ubiquitous. I'm none of those things and I haven't been in a while. Maybe this movie has been on the shelf? Hope so, but I doubt it. I ordinarily shake these things off, but it sucks extra hard when the criticism comes from someone you admire. Shakes the Clown is an excellent movie. Plus, I always assumed Goldthwait and I were kindred spirits- we both have silly aggro fake names, and we've both spent our careers (his long, mine short) trying to transcend the gimmicks we're known for. Dear Bobcat: Juno is my "growly voice." Let me evolve, as you have evolved. Cody's words return to the screen later this year in the Jason Reitman-directed 'Young Adult' with star Charlize Theron. 'God Bless America' will hit theaters in limited release and on VOD next year. [Honest to Blr via indieWIRE/The Playlist] Photo: Kevin Winter/Getty Images

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Watch Jennifer Lopez Recycle the Love Potion No. 9 Plot in Her New 'Papi' Music Video

Aside from providing a cautionary tale about why you should never build a feature-length movie around a doo-wop song, there has never been any use for Sandra Bullock’s 1992 flop Love Potion No. 9. Until today — because its plot has apparently inspired Jennifer Lopez’s first post-break-up music video “Papi.” Tate Donovan, this could be the pop culture relevance you’ve been waiting for. Only instead of downing a love potion from a lonely biochemist like Sandra Bullock’s character does in the movie, J. Lo eats a heart-shaped cookie baked by a knowing Jamaican woman who collects the mail in J. Lo’s character’s apartment building. (Because J. Lo “the character” is relatable and lives in a walk-up building unlike J. Lo the entrepreneur who partnered with Blackberry and Fiat for this video.) The next day, men everywhere become obsessed with J. Lo and come out in choreographed masses. They chase after her ride, they punch each other out, they steal hybrid dogs to win her affection, they FLIP CARS OVER IN THE MIDDLE OF THE STREET, they set things on fire, they leap over city buses on motorcycles, they crash armored vehicles into water hydrants…they daintily lift her through her sun roof and place her on the street so she can lead them in a flash mob? Okay, at least there is a narrative — even if it is corny and inspired by a ’90s movie — which is more than Shia LaBeouf and Marilyn Manson can say about their nightmare-inducing video for “Born Villain.”

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Fox Sports Chief Talks Dodgers TV Deal, NFL Coverage (Q&A)

