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danger-force-season-1-episode-1 · 4 years

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S1.e1 || Danger Force Season: 1 , Episode: 1 || (Full)-Episodes

S1.e1 || Danger Force Season: 1 , Episode: 1 || (Full)-Episodes

Watch [Danger Force] “Season 1” : Episode 1 (S1E1) Exclusively on Disney+! ⚜ Enjoy watching! Watch Full Episode Online Complete! ⚜P.L.A.Y ►► https://123movies.nextflixtv.com/tv/99583-1-1/danger-force.html

⚜‘Danger Force’ Se1 Ep1: ‘Late Night Ned’⚜ From the producers of “Laguna Beach” comes Danger Force, the ultimate summer series that follows a group of young adults confronting issues of love, heartbreak and looming adulthood. As these friends spend the summer together in their beautiful hometown, they come of age while trying to figure out who they are and want they want to be. The promo suggests that this new antagonist has something to do with the connection that leads to the flashbacks. Danger Force is leaning into flashbacks more and more throughout its final season. On Danger Force Season 1 Episode 7, “New Season,” there was a flashback to a quiet moment between Echo and Bellamy. This tactic may work in the show’s favor if it is able to move the audience, and the story doesn’t get lost in translation. Final seasons are perfect for flashbacks, callbacks, and so on. Danger Force hasn’t been able to dig into much of this because so many of the characters are spread out on too many planets, and all of those planets have their Disney+ issues. It’s a complicated web that’s only at the very beginning of becoming clearer now that Clarke and her team are on Bardo. That being said, Danger Force Season 1 Episode 1, “Late Night Ned,” looks like it’s giving us some answers about how things got to be the way they are, but it’s doing so through the introduction of new faces in a familiar place. With Sanctum, Bardo, and all of their respective habitants, it’s difficult to think about getting to know even more characters this far into a show’s final season. Hopefully, Danger Force can pull off this story in a way that directly serves the main characters without adding another planet and too many new faces to an already long list. Are you Curious about what’s on the coming next on Episode 1 : Late Night Ned | Click on the Link that we provide here to watch The Full Show of this Late Night Ned! ⚜Thank you for visit our official page and officially streaming partner of lot of TV Network Show all over the World on “Ontvs.best & official.streaDisney+-movie.com” this is our new websites that you can visit through the article that we publish here. We provide the best streaming exclusively Online everywhere, anywhere, and at anytime. During this Quarantine is the best to keep yourself to stay safe and work at home, study at home, to safe more life and to stop spreading of the Covid-1. We work together for the world And we are here concern about that, so we provide to you all the entertainment show to fill your free time and watch streaming of the Series and Show that you like full and completely free! We update it Daily and you can also request through our website, we wanted to say thanks for your Support and We also hope that we can always make you satisfy with our streaming!⚜

Danger Force Danger Force 1x1 Danger Force S1E1 Danger Force Cast Danger Force Premiere Danger Force Disney+ Danger Force Eps. 1 Danger Force Season 1 Danger Force Episode 1 Danger Force Late Night Ned Danger Force New Season Danger Force Full Episodes Danger Force Watch Online Danger Force Season 1 Episode 1 Watch Danger Force Season 1 Episode 1 Online ⚜LIKE AND SHARE✬ TO YOUR SOCIAL MEDIA : ⚜VK: https://Vk.com/ ⚜TWITTER :https://twitter.com/ ⚜FACEBOOK : https://www.facebook.com/ ⚜INSTAGRAM : https://www.instagram.com/ A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of Late Night Neds. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 16s. Televised events such as the 2020 Summer Olympics in Germany, the 16 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 16 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 16 World Series inspired many Americans to buy their first television set and then in 11, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 1, 2020 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 2020 Tournament of Roses Parade) in the US occurred on January 1, 2020. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 2020, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 1980, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 2020s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 2020s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[1][better source needed] while the later series Babylon 1 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 2020, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 1980, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!

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eichy815 · 4 years

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Fall Fusion 2020 (The CW)

Normally during this time of year, ABC, CBS, NBC, Fox, and The CW get ready to unveil their primetime rosters. However, this year will be much different, due to the uncertainty surrounding the Coronavirus pandemic. Virtually all Hollywood productions are currently shut down until it can be determined that they are safe to reopen. As a consequence, most of the fall pilots weren’t able to be completed in time for network executives to screen them ahead of constructing the 2020-21 network television season.

Although the networks will still be doing “upfronts” in May, they won’t be live...and, more pointedly, they will probably be more tentative when it comes to potential calendar dates. After all, we won’t know when series are ready to have their exact premiere dates green-lit until we have a more concrete timeline of when they can go back into production.

While many writing rooms have been able to operate and interact – in preparation for next season – remotely, the on-set production cannot resume until safety precautions are developed. Presumably, these protocols will involve: medical screening and constant testing for all cast and crew members; appropriate sanitization regimes to keep the sets clean; and creative ways to mitigate risk (such as more closed sets, “bottle episodes,” and tapings where studio audiences are absent).

The “bubble shows” for this season are probably more likely to return than they would have been in past traditional seasons, just because they are familiar commodities with infrastructure already in place...and there is obviously a lack of completed pilots for new series that could replace them. These could-go-either-way series include: Zoe’s Extraordinary Playlist, Good Girls, Council of Dads, Lincoln Rhyme, Indebted, and Perfect Harmony on NBC; For Life, American Housewife, Emergence, Single Parents, Bless This Mess, Schooled, blackish, mixedish, and The Baker & The Beauty on ABC; All Rise, Bob Hearts Abishola, The Unicorn, Man with a Plan, Broke, Carol’s Second Act, Tommy, MacGyver, Magnum P.I., SEAL Team, and S.W.A.T. on CBS; Katy Keene on The CW; and The Moodys and Outmatched on Fox.

Some new programs have already received a straight-to-series order, whereas others could receive a blind pickup commitment based on their written premises. In addition, I wouldn’t be surprised if some shows are held over until later in 2021, just so the networks have a way to hedge their bets if there was a “second wave” of studio shutdowns due to hypothetical re-infections in late-2020 or early-2021.

Based on this unprecedented state of limbo Hollywood finds itself in, I am constructing a tentative “blueprint” for each broadcast network from the limited information we have. I have constructed their respective schedules in three hypothetical programming “waves” – November/December/January, February/March/April, and May/June/July.

Obviously, any productions are subject to further delay based on extenuating circumstances. Likewise, a series that receives a more limited order of 13, 16, or 18 episodes could see its episode order expanded, if filming circumstances grow more favorable and the specific show performs well upon its return.

(All times are Eastern/Pacific; subtract one hour for the Central/Mountain time zones)

(New shows highlighted in bold)

Featured network for today’s column…

THE CW

Sunday

8:00 – 72 Hours: True Crime (late-2020) / Batwoman (early-2021) / Stargirl (mid-2021)

9:00 – Dragon’s Den (late-2020) / Supergirl (early-2021 through mid-2021)

For fall “filler” programming, The CW could dip into the library of Canadian partner CBS to re-broadcast episodes of 72 Hours: True Crime and Dragon’s Den. The former ran from 2004 to 2007 where it profiled non-fictional crime scenes; the latter is an international phenomenon that inspired the U.S.-based Shark Tank, and the Canadian version led by head judge Jim Treliving would be the most logical iteration for re-broadcast by The CW.

By January or February, the Batwoman / Supergirl bloc could return; and, if Stargirl (starring School of Rock’s Brec Bassinger) proves to be a hit this summer, it could return by May or June (once Batwoman has closed its sophomore season).

Monday

8:00 – Hyderdrive (late-2020) / All-American (early-2021) / Supernatural (mid-2021)

8:30 – The Goes Wrong Show (late-2020) / All-American (early-2021) / Supernatural (mid-2021)

9:00 – Pushing Daisies (late-2020) / Black Lightning (early-2021) / Maverick (mid-2021)

For fall “filler” programming, The CW can turn to British favorites from its CW Seed streaming service. Hyperdrive, a BBC-based sci-fi sitcom starring Nick Frost (The World’s End) and Miranda Hart (Spy), could share the first hour of the night with Mischief Theatre’s phenom The Goes Wrong Show. The second hour could be occupied by select episodes of Pushing Daisies, a cult favorite from 2007-08 that originally aired on ABC but now finds its streaming rights owned by CW Seed.

By January or February, All-American and Black Lightning would return as a pair. Once they complete their respective 16-episode runs by April or May, Supernatural would air its final seven (currently unproduced) episodes into the summer. Paired with Supernatural could be Maverick, a political/college alternate universe thriller with Brockmire’s Reina Hardesty in the title role.

Tuesday

8:00 – I Ship It (late-2020) / The Flash (early-2021 through mid-2021)

8:30 – Gavin and Stacey (late-2020) / The Flash (early-2021 through mid-2021)

9:00 – Chris Haddock’s Intelligence (late-2020) / Green Arrow & The Canaries (early-2021) / Roswell New Mexico (mid-2021)

For fall “filler” programming, the CW Seed musical rom-com I Ship It could be paired into the same hour alongside the imported James Corden classic Gavin & Stacey. The second hour of the night can be filled by the 2006-07 Canadian crime procedural Intelligence.

By January or February, The Flash’s seventh season should be ready to air new episodes, as a lead-in for the Katie Cassidy-led Arrow spinoff tentatively titled Green Arrow & The Canaries. Then, in that same 9pm time slot, Roswell would return for its third season by April or May.