David Hill was living in the U.K. in 1994 after launching a satellite TV sports service partly owned by News Corp. when Rupert Murdoch asked him to help Fox swipe NFL games from CBS.our editor recommends10 Hollywood Players Who Could Buy the Los Angeles Dodgers50 years of the Los Angeles DodgersDodgers-Fox TV Deal Key to McCourts' Divorce SettlementFox Sports Speaks Out Against Plan to Auction Off L.A. Dodgers Broadcast Rights "To be honest, what I knew about the [NFL] you could write on the back of a stamp," he jokes. Still, the Australia native became founding chairman of Fox Sports Media Group, where he is CEO and oversees a staff of more than 1,000. Hill has been an innovator in sports technology: He introduced the "Fox Box," which perpetually shows a game's score and time left (which he says should be called "the Hill Box"); baseball's catcher cam; and enhanced audio from the field and crowd. Now, with the league having settled its contentious labor situation, Hill, 65, a married father of four, is presiding over his 18th season of the NFL on Fox, which pays $720 million a year to televise America's No. 1 sport. This is an expanded version of an interview with Hill that appears in The Hollywood Reporter magazine. Hill was interviewed on the Fox lot in West Los Angeles. The Hollywood Reporter: Will Fox Sports do anything different with its NFL coverage this year? David Hill: One of the things that came through in the labor deal is that we can have up to six players wearing microphones. How that's going to work, I don't know. What I do know is that the key area where I'd like to see us get better is in audio. I believe close-up audio is effective in transmitting emotion and feeling. THR: It gets the TV viewer more into the game. Hill: I would love to have every player have a mic. Of course, the players and everyone else are going to worry about bad language. Occasionally, you could get a cuss word going to air. THR: Would there have to be a delay? Hill: You can't have a delay. It's something we really haven't done that much experimentation with. It's kind of like, if you could possibly take George Carlin's seven banned words and program those into the computer, then if ever a computer heard them, it just eradicated them - that would be a perfect thing. THR: You can't do a delay is because it's a live football game? Hill: Yes, it is live. It's not the case that it wouldn't be allowed, it's just not right. It would take away the immediacy. THR: Do you think the labor stuff has affected the game? Hill: If there'd been a strike, if games had been canceled, I think that it would've had a negative impact. I don't think it's going to have an impact at all. THR: Fox pays $416 million a year for rights to Major League Baseball, including weekly regular-season games, the All-Star Game and the World Series. Baseball ratings are down; what's the reason? Hill: There's been the rise of the regionalization of the sport, and the decision to play interleague games each year has taken away the luster of the All-Star Game. And if you look at the truly national teams, you quickly start to run out after the Phillies, the Red Sox, the Yankees and, to a certain extent, the Rangers, and you pray the Cubs will show some life. So the ratings are dependent on who we get into the pennant race. Are baseball ratings the same as they were 15 years ago? No. But [the World Series] is still a huge event and is going to dominate the night it's on. So in terms of importance to the network, for prestige and relevance, it's important and will remain that way. THR: Does Fox lose money on baseball? Hill: We're not that altruistic. Sure, we're going to come up short [some years]. A contract is a contract. You can only look at the totality of it on a straightforward P&L basis. We might have had a couple of bad years, but we've had a couple of remarkably good years. THR: What's the status of a new TV deal between Fox and the Dodgers, especially given the chaos surrounding the McCourts? Hill: We had a real slap in the face when the Lakers went to Time Warner Cable to start a new network [in 2012]. The Dodgers rights are very important to us. Your guess is as good as mine as to how the team's bankruptcy plays out. THR: When Fox announced Aug. 18 a seven-year deal to carry Ultimate Fighting Championship matches, you said, "Television is all about the next big thing." Is UFC the next big thing? Hill: What boxing was to my generation, the UFC is to today's generation. Pay-per-view killed boxing. The [promoters] realized that they could get 200,000 people paying $50 each, so they got out of broadcast and went for PPV. The potential audience went like this (gesturing downward). Is it any surprise that the boxing fan is now tottering along toward senility? THR: What about NASCAR? Some people think the momentum has stalled. Do you agree? Hill: There was a serious problem about three or four years ago with the "car of tomorrow,"which everyone was talking about. They were talking about safer barriers. They were talking about hands devices. They were talking about cars, and should it have a wing and what have you. People don't follow auto racing to hear about widgets. The role of the driver as driver hero is why people follow the sport. No one goes out to buy a T-shirt with a photo of the crew chief on the front. And the focus, all of us are guilty: NASCAR and the broadcasters moved the focus away from the driver as hero and moved it to an inanimate object. The car. And the tires. And the veevlefitzers and the dingleflappers and, you know, straight through copper ashtrays and the ignition key and all that stuff. What we did this year, we made a conscious effort to totally back down about the car - we didn't talk about the car. We talked about the driver. What it takes: the courage, the reflexes, the fact that they lose 12 pounds during a race through the exertion they have to put themselves through. And guess what, the ratings started to come back. There's another deeply psychological reason. You may never get up and throw a tight spiral. You will never drive a golf ball dead straight for 360 yards. You know you won't be able to slam-dunk like Michael Jordan. But that instant when the light turns green, you're just as good as Jeff Gordon. So when you think about it, everyone can drive - or 99.9 percent can drive - and so, if it's all about driving, you think: "What could I do? Do I have the guts to do that? God, look at what he's doing. No, I would've backed off."It's a game you're playing in your mind all the time. I'm not educated well enough to explain what it is, but I know that that's what I'd do, and I guarantee that that's what a bunch of people do. THR: So it's really about the storytelling. Hill: Sport is a microcosm of life. It always has been. And at any given sports event, you're going to have cowardice and heroism, you're going to have luck, and you're going to have bad luck, and you're going to have stupidity, and you're going to have great insight, and you're going to have incredible skills, and you're going to have people who forget what the basics are and fall on their butts as a result. Any sporting event has all those, the various conflicts of life, which has always made sport so compelling. THR: With Comcast's acquisition of NBC and plans for an NBC Sports Channel, and with Disney/ABC with ESPN, you have huge corporations competing on multiple platforms. What does that mean for TV sports? Hill: It's fabulous for sports. When you start a channel, you've got to put stuff on it, so that opens the opportunity for minor sports you never thought you'd see. Secondly, sports rights are the classic example of supply and demand. The more players in the market that want your stuff, the more bidders, and the more they are going to bid it up. I think if you look at what's happened to college football rights over the last five, six years, you see a classic example of supply and demand in practice. We have to place our bids very carefully. THR: And you have to be smart about what you're going to get from it. Hill: Certainly. I can remember in 1977, I was in Australia at the time, and I read that a long-forgotten CBS Sports executive stated at some conference that sports rights have gone as high as they ever could. That was it; it's all over. Bang, they were done. There's never been a time where there's been the "good old days,"where you bid on an event or rights knowing ratings were going to increase, your CPMs were going to hit your target, that your revenue was going to go up. It's always been, just breathe deeply, and when you wake up the next morning, how bad is the buyer's remorse that you have? But what it does, it makes you work like hell to fulfill it. I hate using a cliché, but you have to leave no stone unturned to make sure that the way you produce it and market it is the best you can and that everyone involved is world-class. So that's what you end up with. So it will continue. And there will be a reporter talking to somebody in 20 or 30 years' time asking them exactly the same question. THR: What do you think is the future of soccer on TV in America? Hill: It will always be a niche sport until the American team develops heroes. It's all about heroes and emotional attachment, and until that happens, it will be a strong niche. It's going to take some time for MLS. The growth, the strength has got to come from MLS. And they've got to get the people who love watching [soccer played in other countries] to say, "I've got to go home and watch the Galaxy play."And, you know, I can't see that happening. It's happening in a couple of areas. It's happening in Seattle, but it's not happening enough. The trouble is, the American sports fan is totally spoiled for choice. You take all the professional sports, and then you add on the strength of collegiate sports. And if you're a fencing aficionado, you can go home and watch the UCLA fencing team. It's a crowded marketplace. THR: The UFC deal is multiplatform. Some will air on FX, and there's stuff on your digital platforms and others. Going back to 1994, none of those platforms existed. How is today different, and what does it mean for a sports broadcaster? Hill: You obviously need to have your marquee events where the most eyeballs can get it, and that's on the networks. And the bet that you're making, by spreading it across as many platforms as you can, is that you're increasing the fan base. The whole aim is to take someone who has never sat and watched a NASCAR race or a UFC bout or a baseball game or a football game and have them come across it, fall in love with it and become a fan. So our business, in sports television, is to increase the fan base. Right now, there is more for us human beings to