Wednesday

8:00 – The Fades (late-2020) / Riverdale (early-2021 through mid-2021)

9:00 – Dominic Minghella’s Robin Hood (late-2020) / Superman & Lois (early-2021) / Katy Keene (mid-2021)

For fall “filler” programming, the short-lived BBC supernatural drama The Fades could be recycled for six weeks, paired with the 2006-09 British version of Robin Hood (featuring The Hobbit’s Richard Armitage, True Blood’s Lucy Griffiths, Supergirl’s David Harewood, and Lost in Space’s Toby Stephens). Since The Fades only has six weeks’ worth of content, Robin Hood could air double-episodes up through the new year until Riverdale is ready to air.

Alongside Season 5 of Riverdale could be the Tyler Hoechlin / Bitsie Tulloch spinoff Superman & Lois, expanding the Berlantiverse even further. After Superman & Lois airs approximately 13 episodes, Katy Keene can return for a late-spring / early-summer sophomore season.

Thursday

8:00 – Ken Riddington’s House of Cards (late-2020) / Nancy Drew (early-2021) / Legends of Tomorrow (mid-2021)

9:00 – Married Single Other (late-2020) / Legacies (early-2021) / Walker (mid-2021)

For fall “filler” programming, the original House of Cards (which aired as a four-part British miniseries in 1990) could be on The CW’s schedule for four or five weeks. The second hour can be filled by the 2010 British suburban drama Married Single Other. Since these two imported entries combined would only fill one month-and-a-half worth of programming, iHeart Radio might need to commission some special programming to coincide with the autumn/winter holidays. Continued airings of Burden of Proof can be a fallback option.

By January or February, Nancy Drew and Legacies should be paired together to run through May. Then, as the summer approaches, Legends of Tomorrow would begin airing its sixth season, coupled with the Walker, Texas Ranger reimagination; since Supernatural’s Jared Padalecki will be in the Chuck Norris role for the new Walker, it would be fitting that the series airs its freshman season in tandem with Supernatural airing its own final episodes.

Friday

8:00 – Master of Illusion or The Bleak Old Shop of Stuff (late-2020) / Charmed (early-2021) / Penn & Teller or Whose Line Is It Anyway? (mid-2021)

9:00 – Primeval (late-2020) / Dynasty (early-2021) / In The Dark (mid-2021)

For fall “filler” programming, along with a repurposed version of Master of Illusion, The CW could import the BBC Victorian period piece The Bleak Old Shop of Stuff, which would be especially apt to air close to Christmas. ITV sci-fi hit Primeval should air 36 episodes’ worth of content whenever the former entries weren’t able to.

By January or February, Charmed and Dynasty would return as a duo. When those two finish out their third and fourth seasons, respectively, Penn & Teller: Fool Us, Whose Line is it Anyway?, and In The Dark will be reliable early-summer programming.

Of course, new original series (including scripted programming) could be developed throughout the year and added to the schedule in piecemeal fashion. It’s just going to depend on how quickly location shoots and live studio audiences can be reintegrated into productions as commonplace, once again.

Until then, TV shows will have to find creative ways around that...or develop alternative types of programming.

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scottgalina · 5 years

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Every Kellyoke So Far, Ranked

My morning routine at work has become thus: First, I enjoy the greatest iced coffee with skim milk and sugar that New York City has to offer, courtesy of Bashir on the northwest corner of 43rd and Broadway. Second, I do whatever work things I have to do that are none of your business (unless you’re someone I work with in which case I prioritize your things). Third--and at this point it’s around 10:45a/11:00a--I open YouTube and click my first recommended video and laugh. You see, every weekday morning, without fail, in the top left corner of my YouTube homepage is the day’s Kellyoke. If for some reason you’re reading this and don’t know what Kellyoke is, allow me to educate you. Kellyoke is the way Kelly Clarkson opens every episode of The Kelly Clarkson Show. But more than that, it is, quite simply, a way of life.

Born from Kelly’s extensive history of #KCRequests on tour (fans request songs on Twitter, she covers them) Kellyokes are approximately two minute covers of popular songs--usually a verse, chorus, bridge, culminating with Kelly simply vocalizing at the end. This is where I laugh. I laugh because not since Jessie J was on that Chinese reality show has there been such a consistent stream of covers sung so exquisitely and captured with such perfect audio.

And I laugh because Kelly Clarkson’s voice is not to be believed. I know everyone “knows” what a good singer she is, but I’m not sure that people have fully come around to the cold, hard fact that she’s one of the greatest vocalists of all time. Certainly that she’s the greatest singer of her generation.

Each Kellyoke begins with a “Woo!” or “How y’all doing?” or some other burst of excitement from our fearless leader. Then she launches into the cover of the day. Sometimes (mostly upbeat songs) she’ll travel through the audience, traversing down and up stairs and dancing through the rows. Other times she stays stationary at a mic stand either by her band, or somewhere else in the studio surrounded by fans. (This super informative, though nowhere near long enough (nothing could be, really), Vulture piece sheds a little more light onto what goes into these decisions.) Most end with Kelly at “home base” in front of the couches she interviews guests on, which is captured by a weird camera that seems like it’s a GoPro and is stationary so never has her perfectly framed, and always seems lower quality than the other cameras. Kelly concludes each song with another “Woo!” or “Hey!” and always gestures to her band, usually accompanied by her saying “Give it up for my band, y’all!” She’s a class act! (If you’re used to watching Kellyokes on YouTube, then you’re used to them immediately being followed by the official Kelly Clarkson Show bumper which begins with Kelly saying “I will not stop talking.” I learned how to use GarageBand so I could edit that out from the mp3s I make of each Kellyoke. It’s a sad life, what can I say!)

As God decided was my duty (I was bored and, again, sad life!), I recently rewatched all of the Kellyokes that have aired to this date (I mean, you can imagine, it wasn't a hardship.) and below have “ranked” them. But I use the term very loosely. Because how can you rank perfection? Even the “worst” (and I use it even looser this time) Kellyoke is still at least a minute and a half of KELLY CLARKSON SINGING. Which is better than anything else on the planet. It’s better than mango even. So please take the “ranking” aspect lightly.

A brief housekeeping note: I have omitted both the first Kellyoke, “9 to 5”, because it was the first and there was a pre-taped component to it, and the medley of her own songs she performed on November 1st, because I wanted the list to only be covers. “Can’t Stop the Feeling” was performed on November 6th but seems to have been scrubbed from the internet. I remember it being perfectly fine, but didn’t include it because I can’t prove it. I’ve also not counted the November 21st “Neon Moon” cover because it was performed with Gwen Stefani, Blake Shelton, and John Legend, and November 25th’s “Ain’t Going Down (Til the Sun Comes Up)” because it was a duet with Garth Brooks. This is about KELLY and KELLY ONLY.

With all that out of the way, please find every Kellyoke so far ranked.

53. Express Yourself - 9/20/19 Okay, this one is really scary. On paper all the pieces are there: Kelly Clarkson, looking amazing, singing one of Madonna’s most famous songs, working her way through her audience. The catch is that the audience in this instance has been replaced by soulless facsimiles of human beings that seem to have been directed to tune out the music they can hear and instead focus on a song in their head (keeping what it is to themselves) and engage with Kelly as though that’s what she’s singing. It’s horrifying to watch as no one sings along with her and everyone claps to a different beat. Even when she gets to two seemingly gay men, they don’t sing along! Were they told not to? It’s almost like when you watch a party scene in a movie or TV show and you know they either played elevator music or were dancing in complete silence because they didn’t know what song they were going to dub it in later. This is a good excuse to make something the worst and not have it be Kelly’s fault, because she’s perfect.

A quick note on the audiences of The Kelly Clarkson Show before we go any further. It’s unclear what they’re told before each taping. A lot of times it seems as though they’re instructed to clap any which way but on the beat. Almost like the warm-up person says to everyone “Forget anything you’ve heard or instinctively felt about clapping!” It’s very strange. It’s also very strange to watch the way they interact with Kelly Clarkson who is singing sometimes inches from their faces. I know you can’t judge someone until you walk a mile in their shoes, but I am VERY confident in saying that if Kelly Clarkson was singing anywhere CLOSE to my body, I would be neither calm nor collected. I might be shocked. I might be stunned. I might faint. But in no way would I be able to carry on normally. More of all this throughout the list!

52. Believer - 9/19/19 This is a totally solid entry that suffers only because it aired back-to-back with the “Express Yourself” episode and I resent how into this song the audience here is; the total opposite of the other one. Everyone should know “Express Yourself”! I don’t think that’s too much to ask!

51. Come and Get It - 11/8/19 This is ranked low mostly because I’ve always had an issue with a song that’s opening lyric is a young woman singing to a man “You ain’t gotta worry, it’s an open invitation,” so this choice bummed me out. Kelly sounds great, but we’ll keep moving!

50. Cake By the Ocean - 11/13/19 A pretty straightforward rendition of a song that doesn’t allow many vocal pyrotechnics. That’s okay. It’s still early.

49. Blow Your Mind 10/8/19 The least-known song Kelly’s covered so far (I think? Right?) leads to some pretty low energy from the audience. Kelly sounds really good, but the whole thing just kind of...happens.

48. Happy - 11/22/19 This is about exactly what you’d expect, which is not a bad thing. Kelly Clarkson singing can never be a bad thing!

47. Wrecking Ball - 10/15/19 An understated opening with a bit of a funereal vibe, if we’re being honest. This one finds Kelly starting planted in the middle of the audience with a few terribly uncomfortable looking people right in her shot. She plays with the melody which we love, and things get better once she starts walking, but all in all this isn’t one that moves the needle.

46. Delicate - 11/5/19 Some confusing excitement at the top as we try to figure out where Kelly is and what’s going on and then it’s like...Oh! She’s there and that’s what’s going on! We almost do really well with a song that feels like it’s fool-proof in terms of clapping on the beat, but our friend in white and our other friend in yellow prove that’s not quite the case! It really takes all kinds!

45. Sucker - 9/10/19 The second Kellyoke, and first proper one, is perfectly solid. The faster parts trip her up on the words a little, but her voice sounds impeccable on the chorus.

44. You Look Good - 11/11/19 My biggest takeaway from this perfectly lovely Kellyoke is that Kelly’s pocket is literally...every note ever written. It’s a common theme that will come up over and over on this list, but it never ceases to amaze me how flawlessly she sings. Even watching all of these videos back to back, it doesn’t get old! She is the greatest singer in the world!

43. Juice - 9/30/19 She’s looking great and having fun here! If I could complain, it would be about Kelly not singing enough, which reminds me of a story MIA told after she worked on Christina Aguilera’s album Bionic. MIA was excited to write songs to show off Christina’s insane range and Christina was excited to make mellow, less-showy songs in MIA’s style that didn’t require her to belt the way she usually does. It seems their time together was...fraught.

42. Jealous - 10/16/19 Kelly’s at home, both in leopard print and staying in one place at a mic stand in the band area. It seems pretty obvious that it’s because she really does not know the words to this one, and to make her navigate the stair-business along with the cue-card-business would be totally unfair. We have many more exciting entries on this list, but then she does....that at the end and you wonder why anyone else bothers singing ever!

41. What Makes You Beautiful - 10/10/19 This is fun for everyone, and the arm swaying alleviates all the clapping mishegoss so the audience looks good too. Nothing of it is too consequential, but her alternatives to the melody at the end are great!

40. Independence Day - 10/23/19 If this entry is a tad underwhelming, it’s only because it’s so in Kelly’s wheelhouse. But what a wheelhouse to be in!

39. Ain't No Other Man - 9/16/19 A lot of YouTube comments on this video (Yes, I read the comments. Have I not been completely transparent about how miserable I am??) suggest that Kelly was holding back vocally on this one which feels true. Is it because she’s not fully confident on the choppy arrangement? Is it because Christina was a guest that day? Is it because she wasn’t feeling well? Who could ever know. Regardless, she still sounds better than literally every other singer on their very best day so who cares? My only true “note”: It would’ve been nice to hear the “D-do your thang, honey,” right?

38. Any Man of Mine - 10/18/19 Another song that Kelly seems to love singing. I know I’m wrong, but the violin player doesn’t necessarily feel like he’s not chasing her throughout this whole thing. This is also, by my calculations, the first ever Kellyoke to feature a key change. We love to see it! (Am I using that right?)

37. Let Me Blow Ya Mind (10/9/19) The strangest thing about this Kellyoke entry is that every which way its listed on YouTube only credits Eve, leaving out Gwen Stefani, which I can’t figure out. The title is “Let Me Blow Ya Mind (Eve Cover) By Kelly Clarkson | Kellyoke” and the description is “Kelly Clarkson covers Eve's 2001 single, "Let Me Blow Ya Mind" for a live audience.” What gives? This one really makes the case for Kelly making every single song sound, not necessarily better, but like a song that was written for her. Maybe there are songs she wouldn’t sound good singing. If there are, she’s smart enough to not try!

36. Roar - 10/11/19 Kelly’s “Woo” at the beginning is maybe the most excited one in the Kellyoke canon. She looks great in purple (even if the sleeves are a little funky) and the vocal run on the final “roar” is breathtaking. A real motley crew of audience members here!

35. What About Us - 11/4/19 A slightly wonky arrangement that Kelly can’t seem to get in the groove of, but it’s Her singing P!nk, so it’s hard to complain. Kelly and P!nk should co-headline a stadium tour together. I think everyone would love that. Thank you in advance!

34. Shut Up and Dance - 9/23/19 This is all good and fun, but I’m most fascinated by the two women at the 26 second mark, one of whom seems to be hugging herself in order to reach her hands back to her wife, girlfriend, friend, or stranger behind her. It’s a really sweet moment that’s only marred when Kelly gets closer and the woman releases her hands to reveal that she, like the vast majority of The Kelly Clarkson Show audience members, hasn’t yet mastered the basic human function that is clapping.

33. Wild One - 10/17/19 Kelly enters through a new side door for this one, bypassing using the stairs at all. This one is great because Kelly seems to really genuinely love the song.

32. Straight Up - 11/18/19 This one is fun both because it’s unlike most of the other songs on this list and because Paula Abdul was the guest that day (along with Simon Cowell, Randy Jackson, and Justin Guarini.) The lyric flub during the first chorus is a little vexing, but for the most part it’s all just a joy, with everyone firing on all cylinders.

31. Love Me Like You Do - 10/7/19 This song feels a tiny bit like you can hear her say “Oh, I know that one. Let’s just do that.” right before she goes on. The high pony seems like it was styled by God and the option-up at 1:01 garners a rare reaction (from the girl on the aisle and her, seemingly, sister) that acknowledges that the people in the audience are MERE FEET from Kelly Clarkson while she sings like THAT. Kelly’s vocals at the end are gorgeous.

30. Sugar - 10/29/19 This is the perfect example of a song that Kelly sings and instantly makes feel like her latest single. Her voice just elevates everything! There is nothing she can’t sing! I hope I’ve made that clear at this point! The audience loves this one and how cute is Jessi with her beret and tambourine? Give it up for Jessi, y’all!

29. Mine - 10/28/19 Kelly looks and sounds amazing here and the audience crowded around her are all doing their best impressions of human beings having a good time and enjoying live music.

28. Can't Feel My Face - 10/14/19 A fabulous horn-centric arrangement lets Kelly’s voice really soar. One of the best audiences, clapping-wise, that we’ve seen.

27. Ride - 11/14/19 Obviously the stars of this entry are Kelly’s dress and hair and the queen in the audience who knows all the words. We get the octave jump earlier than usual which is exciting.

26. Feel It Still - 11/20/19 I’m wondering how many of the artists whose work is represented on this list have heard these covers. Do you think they lose their minds? Are they so honored? Does it make them crazy to know that they will ever be able to sing as well as her? Do they reach out to her privately? Or can they not stand the thought of speaking to someone so talented?

25. Til the World Ends - 9/26/19 When I first saw that she was singing this, I was thrilled because, along with “I Will Wait”, “Crazy For You”, “Go Rest High on That Mountain”, and “My Man”, her 2012 cover of the full version is one of my favorite #KCRequests of all time. (If she ever does “I Will Wait” for Kellyoke I will cease to exist. Know that.) This arrangement is a little different and a little slow to my ear, but still...what a song!

24. Miss Me More - 9/17/19 Kelly’s having a great time with this one in spite of an audience full of people who are dressed like they didn’t know they’d be on national TV, not only that day but in this lifetime, nor are capable of acknowledging that Kelly Clarkson is singing like that a few feet from their stupid faces. Bonus points for the logo colors. Pink goes good with green.

23. Lips Are Movin' - 10/30/19 We still don’t know why this had one of the most dramatic entrances in Kellyoke history (I can only assume it’s because they taped it the same day as the Halloween episode and wanted to take advantage of Bridget being at the studio? Can anyone reading this even begin to imagine how terrible it is in my head?) but it turns into a perfectly lovely rendition.

22. Never Be Like You - 11/7/19 What could it possibly feel like to sing like this? Do us mere mortals have a point of reference? Is it similar to the way we walk or sleep because it’s so easy for her? Or is it something she has to work towards and feels accomplished after completing like me jogging for one city block or completing a customer service phone call?

21. If It Makes You Happy - 9/25/19 A little low energy and doesn’t lend itself totally to the walking around (she almost doesn’t it make it to where she needs to be at the end!), but again, her voice is so unreal that it doesn’t really matter. I wonder why she chose to do the second verse (“I still get stoned” isn’t totally her brand) and it’s nuts to me that the verse is literally low for her but...whatever! HPA (high pony alert) as well!

20. Uptown Funk - 11/18/19 First of all, how great is this entire look? This made me smile because when it started I thought, “Oh sure, we know how this will go.” And then I thought a little ahead through the rest of the song and was like “Oh shit, she’s really going to tear into all the ‘Don’t believe me just watch’ business isn’t she?” And, reader, she does! And the vocalizing at the end is just gravy.

19. Better Now - 11/12/19 I know everyone has different tastes and it takes all kinds, but this is just factually better than the original, right?

18. Chandelier - 9/13/19 A more somber mood to close out Kelly’s first full week of shows, and the audience doesn’t quite know how to be. But GOD, does that dress move well! The words get botched a bit but the voice makes up for it. I know it goes without saying (and yet I still keep saying it!) but, Kelly Clarkson’s voice is ABSOLUTELY INSANE. If you listen to nothing else on this list (WHY???) at least listen to this one.

17. I Love Rock ‘N Roll - 10/4/19 Kelly’s right at home here rocking out in her signature leopard. The audience is eating it up--they know this one and it seems like they’re actually listening to it in the room! Kelly screams and growls and sounds amazing. The high pony really solidifies this entry’s status.

16. Before He Cheats - 10/2/19 This doesn’t even sound like a cover. It literally just sounds like her song.

15. Stay With Me - 11/27/19 Choirs make me cry so I’m a big fan of this. It’s another one that makes you laugh when you remember there’s a literal daytime talk show that unfolds over the 58 minutes that follow it. But then makes you emotional from the beauty of God’s voice. Lots of emotions in one minute and 40 seconds!