do to entertain ourselves and to inform ourselves and to educate ourselves than at any other time in man's history. [With video games,] I could disembowel an Orc (from The Lord of the Rings) in the privacy of my own bedroom if I'd like. Or I can take on hordes of the undead ... and very satisfactorily blast them to kingdom come. For the next 20 years, sports is going to go through a very serious period of self-examination. Not the least of which, are our games too long? Because there are still only 24 hours in the day, and one of the most interesting things I've seen is that in an ancient sport like cricket, it's totally remade itself around the world by inventing a short form called Twenty20, which now, in India and other cricket-playing nations of the world, is unbelievably popular. It takes about as long as a baseball game. The only things you can complain about with baseball games are in terms of time - batters spending too long fiddling with their gloves and whatever. I think the umpires should just tap them on the shoulder and tell them, "You're going to get a strike called if you don't get on with it." So I think that's the endgame. It's not so much the platform; it's the sports themselves. Just think of the term that you surround baseball with - pastime - and sports were created when people weren't working 6½ days a week. They had a little bit of leisure; they had some spare time. And so I don't think it's about that word, pastime - what baseball did was pass the time. People don't have that these days. THR: It is also why fans get turned off when it becomes about the business and money. Which brings me to the NBA: You carry games on Fox regional networks but not the national TV package. Is there going to be a season? What does the NBA have to do to maintain its popularity? Hill: The NBA has got a secret weapon, a guy called David Stern ... who, in my mind, is absolutely brilliant. Look what the NBA has done under his leadership. They went from zero to hero, then they had a little blip, and ... while the ratings are diving in the United States, all David's talking about is the development of the league in China and Europe. And then the ratings get better, and all of a sudden he has a dream season with L.A. and Boston and Miami, so he's got it triangulated. And then he's got everything going, and then the labor dispute. It's unfortunate. I don't know if it's unnecessary or necessary - I left industrial relations years ago when I stopped being a journalist. It's whether or not every franchise is going to make money. Anything can happen. It's way outside of my purview. THR: Fox was outbid for upcoming Olympics. Are they still worth the money paid for them as a TV show? Hill: The Olympics is wonderful. We bid for a bunch of stuff that we don't get. But we sit down and say, "Well, what do we think it's worth, where do we think we can grow it, and where's it going to be in 10 or 12 years?" A one-off is a one-off, and that, in and of itself, is a problem for the Olympics. The Olympic sports, unless they're wrapped in the flag, don't move the needle. So you'll have this wonderful event every two years, then you go dark. It's not like you have the Winter Olympics, then you have a season of downhill skiing. When the flame dies, wherever the venue, the interest in the sport dies as well. THR: What about women's sports? Can they ever equal men's sports? Hill: Well, I think they will. One of the bravest entrepreneurial moves I ever saw was to establish a professional women's soccer league. THR: But it didn't work. Hill: It didn't work. But 51 or 52 percent of attendees at colleges are women. By the end of this generation, you could have a sizable audience of women who've experienced sports in college who want to go and watch them and take their kids to them. So maybe in the next generation, women's professional sports will really take off. THR: What about 3D TV for sports? Hill: I think 3D in sports is going to be fantastic, but until we fully experiment with camera placement and cutting, I'm not sure. I've had long conversations about this with James Cameron, who's a great 3D proponent. One of these days, when it becomes economically viable for us, we will get a truck and get my producers and directors and spend a month to figure this out. It might be moving a camera six inches or tilting down or tilting up and doing it again. We know that high shots don't work. We know that it needs foreground, and we know that lateral movement improves 3D quality. And then we need to figure out, why are we using 3D? Are we using it to enhance the storytelling? Does 3D, when we start talking about NASCAR, really boost the sport by putting the camera six feet above the track, so you've got the cars coming straight at you? Is that going to move the needle? We don't know. But I believe that there has to be a lot of legwork to find the optimum of where the camera should be. I would love to have the luxury of time and money to fiddle around and come up with optimum camera placements for baseball. We know baseball looks thrilling - we've done an All-Star Game in 3D, and shots of the pitcher looked terrific. But we need to do a bit more, and whether or not the demand is there is unclear. All I do know is, I'm not going to do it on my dime. 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Cohen Media nabs Rohauer Film Collection