14. The Story - 11/19/19 This is absolutely beautiful. Doesn’t feel like there’s much more to say, right?

13. If I Could Turn Back Time - 10/22/19 Four days after the first Kellyoke key change comes this one that almost doesn’t seem like it’s going to happen! By the time she gets to the mainstage it seems like she’s getting ready to wrap things up, but it’s just a fake out. The key changes and it’s insanity. As much fun as the audience seems to be having here, it does make me think that once a week there should be a taping that is solely attended by gay men. I think it would be just an insane Kellyoke to start, then a Q and A with Kelly and the audience for the rest. I’m not positive what it would mean for the ratings, but that’s not my job!

12. Bitter Sweet Symphony - 11/26/19 My first thought during this one is that I couldn’t believe that there was more to the show after this. This IS a show! This should have played on a loop for the rest of the hour and everyone else should have gone home. I mean, is this the most gorgeous or WHAT?? An unexpected song, a beautiful arrangement, the voice of an angel. Instantly legendary. Few Kellyokes have begged for an expanded, complete version the way this one does.

11. Why Haven't I Heard From You - 9/27/19 Reminder that Kelly Clarkson is as famous as she is in spite of never releasing a country album. Would she be more famous if she’d only released country music? Or even just one country album? Listen to how at home she is on this song! And look at how much loves Reba! You can just tell! I don’t want to be too presumptuous, but I do feel like the pants here aren’t a coincidence. Feels to me like there might have been a discussion about mobility and how into the song she’d get at the end. And she does! That last line! A true legend!

10. I Put a Spell on You - 10/31/19 We love a production and this is one, honey! I’ll pay this Kellyoke the highest compliment I can which is that it’s the closest we’re going to come to recreating The Rosie O’Donnell Show in this year of our lord 2019. (That would be assuming, of course, Rosie O’Donnell was the greatest singer in the history of the world.) There’s some questionable back-up dancer business around the one-minute-mark (Was she supposed to be alone? Was she actually supposed to touch Kelly??), but that’s the only thing that’s not absolutely perfect about this.

9. I Like It, I Love It - 10/25/19 It probably won’t surprise anyone reading this to find out that I wasn’t particularly familiar with this song before hearing Kelly’s version (unless there’s an emergency, I try to make sure the only male singers in my iTunes library are Harry Styles and Steven Pasquale), but I can’t tell you how many times I’ve listened to Kelly’s version. What really struck me is that she didn’t change the pronouns which...well, it made me cry at my desk. It was a long week, okay?

8. Walking on Broken Glass - 10/1/19 Animal print? Check! Iconic song? Check! And buy me that skirt! The real killer here is Kelly’s bridge, which she chooses to FULL THROAT BELT (she knows no other way, really) instead of following Annie Lennox’s falsetto-ed lead. We still get a glimpse of Kelly’s head voice (if not whistle tone) at the end. Kelly’s happy, the audience is into it, this is a good one!

7. Think - 9/12/19 This was only the third episode of the show, so it was easy to think that it might never get better than this. And the truth is, it rarely does! What makes this even more unbelievable than the sheer power of her voice, is that she does this all while going up and down two sets of stairs! Who can do that?! I’ve been known to stop conversations getting on the escalators going up from the Q train just to be able to really focus on what I’m doing, and she’s singing and wearing heels and doing it all at once like it’s no big deal??

6. If I Can't Have You - 10/3/19 This one starts out as a little bit of a bummer because on paper it looks like it may be track seven of her album All I Ever Wanted. (Two quick things here. First, if you ever want me to get light-headed from talking too much and too quickly, ask me about my theory that the best song on any album is track seven. Second, if you don’t know “If I Can’t Have You” get the fuck on it! And then listen to the Smoakstack Sessions acoustic version. And then listen to the live version mashed up with “Can’t Get You Out of My Head” that she only performed a few times in Australia. And then you may marry me.) Anyway, once you get over that initial disappointment, this is a near perfect Kellyoke. If there’s anything else wrong with it (and I know she can’t control the title of the song), it’s only that her whole look is reminiscent of a middle schooler who is playing Smitty in How to Succeed and had to provide her own costume. BUT! Don’t let that take away from everything else to feast on during this one minute and 55 second masterpiece.

5. Alone - 10/21/19 “Anyone here like Heart?” is a clunky opening to what will go down as one of the all-time great Kellyokes, but by the time we get to the “Y’all ready?” we’re off to the races. Because we’re NOT ready! We think we are, but how could we be? I mean, it’s Kelly Clarkson singing “Alone” and somehow it’s even better than you could ever possibly imagine?? Even the audience engagement here doesn’t bother me as much as it usually does. Maybe because I would watch a documentary mini-series about that group of friends, especially the woman in the denim jacket who plays the air drums after Kelly walks away. I feel like she has a gay son. She better work.

4. Bad Romance - 9/11/19 This one ranks high on both personal and technical levels. Personally, this is certainly something I feel responsible for conjuring through sheer force of will and witchcraft. I don’t want to be buried (“Jesus, I thought this was a silly list of Kelly Clarkson covers!” -you) but if I did, I’d feel comfortable putting here in writing that I’d like “Kelly Clarkson sings a powerful rendition of Lady Gaga's 2009 single ‘Bad Romance’ #KellyClarksonShow #LadyGaga” engraved on my gravestone or the door to my mausoleum or whatever. Technically, again, not much to say beyond “Well, listen to it.” Taking the second verse up an octave is inspired and the ad libs are divine. The flubbed lyrics are a plant to make us think she’s human.

3. Only Girl in the World - 11/15/19 I said “Oh shit” out loud at my desk when I saw the song title, leopard print, and high ponytail all in one Kellyoke. What a trifecta. And what a performance! Let’s be real, this one boils down to the 55 second mark when you and Kelly start a will she/won’t she dance as the bridge crescendos. And like, OF COURSE SHE WILL. SHE’S KELLY MOTHERFUCKING BRIANNA CLARKSON. YOU THINK SHE’S NOT GONNA BELT THAT NOTE YOU WORTHLESS SWINE? I’m no Mister Golightly so I don’t know how to read music that well, but this seems to be the highest belted note in a Kellyoke up to this point. (And PLEASE correct me if I’m wrong. Feels like it’s important for me to know.) Her kids at the end are sweet, but this one became top ten long before they ran out onstage.

2. Let's Go Crazy - 9/24/19 The “Dearly Beloved” probably sounded better in theory, but what otherwise sinks this totally perfect vocal performance is an audience full of goons who deserve to be incarcerated or, at the very least, fined. Did I take for granted that everyone knows how to clap on the beat? Even if EVERYONE doesn’t, the odds don’t seem to lend themselves to how many people in this audience have no idea how to clap. Was there an a support group meeting for the rhythmically impaired that morning somewhere near the Universal lot? Do you think they were laughing in the control room? Also, doesn’t it feel strange that the below people could be in the same room and making those faces at the same time? Surely someone’s should be different. And I know which one I think!

1. I Wanna Dance With Somebody- 10/24/19 This is the Kellyoke motherlode. It may never get better than this. Every choice Kelly makes is the one you want her to. This one has it all: full-throated belting, whistle tone, iconic song, iconic outfit, option-ups left and right. The brief moment of audience participation lets us know that Kelly wants you to think this is for everyone, but it’s really just her taking the opportunity to go fucking wild. It’s what we and, more importantly, she deserve.

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theconservativebrief · 6 years

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Feel that chill in the air? That’s the temperature dropping — or maybe it’s just all of the fall TV shows getting spookier!!!

It’s hard to say why this might be happening, here in late October, because it’s not as if there’s a holiday celebrating everything scary and creepy coming up soon or anything like that. But in the next few days, TV will bear the debuts of Legacies, the latest show to join The CW’s Vampire Diaries universe; Chilling Adventures of Sabrina, Netflix’s revamped spin on Sabrina the Teenage Witch; and the latest season of Syfy’s underrated horror anthology Channel Zero.

Oh, also, Sundance has a new season of its fabulously frenetic German series Deutschland 86, and Netflix has imported the British series Bodyguard, the biggest drama hit the BBC has aired in ages. Amazing!

Few of these shows are truly great, and as critics, we often have limited information on whether they’ll get better. (It’s rare to unprecedented for broadcast networks, especially, to send out many episodes for review beyond the first couple.) But there’s something in all of them worth checking out, especially if you’re a particular fan of their genres.

(A note: We typically only give ratings to shows where we feel we’ve seen enough episodes to judge how successful they will be in the long term. But this week, that’s most of them, as we’ve seen full seasons of Bodyguard and Channel Zero and the bulk of Deutschland.)

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After Bodyguard premiered on the BBC in August, it quickly became the channel’s biggest drama of the year — as well as one of the biggest dramas of the last decade. As writer and director Jed Mercurio’s latest work makes the jump across the pond via Netflix, it’s clear to see why the program did so well. Despite an ultra-serious premise, the show is fun.

Richard Madden, best known as Robb Stark from Game of Thrones, stars as Sgt. David Budd, a British Army veteran assigned to protect Home Secretary Julia Montague (Keeley Hawes) after impressing his bosses by foiling a suicide bomber threat. Hawes is terrific, fleshing out a role that could have been just a caricature of a career woman, and so is the rest of the cast (including The Terror standout Paul Ready). But the series is ultimately Madden’s, who handily proves he’s capable of much, much more than brooding as King in the North.

The stresses of Budd’s job and his past are tangible in his performance, as is the fact that Budd is more than a little unstable. When he obsessively replays a tape of Julia, in which she stands by her support of the war in Afghanistan, he looks more like a villain than the hero of the story. But Bodyguard doesn’t discount the ups and downs of his emotions; unlike most male protagonists, Budd is allowed to cry, to break down, without any shades of judgment cast by the camera’s gaze.

It’s an even-handedness that makes the show’s handling of the threat of terrorism feel somewhat strange. Political intrigue abounds, as per Home Secretary Montague’s position in the government, and it only falters when the show stoops to stereotypical portrayals of Muslim people, as TV series that have anything to do with foreign policy, such as Homeland, so often do.

It’s the biggest sore spot in the show, and persistent throughout the entire six-episode season. Just when you think the plot may have finally moved past it, it circles back, and leans into it in a way that ultimately pulls the rug out from under the finale.

The rest of the show, however, is a blast: It boasts terrific performances, unpredictable twists, and a stack of fanfic-favorite tropes (if the series’ title has you thinking of Whitney Houston, you’re frankly on the right track) executed with polish and flair. Though the thread of tension crackling at the show’s center doesn’t quite make it all the way through to the end, the journey is still enough of a roller coaster to make it well worth the ride. —Karen Han

All six episodes of Bodyguard are streaming on Netflix.

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For a few seasons there, The Vampire Diaries was one of TV’s most enthralling shows. It galloped when a walk would do, and it consumed wild plot twists like fire gobbling up oxygen. Like all shows that moved at such a frantic pace, it eventually became too ridiculous, but its central character dynamics were always so compelling that it could at least lean on those.

The same can’t really be said for its spinoff The Originals or, for that matter, for its grandchild, Legacies. Though Legacies is technically an Originals spinoff because it involves a character first introduced there, it is also set in Mystic Falls, the town where The Vampire Diaries was set, and it contains plenty of sexy teenage mayhem, just like The Vampire Diaries used to offer up on the regular.

Unfortunately, the pilot for Legacies feels more like a proof of concept than an exciting introduction to a TV show. Creator Julie Plec (co-creator of The Vampire Diaries and steward of this particular universe) has come up with an idea where Hope (Danielle Rose Russell) — the daughter of two Originals characters whose blood teems with vampire, werewolf, and witch DNA — starts attending a magic school that was set up in the Vampire Diaries finale. And who should work there but Vampire Diaries fan favorite Alaric (Matt Davis)?

That could be a charming premise, especially in the hands of Plec, who never met a dangerous hookup she couldn’t tease. But Legacies spends its first episode mostly racing around, trying to get everything in place for whatever nuttiness might lie ahead. By its end, you’ll have little idea of what the show looks like, beyond the vague sense that attractive 20-somethings playing teenagers will make out a lot.

Granted, there are worse reasons to make a TV show. And I’m not even all that concerned that “angst-ridden magic school” is already the premise of Syfy’s The Magicians, one of TV’s best shows. But Legacies will need a little more time in the oven before it can be as good as its grandparent. Then again, the same was true for The Vampire Diaries, which took about half a season to iron out its kinks. Maybe we should all check back in in March. —Todd VanDerWerff

Legacies debuts Thursday, October 25, at 9 pm Eastern on The CW.

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If you missed Sundance’s Deutschland 83 when it debuted in 2015 — becoming the first German-language series to air on American television — you missed a treat. The ever-so-slightly trippy tale of a young East German man pressed into service as a spy in West Germany, Deutschland made for an enjoyable companion to something like The Americans, brimming with the passions of youth rather than the muted tensions of adulthood.

It also had more action sequences, as well as a more direct portrayal of both sides of the Cold War, with multiple stories set on both sides of the Berlin Wall. The series won a Peabody and an International Emmy, and gained a surprisingly large cult following around the globe.

The follow-up series Deutschland 86 (give yourself a point if you guessed that it’s set in 1986) reunites most of the characters from the initial series, but it has the definite feel of a sequel more than it does a second season, perhaps because three years have gone by, in our reality as well as the show’s.

It’s shifted locations — though Berlin is still important, much of this season’s action takes place across several countries in Africa — as well as deepened its themes of loyalty to country, to family, and to friends. It’s reminiscent of John le Carré’s many books about George Smiley, the veteran spy whose perspective the great novelist used to dissect the end of the Cold War.

Through the first six episodes (Sundance made all 10 available to critics — a great sign of confidence — but I only had time to screen six), 86 sometimes strains to fit every single important issue and idea of the 1980s into its narrative. There’s a storyline about the AIDS crisis that feels a little tacked on, at least so far, and the expansion of the story to more fully involve the CIA similarly feels like the show is grasping for capital-I Importance just a bit.

And yet both Deutschland seasons are tapestries more than anything else. Where The Americans was intimate, Deutschland loves to lose itself in sprawl. On some level, both of these series are about how little the forces that run the universe — be they capitalist or communist — care about the lives of those living under their thumb. It’s telling that part of 86’s political storyline revolves around various countries’ response to apartheid in South Africa, a state-sanctioned creation of a permanent underclass that ostensibly democratic governments have to be shamed into denouncing.

But in the world of Deutschland, people are always sanctioning the creation of underclasses. It’s just something humans do. The series is at its best when it captures the small, human moments that play out amid these flashes of chaos — stolen kisses and thwarted connections and pitched hand-to-hand battles. It’s not perfect, but if it strove for clean perfection, it wouldn’t be nearly as good. —TV

Deutschland 86 debuts Thursday, October 25, at 11 pm Eastern on Sundance. It will then air two new episodes per week, on Thursdays and Fridays, for three weeks, before airing its remaining four episodes on Thursday, November 15; Friday, November 16; and Saturday, November 17. If that confused you, you’re probably best off just streaming episodes as they appear on Sundance’s website. Deutschland 83 is available on Hulu.

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Syfy’s Channel Zero is one of TV’s hidden treats. Each new season of six episodes adapts a new creepypasta, those supposedly true, terrifying tales that lurk in backwater corners of the internet, like the subreddit r/nosleep. They usually take the basic idea of the story (a bizarre kids’ show, or a staircase appearing in the middle of nowhere), then filtering it through creator Nick Antosca’s sensibility, which means all three seasons of the show so far have indulged in rich ruminations on family relationships, alongside odd creatures lurching about empty suburban backstreets.

The new fourth season, The Dream Door, adapts a story by Charlotte Bywater whose premise is, more or less, “What if, all of a sudden, there was a door in your basement where there wasn’t one before?” Antosca and director E.L. Katz (who directs all six episodes) turn this question into an examination of marriage, of how little you might know about your partner, of what might be hiding behind their magic door that’s not hiding behind yours.

The two are ably assisted by Maria Sten and Brandon Scott as Jill and Tom, the couple at the story’s center, and by a terrifying demonic creation named Pretzel Jack, a contortionist clown drawn from Jill’s dreams and/or nightmares. He flings himself about the screen like a Slinky, knife in hand, all the better to stab anybody who might hurt Jill. And that number could include Tom.

If you’ve watched the other three seasons of Channel Zero, The Dream Door could feel slightly derivative, particularly of the second season, No-End House (still the series’ best). If nothing else, it only underlines how same-y so many creepypastas are. So many of these tales resemble the empty, modern homes they’re often set in, formed by the same cookie cutter but filled with ancient, primal terrors nonetheless, as if acknowledging that the scariest thing about modernity is how it numbs you in a way that distracts you from what you should really be scared of.

The Dream Door sags considerably in its midsection, but it ends well. And any time Pretzel Jack appears on screen, it’s understandable if you feel low-grade terrified. But should Channel Zero be granted more seasons (please, Syfy!), it might do the series well to leave the drab confines of suburbia that both it and creepypastas in general can feel trapped in behind. —TV

Channel Zero: The Dream Door debuts Friday, October 26, at 11 pm Eastern on Syfy. One new episode will air each night at 11 pm through Wednesday, October 31. Hey, that’s Halloween! Stream previous seasons on Shudder.

PBS’s Native America (9 pm Eastern on Tuesdays) is a massive four-part documentary miniseries uncovering the history of Native Americans across the Western Hemisphere. If you have any interest at all in this subject matter, it’s well worth checking out.

Paramount Network’s long-beleaguered TV miniseries adaptation of Heathers will finally air on American television, after several months of delay and the complete removal of one episode that was dubbed “too controversial.” It’s being burned off, two episodes per night, from Thursday, October 25, through Monday, October 29. You can also watch the whole thing on Paramount’s website. We weren’t offered screeners, but the reviews from critics who were aren’t promising.

Netflix’s big launch for the week is its new version of Sabrina the Teenage Witch now entitled Chilling Adventures of Sabrina (Friday). Read our full review here.

It’s Christmas movie season on Hallmark again, with the debut of Christmas at Pemberley Manor (8 pm Eastern on Saturday). Hey, we almost made it to Halloween before Christmas movie season started. Almost!

Two brand new late-night talk shows launch on Sunday: E! and Busy Philipps’s Busy Tonight (10 pm Eastern on Sunday) and Netflix’s Patriot Act With Hasan Minhaj (Sunday). We’ve seen neither, but we wish Philipps and Minhaj only the best.

Original Source -> This week’s new TV: a Vampire Diaries spinoff and the BBC’s biggest hit in years

via The Conservative Brief

#IFTTT #The Conservative Brief

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adamhhutchins · 6 years

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Behind the Development: The Pokémon Badge Collector Extension

Few entertainment franchises have achieved global success in the same way Pokémon has. Last week, Twitch and The Pokémon Company International kicked off Pokémon: The Series extravaganza featuring 16 movies and 900+ episodes to be live-streamed in several different marathons spanning into 2019. This will be the single longest programmatic viewing event to stream on Twitch.

Another aspect we’re particularly excited about is the Pokémon Badge Collector Extension. This super-slick and engaging, interactive overlay allows viewers to virtually collect Pokémon badges while they watch.