Charles S. Cohen has acquired the rights to the Raymond Rohauer Film Collection of over 700 titles, including prints of DW Griffith's "Birth of a Nation," Rudolf Valentino's "Son of the Sheik" and all of Buster Keaton's films. Cohen Media Group said it plans to develop a comprehensive distribution plan for branding and presenting the library to the marketplace through theatrical distribution, DVD release and digital delivery. The company also intends to substantially increase efforts to market and develop its remake rights. "There is a gold mine of classic films in this collection," Cohen said. "It is just waiting to be restored and seen in all its full glory and where creatively relevant re-made for today's audiences." Other titles in the collection include Griffith's "Intolerance" and "Orphans of the Storm," Joseph von Sternberg's "The Blue Angel," Jean Cocteau's "Blood of a Poet" and several Douglas Fairbanks films including "The Thief of Bagdad" and "The Cat and The Canary." The Cohen Media Group will also be seeking distribution and co-financing ventures for new productions as well as for sequels, remakes and live stage productions. The Rohauer Collection includes yet-to-be-identified materials including: contracts, shooting scripts, filmmaker notes and a significant amount of rare film memorabilia. Cohen noted that only 10% of the Rohauer Collection, currently housed at various sites in the US including The Library of Congress and Europe, has been made available and exhibited to the public. Cohen formed Cohen Media Group in 2008 and the company was a producer on "Frozen River." It's released "Outside the Law," directed by Rachid Bouchareb, and "Chasing Madoff," an adaption of "No One Would Listen," by Harry Markopolos, and will release "My Afternoons With Margueritte" starring Gerard Depardieu, later this month. Contact Dave McNary at dave.mcnary@variety.com