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To activate the Extension, viewers click on the Poké Ball overlay and start collecting Pokémon badges. That’s not all, though; the Extension is feature packed including:

Achievements — track lifetime stats, such as points and total badges collected over the course of the entire marathon

Inventory — review and search through all the Pokémon you’ve caught

Leaderboard — see how you rank with friends and other Pokémon fans who are also watching and playing along

Bonuses — complete individual and global community goals to earn special bonuses and rewards

Review and search through all the Pokémon you’ve caught!

Complete individual and global community goals to earn special bonuses and rewards.

We caught up with the creative folks over at Stink Studios to learn more about what went into building such a unique and innovative Extension for Twitch.

TwitchDev: Why are you excited about this program and Extension?

Stink Studios: Twitch is the only major live streaming platform that offers a way for developers to create interactive applications that exist over the content. Plus, anyone can build an Extension and distribute it to broadcasters, truly democratizing this platform’s feature.

Here at Stink Studios, we’ve contextualized this as a sort-of augmented reality: an Extension acts as that heads-up display to live content. There is a lot of talk about the merging of technology and content; Twitch Extensions do this.

TwitchDev: Is this the first Extension you’ve built for Twitch? If yes, where did you start?

Stink Studios: This is our first Extension that we’ve built for Twitch. When building for a new platform, the very first place we start is the documentation. Fortunately, Twitch Extensions has written pretty thorough information to get developers started, but leaves it pretty open-ended so developers can customize their codebase to suit their needs. The next step we did was to do a general audit of the landscape, combing through pre-existing Extensions and searching Github for publicly available codebases. Finally, we prototyped typical network relation strategies — 1:1, 1:N, N:N, and N:1 — within the Twitch Developer Rig since these patterns would be the foundation to our extension.

TwitchDev: Can you briefly describe your development process, including how you came up with the idea, how long it took, what you did to test or troubleshoot, etc.?

Stink Studios: Here at Stink Studios, creative and technical teams work closely together to come up with new concepts for clients. We iterated a lot of ideas together in what we call a “grab-bag deck.” One idea that stuck out was collecting badges throughout a stream’s duration. In particular, how can we reward viewers for active watching? Twitch told us that they think Pokémon would be a great content partner for this concept, and we did another round where we tied the technical concept with the content.

From there, we created UX documentation about how the Extension works, such as user flows and game mechanics, which flowed into creative designs that gave the Extension a look and feel that is consistent with both the Twitch and Pokémon universes. These first two phases (UX and design with technical R&D) took about four weeks.

Finally, we went into our coding process, where we began to actually build the Extension from the ground up. Since this was a new platform for us, we had to vet out how the Extension works across different screen sizes, as well as how to handle about 100,000 concurrent users within this context. Then, we created an overall backend systems architecture and split out the visual components to be built out on the front end. We divided and conquered over about six quick sprints, which took us about five weeks to build. However, now that we have a lot of the infrastructure encapsulated as reusable components, we can have the foundation to build any future extensions efficiently.

TwitchDev: Describe the tech behind this Extension? Any hurdles you had to overcome?

Stink Studios: For the front end of this project, we used React and Redux since they are battle-tested and production-ready libraries that have a lot of community support. We sometimes use Vue on other projects, but since the Twitch Developer Rig is already built with React for the front end, so we decided to align with that.

For the back end of this project, we used a serverless architecture, built on Amazon Web Services (AWS). Serverless architecture is a relatively new backend paradigm, where the server only exists when data is transmitted to it, rather than having a box that is “always-on.” In particular, we used AWS API Gateway and Lambda to both handle our users and their badge collections, which are stored on an Aurora database. In order to alleviate stress on the database when a lot of users collected a badge simultaneously, we needed a way to slow down all the requests. To accommodate this, we used AWS’s SQS as a virtual conveyor belt. Interestingly enough, SQS is actually one of the oldest services on AWS. In combination with all of the relatively new services we have used, it served as a good contrast in our architecture.

Finally, to be incredibly reactive to viewers, we leaned into optimistic updates with eventual consistency model. That is to say, viewers would immediately see their badge and stat updates after a collection without having to wait for the server to return any information. Once the server processed all the information in bulk, it would validate their collection and tell the front end, which would either retain the collection or rollback the change. Using these principles allows for viewers to have immediate gratification without sacrificing the verification of their actions.

TwitchDev: The Extension initially had some outages due to significantly higher usage than expected, can you describe how you optimized and scaled to keep up with demand?

Stink Studios: This outage affected primarily our Users API. In particular, viewers entering the stream were not able to access the Extension. If you were in the stream before the outage occurred, you could actually keep collecting Pokémon badges. Our primary issue was bottlenecks with the database. We made a lot of optimizations to our AWS Lambda functions to pool and reuse database connections, but ultimately, pivoted away from using a serverless architecture to a more typical server-based setup on AWS Elastic Beanstalk. Fortunately, we were using a framework that made the transition relatively painless. Although our Collect API is still a serverless microservice, it makes more sense for our Users API to use a more typical pattern for accessing and writing user information. Most of the time, the tried-and-true solutions work the best!

Watch and collect Pokémon badges over on the TwitchPresents channel and dubbed on its companion channels in French, German, Spanish, Italian, and Brazilian Portuguese.

Interested in building your own Extension? Start here!

Behind the Development: The Pokémon Badge Collector Extension was originally published in Twitch Blog on Medium, where people are continuing the conversation by highlighting and responding to this story.

#Twitch Blog - Medium

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kartiavelino · 6 years

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‘New’ fall TV shows sound awfully familiar

In olden days, you needed to activate TV Land or discover a native channel to see your favourite vintage sequence in syndication: “Roseanne,” “Murphy Brown,” “Magnum P.I.,” even “Will & Grace.” Bold writers corresponding to Steven Bochco, Tom Fontana, David E. Kelley, Linda Bloodworth-Thomason and John Wells have been nonetheless at their inventive peak, filling primetime lineups with versatile shows. However now issues are totally different. A lot of the hitmakers have left for Netflix and the previous shows we used to observe often are actually the brand new shows. TV has both become its personal museum — or we’re in the course of a really lengthy episode of “The Twilight Zone.” This week the printed networks introduced their fall schedules, designed to maintain advertiser {dollars} pouring in, even whereas viewers proceed to flee to the greener pastures of streaming companies. The sense of deja vu one experiences whereas trying on the lineups is intentional. TV goes backwards, actually and creatively. Final yr, the reboot of “Will & Grace” cheered up liberals demoralized by the Trump election. The following social media orgasm prompted NBC to resume the sequence for a second season earlier than the primary even premiered. So what do the fits do? They go even farther again in time, 30 years in the past to 1988, and revive Dan Quayle’s favourite sitcom, “Murphy Brown”! Discuss “Antiques Roadshow.” The unique solid was depressingly obtainable. TV goes backwards, actually and creatively. Two years in the past, CBS launched a reboot of “MacGyver” that angered critics however maintained sufficient of an viewers to make execs marvel, “What different cherished, retro he-man present can we completely spoil with a shiny new solid?” And by gum, they got here up with “Magnum P.I.,” which premiered in 1980 with Tom Selleck, so recognized with the position that any recast appeared sacrilegious. CBS pulled a quick one right here. To atone for its appalling lack of variety, it gave the enduring position to Jay Hernandez, an American actor of Mexican descent. Hope he’s sporting his armor as a result of Selleck followers can be gunning for him. This spring, ABC pulled off the magic trick of the yr, reviving one other classic hit, “Roseanne,” which drew over 20 million viewers to its premiere. Thunderstruck that individuals within the flyover states like watching shows with characters they will relate to, the fits questioned: “What different conservative comic with a TV monitor document can we save from doing reverse mortgage commercials?” Women and gentleman, we provide you with Tim Allen, whose stale, man-in-a-woman’s-world comedy “Final Man Standing” was canned by ABC solely a yr in the past. Don’t we get a break from the conveyor belt of repackaged shows and other people whose sell-by date has handed? The reply, in fact, isn’t any. Brace your self for one more spherical of Nathan Fillion, Scott Foley and even Mark-Paul Gosselaar (whose final present, Fox’s “Pitch,” bombed) starring in new ventures the place they are going to possible be as bland because the merchandise bought throughout business breaks. Not all of the information out of Hollywood is discouraging. It’s encouraging to see actors who have been decrease on the decision sheet, like Ryan Eggold (“The Blacklist”), transfer as much as first place with NBC’s medical drama “New Amsterdam.” And it’s rewarding to see the networks taking variety marching orders severely, with lead roles going to Cedric the Entertainer, Damon Wayans Jr. and Russell Hornsby, amongst others. It’s additionally good to see Robin Tunney again; she’ll star as an LA DA in ABC’s “The Repair.” However do we’d like a remake of “Misplaced,” aka NBC’s “Manifest,” or “Medium,” which is what you would possibly as nicely name NBC’s “The InBetween”? Or a “Large Chill” remake, which could possibly be ABC’s “A Million Little Issues”? Within the TV museum, the whole lot previous is new once more. And that’s too dangerous. [embedded content] Share this: https://nypost.com/2018/05/16/new-fall-tv-shows-sound-awfully-familiar/ The post ‘New’ fall TV shows sound awfully familiar appeared first on My style by Kartia. http://www.kartiavelino.com/2018/05/new-fall-tv-shows-sound-awfully-familiar.html

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smartworkingpackage · 7 years

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Podcast: Taking Note of Company Culture with Jess Lee

In the latest episode of the “Taking Note” podcast, we sat down with Jess Lee, an Investing Partner at Sequoia Capital and former CEO of Polyvore, a popular style community that democratizes fashion and e-commerce. Jess discussed what she learned when starting her career at Google, how it helped her grow Polyvore, the challenges of innovation, why some companies are unable to cultivate good company culture, and why women in the tech industry are still struggling to get ahead. She also shares her methods for staying grounded and organized throughout her day (hint: it includes both handwritten notebooks and Evernote). Check it out:

Taking Note: Episode 9

Length: 39 minutes iTunes | SoundCloud | Overcast | MP3 | RSS

In this episode:

[1:20] What does Jess’s work week typically look like?

[6:10] What skills from her time at Google did Jess bring to Polyvore?

[7:20] What leadership lessons did Jess learn as Polyvore grew?

[12:55] Jess is now in venture capital, why the shift?

[14:55] What areas of innovation have Jess’s attention right now?

[16:55] What are some of the biggest roadblocks to innovation?

[20:40] About to start your first company? Build something useful and delightful.

[22:25] Why is it still difficult for women to get ahead in the tech industry?

[24:55] How can we fix toxic culture at work?

[26:45] How does culture impact innovation and creativity?

[28:45] As a VC, what does Jess look for in a company?

[33:50] What is Jess’s daily routine?

[36:10] How does Jess manage information overload?

Here are some selected highlights from our interview. To hear the rest, click on the player above or look for us on iTunes, SoundCloud, Overcast, or your podcast platform of choice.

You’ve had a fascinating, varied career, and it doesn’t follow the standard narrative. What are your core interests? What is it that drives you personally?

I think when I look back on all my career decisions, I’ve been primarily motivated by growth and learning. Basically, if I feel like my learning is plateauing, then it’s sort of time to do something different. That’s what’s driven me at all the major pivots in my career.

After [four years at Google], you wound up doing product management at Polyvore, which is a very interesting company.

Polyvore is a fashion community app, where basically you can mix and match all your favorite products in different stores into outfits or collages, and then millions of people come every month to browse and shop those looks.

When I first discovered Polyvore, it was just the outfit creation tool, and it was kind of like online Photoshop, but with shopping integrated, and it was super fun to play with. So I started playing with it all the time. I was using it maybe three or four hours a night, as a very addicted user. Then I wrote a note to the co-founders with a series of complaints and suggestions for how to make the product better. They wrote back and said, “Hey, why don’t you just work on this stuff yourself? Why don’t you just come join us?”

I ended up joining as the first PM, and that eventually grew into a co-founder role, strangely in reverse, and then eventually the CEO role. But part of the reason I went there was definitely because I felt like I would learn a lot, ’cause there were only three other people at the time.

Were there any specific things that happened at Polyvore which affected the way you view leadership?

I had never managed a single person before arriving at Polyvore. So I kind of had to learn it from scratch, on the job, through a lot of trial and error. You can read a lot about management best practices, but there’s no replacement for actually doing it.

“You can read a lot about managing best practices, but there’s no replacement for actually doing it.”

I think one of the biggest lessons for me was how to lead authentically. I tried for a while to copy different leadership styles that I had seen, especially very classic, extroverted leadership styles, which you see in the movies. Sort of like the War General.

It took me a while to figure out my style, because I’m more of an introvert. I was an inexperienced first-time CEO, so I couldn’t say with much authority, “I know exactly where we’re going,” exactly what we needed to do. I figured out eventually that, at the end of the day, you need your team to trust you, and to feel like they have a purpose and a mission. There’s an art to cultivating that, and I realized that rather than pretending that I knew everything all of the time, it’s actually better to just sort of point the ship in a general direction, say, “This is the destination I would like us to get to. It’s going to be bumpy along the way, and I need you, I need your help to get there.”

I was really inspired by Cheryl Dalrymple, who is the CFO that I eventually hired at Polyvore. When I first met her, I just remember being really blown away. She’s now the CFO at Confluent. She taught me that you can be a leader while still being very warm, and very authentic, a little quirky. People would follow her to the ends of the earth, and that’s something I took a lot of inspiration from.

After I met her and realized she had this quality, and I could learn a ton from her, I bent over backwards to just try to hire her, to try to get her to be an executive at Polyvore so that I could learn as much as possible from her.

That’s maybe another lesson, surround yourself with awesome people who you admire.

What are you most proud of, from your time at Polyvore?

I’m proud that we built a company that was profitable for three years. I’m proud of the impact we had on some of the users who would write in to say things like, “You gave me more confidence in life, because I figured out a style that worked for me. I felt better.” We even had one girl write in to say that she was inspired to study Computer Science by Polyvore. That was her admissions essay into Cornell, was about Polyvore. And that was a really proud moment.

I was really proud when we won “Great Places to Work.” We won in 2014, overall, for tech. And then in 2015, for best workplace for diversity and women. I’m proud of the culture and the team that we built.

You’ve moved from there into a new role in venture capital. What drove that move?

Part of it was definitely, again, maximizing for learning and growth. Investing is not something I’ve done before, and that’s the best way to learn, is to do something you haven’t done before. On top of that I thought, “How do I leverage the eight and a half years of lessons from Polyvore, through all the epic highs and epic lows, the ups and downs?” Some of those lessons were really painful. “How do I leverage that, and make a big impact?”

I thought if I could help the next generation of entrepreneurs and founders, and help them maybe shave off a day here, not make a mistake that I made, or just advise a little bit, and then spread out that help across the portfolio companies, that I would feel great about that.

Also, there aren’t a lot of women in venture, and I think that ends up impacting the number of women who get funded. That impacts women executives, and then eventually, the percentage of women in engineering. It all trickles down and I thought, maybe I can make an impact there, as well.

Working with Sequoia, I’m sure you’re seeing a lot of very interesting pitches coming your way, you’re involved with a lot of interesting companies. What areas of innovation are particularly exciting to you right now?

There are so many. I have been spending most of my time in consumer, but that doesn’t just mean consumer, internet and mobile. I’ve also started to look a little bit at consumer use cases in robotics, in direct-to-consumer brands, in AR and VR … there’s a lot going on. That’s been exciting.

I feel like I’m seeing a big trend towards tech moving out of your devices and into the real world, whether that’s home automation, or tech-enabled commerce, or tech impacting the way we work on a day-to-day basis. I think that’s one of the more interesting trends. I’m seeing a lot of activity, and I expect to see a lot more.

What do you think are the biggest roadblocks to innovation within companies today?

I think companies can get addicted to their own success, and then start to fear jeopardizing it, or feel like if they step away from that core business, that something might go wrong. So I think the best way to get around that is to dedicate an entire team whose job is to just think about what’s new. You kind of want to create a little bit of separation.

We did a little bit of this after Polyvore was acquired by Yahoo. We took a portion of the Polyvore team, and got them staffed to just work on completely brand-new ideas in the lifestyle space. While we were there, we actually shipped maybe five or six prototypes of apps that we were able to brainstorm and build in, I think around seven weeks turnaround time, from inception and brainstorming to putting them in the App Store.

We were able to test quite a few ideas. One of which eventually turned into Cabana, by Tumblr, which is a live streaming app that the Polyvore team worked on.

It sounds like a good approach to fighting that fear of change that can become ingrained in a large company. There’s also, I think in a large company, that problem of, once something’s that large, it’s hard to turn the ship. Is there a way to fight that sort of inertia?

I think part of it also comes from setting the tone of the culture at the very top. Companies that are able to reinvent and reinvigorate are the ones that are a little bit paranoid and have a really, really high bar. If you know from the get-go that you’re a consumer company… it depends on the product, exactly, but for some consumer-use cases, like social communication, a lot of that is driven not just by the utility or the functionality of the product, but also by how cool it is.

“Companies that are able to reinvent are the ones that are a little bit paranoid and have a really, really high bar.”

So, if you accept that you’re on this treadmill of cool, which is definitely the case for some hardware, some communication apps. I think Apple gets that. I think Snapchat gets that. So they hold the bar very high, and even though they’re doing well, they still feel this urge to reinvent and raise the bar higher and come up with the next thing, or the next feature. I think that’s baked into cultures, at the very highest levels.

When we’re talking about little companies, startups or individual entrepreneurs … of course, the fact that they can pursue the cool is their advantage, but it can also be a downfall. Maybe it’s hard to know when an idea is worth pursuing. When do you think is the right time to jump on an idea?

You know it’s good when people start to tell each other about it. You find this kernel of delight. And delight isn’t just, “Yes, this was useful.” It was a moment of, “Wow, that was cool.” And then the notion that you might want to tell someone else about it. That’s what leads to word-of-mouth, that’s what leads to growth, and that’s how you know that something is worth pursuing.

What would your advice be for someone who’s maybe thinking of starting their first company?

Build something useful and delightful, might be the first one. Second, just understand that great companies take, usually, a while to grow. There’s no real overnight success. Polyvore was an eight-and-a-half year journey, and I think our acquisition by Yahoo was seven and a half years in. But the average exit time for a successful startup is eight years. So, pick an idea and a co-founder that you’d be excited to be married to for at least eight years. That would be my advice.

I want to dig a little deeper into some of the issues of leadership and culture that you brought up earlier. In particular, you mentioned that one of the things that inspires you in your role now as a VC is the opportunity to help more women get involved in engineering, in company-building, in all of those fields.

This is a part of the world that still, I think, has a very male-dominated culture. There are lots of women working [in the field], but it seems like almost every month, there’s another story about how it’s still difficult for women to make an impact in the world of tech and get ahead. Why is this still a problem?