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ABC Buys Jim Belushi, Diane British Comedy Project

Jemal Countess/Getty ImagesJim Belushi ABC has given a put-pilot persistence for a multicamera comedy starring Jim Belushi. Belushi would star in and executive produce the project, titled You won't Know I'm Here. Murphy Brown creator Diane British is installed on pen the project, which arises from ABC Art galleries. You won't Know I'm Here involves a co-dependent father (Belushi) and also the teen daughter's relationship, that's switched upside lower when they are thrown in to a unique situation. Brillstein Entertainment Partners is aboard to executive produce the project alongside Belushi. The project reunited Belushi with ABC, which broadcast his According to Jim comedy from 2001 to 2009. Furthermore, it brings the actor to his comedy roots, after starring on CBS' court room dramedy The Defenders last season. Belushi and British are usually repped by ICM. Email: Lesley.Goldberg@thr.com Twitter: @Snoodit RELATED: Jim Belushi, Diane British Developing Comedy Project TV Development

50/50

Anna Kendrick and Frederick Gordon-Levitt in '50/50.'A Summit Entertainment release presented in colaboration with Mandate Pictures of the Point Gray production. Created by Evan Goldberg, Seth Rogen, Ben Karlin. Executive producers, Nathan Kahane, Will Reiser. Co-producers, Nicole Brown, Kelli Konop, Tendo Nagenda. Directed by Jonathan Levine. Script, Will Reiser.Adam - Frederick Gordon-Levitt Kyle - Seth Rogen Katherine - Anna Kendrick Rachael - Bryce Dallas Howard Alan - Philip Baker Hall Diane - Anjelica Huston A man in the late 20s faces even likelihood of beating cancer in "50/50," a title that may also describe the number of too-apparent humor to truly affecting drama within this uneven seriocomedy. Will Reiser's semiautobiographical script initially prescribes too artificial a tale strategy to its figures but is saved with a genial, low-key vibe that develops in sensitivity and emotion up with the final reels. Handicapped with a depressing if broadly relatable cancer-sucks premise, Summit's campaign is placing misleading focus on Seth Rogen's rambunctious best-friend use sell laff-seeking audiences about this pleasant but hardly uproarious Sept. 30 release. The type of responsible, risk-averse guy who regularly goes playing around his native Dallas and will not mix a street before traffic light permits, 27-year-old NPR staffer Adam Lerner (Frederick Gordon-Levitt) is naturally surprised when he discovers from the malignant growths along his spine. Within an excessively cold, anesthetized scene meant to stress Adam's shellshock and also the impersonal character from the medical establishment, an oncologist informs him he's a 50/50 possibility of survival. Adam attempts to remain positive, very difficult task after his mother, Diane (Anjelica Huston), and the best bud, Kyle (Rogen), respond to this news with techniques more overbearing than useful. Obviously, the one that fails Adam may be the one he needs probably the most: Rachael (Bryce Dallas Howard), his sexy artist girlfriend, offers to uphold him and nurse him to health, but her discomfort using the ickier facets of Adam's chemo regimen -- with taste portrayed here with a few heard-but-not-seen vomiting -- is definitely an immediate giveaway that her commitment is quite under what it really seems to become. Around the same time frame, Adam starts counseling periods with newbie counselor Katherine (Anna Kendrick) which are by turns awkward, tetchy and mildly flirty. While Reiser's script has its own roots in personal expertise, these setup passages ring false with techniques that advise a movie torn between its crowd-pleasing imperatives and it is obligation to express something informative about Adam's experience in addition to Reiser's. There is something admirable concerning the pic's readiness to claim that our nearest and dearest do sometimes abandon us within our hour of finest need, and also the searing confrontation scene that closes Rachael's unfaithfulness is remarkably bold and nervy. Yet this subplot in general, from the convenient demonization from the disloyal g.f. to its publish-breakup celebratory montage, leaves a very sour aftertaste. Similarly problematic may be the pat, idealized growth and development of Adam and Katherine's relationship as they start to blur the physician-patient limitations. If these emotional developments feel too card board, you will find settlements in Jonathan Levine's direction, whose overall mellowness feels at one with Adam's nice-guy passivity. The fundamental benefit of "50/50" would be that the cancer patient here's somebody that is decidedly not the existence from the party, and Gordon-Levitt is ideally cast because the kind of sensitive, self-effacing guy who appears more special and appealing the more spent with him. Actor and script adroitly convey conflicting feelings that patients with lengthy-term ailments as well as their family members will certainly recognize: Adam's frustration at needing to comfort individuals nearest to him instead of be encouraged, and the refusal from the easy pity provided by buddies and acquaintances between snatches of small talk. It's this degree of quiet perceptiveness that allows "50/50" to finally, ahem, enter the body. Supporting thesps work even if the pic uses them in questionable ways. Howard, who between this and "The AssistanceInch is possibly at risk of being typecast like a villain, nevertheless makes Rachael as human and supportive as you possibly can underneath the conditions. Rogen, permitted to create possibly too broad and vulgar a tone in the beginning, eventually dials it lower because the pic got its search for Adam and Kyle's friendship to some much deeper level. On top of that is Huston, whose casting with what initially appears to become a slight nagging-mother role takes care of in the future with enormous emotion. Final scene is of the piece using the film's loose, easy mood, yet silently surprising within the note it selects to finish on. Pic overall marks a problematic but reasonably confident progression for Levine after his 2008 Sundance hit "The Wackness," that it shares an exuberant belief within the therapeutic advantages of pot smoking, regardless of what ails you. Tech package isn't any-nonsense but professional, with Vancouver along with other Bc locations waiting in effectively for grey, chilly Dallas.Camera (Technicolor/Luxurious color), Terry Stacey editor, Zene Baker music, Michael Giacchino music administrators, Jim Black, Gabe Hilfer production designer, Annie Spitz art director, Ross Dempster set decorator, Shane Vieau costume designer, Carla Hetland seem (SDDS/DTS/Dolby Digital), Shane Connelly supervisory seem editor, Robert C. Jackson re-recording mixer, Gary C. Bourgeois effects coordinator, Jak Osmond visual effects supervisor, Dottie Starling visual effects, Wildfire Visual Effects stunt coordinator, Scott Ateah line producer, Shawn Williamson casting, Francine Maisler. Examined at Wilshire screening room, Beverly Hillsides, August. 25, 2011. (In Toronto Film Festival -- Special Presentations.) MPAA Rating: R. Running time: 99 MIN.With: Serge Houde, Andrew Airlie, Matt Frewer, Peter Kelamsi, Jessica Parker Kennedy. Contact Justin Chang at justin.chang@variety.com

Patrick Warburton Slams CBS Scheduling, Says Rules of Engagement Will End

Rules of Engagement When CBS announced that its long-running sitcom Rules of Engagement would be moved to Saturday nights at 8/7c when it returns October 8, one person didn't take the news well: series star Patrick Warburton."What a sh-- time slot," Warburton told TV Guide Magazine at the Comedy Central Roast of Charlie Sheen on September 10. "The scripts are great and we're having a lot of fun doing the show, but God knows if anybody's gonna find us on Saturday night."Warburton has a theory as to why the show - which has never been given a permanent time slot despite solid viewership and typically aired midseason - has been pushed to a night void of original scripted programming on other broadcast networks."It seems like they're just keeping us midseason once again," says Warburton. "They'll run us on Saturdays and if they've got a slot that opens up in the week, they'll put us back out. But nobody's excited about Saturday night."Warburton hints that this move might signal that the end is near for the comedy. "This is probably our last year of the show," he adds. "The show does really well in reruns, and if they want to syndicate, they need to get to 100 episodes. So they're doing that to us."Will you tune in to Rules of Engagement on Saturdays? Do you think it's time for the show to end?Subscribe to TV Guide Magazine now!

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Voodoo Black Exorcist

The mummy of long dormant, but powerful Caribbean voodoo priest Gatanebo gets revived on a luxury South Seas ocean liner as a big buff bald guy and proceeds to terrorize the passengers. Gatanebo beheads several folks, occasionally reverts back to his prune-faced mummified state, and falls for the ravishing Sylvia, who reminds him of his old flame Kenya.

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9 Things to Expect in Criminal Minds' Season 7: Prentiss' Return, Hotch's Beard and More

Paget Brewster, Thomas Gibson "People everywhere were coming up [to me] and saying, 'Why did you die?'" Criminal Minds star Paget Brewster told the audience at Tuesday's Paley Center fall TV preview, which was moderated by TV Guide Magazine's Michael Schneider. "Fans did not want their show being messed with." CBS' popular crime drama "messed with" Brewster's character Emily Prentiss last season when they wrote her off the show by faking her death within the FBI's Behavioral Analysis Unit (BAU). After leaving the series, Brewster shot another pilot, which ultimately did not get picked up, leaving her free to return to Criminal Minds. She credits fans worldwide with getting Prentiss back on the show for Season 7, which premieres on Wednesday, Sept. 21 at 9/8c. What's on your Watchlist? Create one and add your favorites, like Criminal Minds "I know 'muerte,'" said Brewster. "I now know 'death' in several languages. People in airports in Mexico would come up [to me to ask about Prentiss' death]. I'm like, 'I know. Lo siento!' The fan response was overwhelming for everyone I think." Prentiss' BAU resurrection will be a pivotal part of the changes coming to Criminal Minds. Check out what else the cast and crew revealed about what to expect in Season 7: 1. Expect a different BAU. "It's a season where we get to explore our heroes a little bit more," showrunner Erica Messer said. "Every week we get to dive into what makes these bad guys tick, and this is the season where we want to explore all the layers that make up this team. We get started right away with Prentiss returning from the dead. ... This event has changed all of our characters' lives." 2. Things get hairy for Hotch. The Paley Center played a preview clip showing Unit Chief Aaron "Hotch" Hotchner (Thomas Gibson) sporting a full beard, at least temporarily, while he's out of the country."Hotch, as you saw, was in Pakistan," confirmed Messer. "That was mainly because I saw this handsome devil with a beard and said, 'Can you keep that thing? We should write to it.'" Exclusive: Criminal Minds boss on Paget Brewster's return: "It feels rewarding" 3. Morgan tracks down Prentiss' killer. "Morgan made it his life journey to get redemption for his friend," Shemar Moore said about his character, Special Supervisory Agent Derek Morgan. Messer added, "No matter what, he wasn't going to let Ian Doyle (Timothy V. Murphy) be out there in the world. ... Morgan's been looking for him. He did it in the traditional way that profilers do, by getting into the head of the bad guy. He realized that the whole thing that's keeping Ian Doyle going is that his son is still out there. Morgan and Garcia (Kirsten Vangsness) begin digging around: Where would Doyle's son be? Where would Prentiss, our friend, have hidden him? So they're [also] profiling Prentiss." 4. Hotch + Morgan = Splitsville? Moore said, "There was a sense of betrayal from Hotch, even though that's his friend, that's his boss." Gibson added, "I think the theme of broken trust within a family will have a chance to play in various ways and various times in this season and maybe beyond." 5. JJ got a promotion. A.J. Cook's character Jennifer "JJ" Jareau was also written off the series, but was brought back after fan outcry. Not only was she part of the conspiracy hiding Prentiss' faked death, but she's also been busy with new duties. "JJ's been back for three-and-a-half months," said Messer. "She's been promoted to a profiler in that time. And we hear a little bit more about that in Episode 2." Criminal Minds' A.J. Cook: Get ready for a different JJ 6. Garcia will control the remote. Since JJ's now profiling, she won't introduce the cases. That duty falls to tech analyst Penelope Garcia, whom Vangsness said will be in the field, "at least in the round table room, at least holding that remote, explaining some stuff, which she does not enjoy doing. She likes being with them, but she does not enjoy the violence, so there's a lot of 'Here's the thing' [and] look away." 7. Dr. Reid will have family problems. "Reid had been dealing with his mom, which might have been something we lost in the premiere, but we touch on in Episode 2," Messer said. Matthew Gray Gubler, who wore two different socks (one pink, one blue-and-black striped) at the Paley Center event, couldn't reveal if his nerdy character's headaches would be addressed or if Reid would be getting a girlfriend. "I don't know, man," he said. "I'm always the last to know." 8. Rossi's first ex-wife could linger. As previously reported, Senior Supervisory Special Agent David Rossi (Joe Mantegna) will have to deal with his first ex-wife (Isabella Hoffman) when she comes to him for help. "It's kind of a two-part thing," said Mantegna. "We've established over the last few years that Rossi wasn't great at marriage. ... I thought if he were married three times to at least address a portion of that." Fall TV Paley Festival features New Girl, Criminal Minds, Ringer and more 9. Ian Doyle will be back, briefly. "We see a wee bit of Ian Doyle [in Season 7]," Messer confirmed. "We're thinking that maybe [we should write that] he has an evil twin brother because [Murphy is] so great."

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EMMYS: Juried Winners For Animation Achievement And Costuming

NORTH HOLLYWOOD, CA, September 7, 2011 The Academy of Television Arts & Sciences announced today the juried winners for the 63rd Primetime Emmy Awards in the category of Individual Achievement in Animation and Costumes for a Variety/Music Program or a Special. These awards will be handed out during the Creative Arts Emmy Awards on Saturday, September 10th. The 2011 juried winners include: Individual Achievement in Animation Community: Abeds Uncontrollable Christmas NBC A Harmonious Claptrap production in association with 23D Films, Inc. Drew Hodges, Character Animator Disney Phineas And Ferb Wizard Of Odd Disney Channel Disney Television Animation Jill Daniels, Background Painter Disney Phineas And Ferb Wizard Of Odd Disney Channel Disney Television Animation Brian Woods, Background Design Firebreather Cartoon Network Cartoon Network Studios Peter Chung, Character Design Firebreather Cartoon Network Cartoon Network Studios Sung Chang, Character Animator Lilac Wine drmartens.com Blind, Inc. Vanessa Marzaroli, Production Design Young Justice Independence Day Cartoon Network Warner Bros. Animation Philip Bourassa, Character Design Costumes For A Variety/Music Program Or A Special Gettysburg HISTORY Produced by Scott Free Productions in association with Herzog & Company for HISTORY Kate Carin, Costume Designer Abigail Metcalf, Costume Supervisor Portlandia Farm IFC Broadway Video Amanda Needham, Costume Designer Niki Dimitras, Costume Supervisor The Primetime Emmy rules state that in a juried award, all entrants are screened by a jury of professionals in the peer group, with the possibility of one, more than one or no entry is awarded an Emmy. There are no nominations. The winner(s), if any, are announced prior to the awards presentation. Deliberations are an open discussion of the work of each entrant, with a thorough review of the merits of awarding the Emmy. At the conclusion of the deliberation on each entry, the jury votes on the question, Is this entry worthy of an Emmy award yea or nay? Only those in unanimous approval win.

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