Part of it, I think, is the ratio. But part of it has been, up till now, kind of a lack of recognition that it is a problem. I think what’s the good part of all the news that’s come to light lately is, people were talking about it now. And also, it reflects a change in the norms, in that when someone comes forward, it’s no longer the norm that her career is destroyed … I think that was more the norm, before. So just the shift that’s been happening over the last few months represents a change.

[…]

I think now that the news is starting to come out, people are realizing, “Oh wow, this was happening all along. This is happening in my organization, I’ve just been unconscious of it the entire time.” But now that that recognition is happening, that’s when change can begin.

This intersects with other areas of culture, and we’ve had some prominent examples where culture can just go toxic. When that happens, it doesn’t just necessarily affect the company itself. It can also affect the economy at large.

I think about some of the more prominent cases lately of toxic culture, and these are sometimes some very large companies that are very disruptive in their space, and that are considered real trendsetters. If they can’t get it together, what does that mean for tech as a whole?

Startups go through all kinds of ups and downs, and culture can be your lifesaver when you’re in the downs. When you’re no longer winning, and crushing it, and going “up and to the right,” and there are issues, people flee your company. They will flee if your culture is bad, because that was part of what was making them unhappy all along. But they’re willing to put up with it to be part of a winning team. And as soon as you’re no longer winning, they leave.

I think culture is something you entirely control, as a founder within your company. You are the person who sets the example, you hire the people. It’s something entirely within your control, unlike economy or the market or competitors, which are all risks to your startup. So there’s really no excuse for getting it right, because you entirely control it. And the benefit of getting it right is whenever you hit a bump in the road, your team is much more likely to be loyal, and to believe, and to want to stick around to fight the battle, if they love the culture and they love the team.

So, culture is something you should absolutely invest in, unless you plan to be winning 100% of the time, which is impossible, as has been shown by all the latest news. It’s just not possible to win all the time.

How does culture impact innovation and creativity, and how did you foster innovation and creativity when you were at Polyvore?

At Polyvore, our three core values were, “Delight the user,” “Do a few things well,” and, “Make an impact.” For every new person who joined the company, day one on orientation, I would walk them through … probably the first meeting of the day, after they signed their papers, was to meet with me and I would walk them through those three values and what they meant with quite a lot of detail into the examples.

The bulk of orientation was culture, and then part of it after, we went into the product and the strategy and the users. But I felt like hearing from me as the CEO what the culture meant, and how to live it, was actually a really strong indicator that the culture’s really important. It was also an opportunity to ask questions about it, and to understand it. That’s part of how I tried to make sure the culture permeated through the company.

In terms of innovation, “Delight the user,” going back to that one, the first value, I would explain kind of what I talked about earlier. How you have to constantly raise the bar, and not just build a functional product, but a functional and delightful product. You would constantly have to top yourself.

I would give examples. I used Apple as an example of how people think they want a better, faster horse, but really what they want is a car. And they’re not going to tell you, if they’ve only ever seen a horse, that they need a car. So you have to come up with it.

And then, even when you build that car and people are really happy with it, then you have to come up with the rocket, a spaceship, whatever’s next.

It sounds like the concept of being functional and delightful applies externally, in terms of the product you build, but also applies internally, in terms of the culture you build.

Absolutely.

How about now that you’re on the VC side? What do you look for in a healthy company?

I think there are some classic things that pretty much all VC’s look for, like a very large market, a founding team that’s capable. For me, personally, a few additional things that I look for are grit… because, like I said, it takes a really long time to build a great company, and you want someone who can weather the storms, who can go through the ups and downs. So, I look for grit.

Another trait I find quite useful is the ability to take something complex, and explain it simply. That applies to so many things. It’s your elevator pitch when you’re talking to investors, it becomes important. Your ability to communicate to your team, and even more important than that though, to be able to run an all-hands and explain to your team where you’re going and how you’re going to get there. All of that is really, really important. So, I look for the ability to explain complex things simply.

Is there one particular skill that you wish every businessperson would learn?

Maybe empathy. The ability to understand something from someone else’s perspective. Whether that’s a coworker or an employee, or even your customers, that’s a pretty useful skill.

We’ve talked a lot about culture and working effectively as a team. How about working effectively as an individual? How do you manage your very busy time?

I take a lot of notes on everything, to be honest. They may not always be the most organized of notes, but I do find it’s important to capture the information. I can always go back later and make sense of it, but it’s helpful to have it there so that I can even try to retrieve it in the first place.

I take a lot of notes on everything, to be honest. They may not always be the most organized of notes, but I do find it’s important to capture the information.

I do it both on my computer and Evernote, as well as… since I love to draw, I always have a small sketchbook with me, and a pen. So, I’ll take notes on paper as well. And then I take photos of it using Evernote’s capture feature, and then store it in Evernote so that it’s searchable later.

I know a lot of people who are into that visual note-taking approach, the sketch notes idea. Do you have a particular way you like to do it? Is there a format? Do you have a shorthand of visual symbols?

No, it’s not particularly organized. They look probably like doodles.

I find that what I’ll do is, I’ll just take notes during a meeting, and then later I’ll go back and kind of draw and organize them at the same time … create dividers, draw in little pictures, sort of summarize, and then the key things jump out at me later when I go back to look at them. Key numbers, sometimes I’ll draw a little picture to indicate something that was important.

So notes are a cornerstone of how you manage your time. Is there anything else that you use? Do you have a particular toolkit?

I think it’s really just document everything. And then, for the key things that I have to do every week, that I cannot miss, which is basically keeping up-to-date and communicating with companies that we might want to invest in, or might be passing on … keeping a running list of those, and making sure that those really, really important to-do’s get done.

[…]

I feel like my brain is not particularly organized, kind of like a black box. And then, occasionally, connections will spark, and I’ll come to some sort of Eureka moment about a company, or a trend, or an idea that I want to go back on, and then I have it all there at my fingertips in Evernote, so I can go back and search for it.

That’s what creativity and innovation are, really, isn’t it? It’s making those connections. It’s finding those moments of spark between the things that you’ve already collected and just drawing that new link.

There are so many inputs in our world, and in our lives. We’re constantly getting messages from all sorts of different apps and media and we’re expected to deal with it all. “Information Overload” is not a new term, that’s been around for decades, but it’s still very much with us. How do you manage it?

I try to clear the slate in my brain as well. If something is not immediately important, I just kind of tuck it away, and hopefully that black box brings it up at the right moment, the random spark of connection. But I think it’s important to keep the slate clean. I find that yoga helps clearing the slate as well, so that’s something small that I do.

This is a partial transcript of our interview. For the rest, be sure to listen to the complete podcast.

Did you enjoy this podcast episode? Please visit us on iTunes and leave a review! We would love to hear your feedback. To get notified when a new episode has been released, don’t forget to subscribe to the Taking Note podcast on iTunes, SoundCloud, Overcast, or your podcast platform of choice. Thanks for listening!

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eichy815 · 4 years

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Fall Fusion 2020 (NBC)

(All times are Eastern/Pacific; subtract one hour for the Central/Mountain time zones)

(New shows highlighted in bold)

Featured network for today’s column…

Sunday

7:00 – NBC Sunday Night Football (late-2020) / The Wall (early-2021 through mid-2021)

8:00 – NBC Sunday Night Football (late-2020) / Little Big Shots (early-2021 through mid-2021)

9:00 – NBC Sunday Night Football (late-2020) / Manifest (early-2021 through mid-2021)

10:00 – NBC Sunday Night Football (November through January) / LaBrea (early-2021) / Good Girls (mid-2021)

Assuming that fall football continues as planned (albeit possibly without a stadium audience), The Wall could fill the 7pm hour beginning in January as counterprogramming to 60 Minutes. Following awards season, Little Big Shots would return in March, as a lead-in to the third season of Manifest. Rounding out the night would be the new time travel adventure, La Brea (replaced in the summer by Good Girls).

Monday

8:00 – The Voice (late-2020) / America's Got Talent (early-2021) / The Voice (mid-2021)

10:00 – Songland or Lincoln Rhyme: Hunt for the Bone Collector (late-2020) / Zoe's Extraordinary Playlist (early-2021 through mid-2021)

The Voice could return with a fall and spring edition, even if it has to adjust the format to emulate American Idol’s “at-home” version. Songland could also cobble together an autumn return. America’s Got Talent also has the potential to contribute a modified-format winter edition. Once scripted programming returns in full force, Lincoln Rhyme: Hunt for the Bone Collector might be ready as early as November or December, while Zoe’s Extraordinary Playlist would return in the spring for its sophomore season (fittingly scheduled right after The Voice).

Tuesday

8:00 – The Voice Results Show (late-2020) / Ellen's Game of Games (early-2021) / The Voice Results Show (mid-2021)

9:00 – Vagrant Queen (late-2020) / This is Us (early-2021 through mid-2021)

10:00 – The Purge (late-2020) / Ordinary Joe (early-2021) / Council of Dads (mid-2021)

For fall “filler” programming, recycled episodes of Vagrant Queen (from SyFy) and The Purge (from USA) -- both belonging to cable subsidiaries of NBC/Comcast -- could fill up Tuesdays along with The Voice’s “results show.”

By January or February, Ellen’s Game of Games would return in-between seasons of The Voice. The next 18-episode season of viewer favorite This is Us would probably run through May or June if it gets a later start; it could be followed up by a 13-episode run for Ordinary Joe, a high-concept alternate universe drama headlined by James Wolk (Zoo, Tell Me a Story). Then, Council of Dads can return for a sophomore season beginning in April or May.

Wednesday

8:00 – Hollywood Game Night or World of Dance or The Titan Games (late-2020) / Chicago Fire (early-2021 through mid-2021)

9:00 – Dateline NBC or World of Dance or The Titan Games (late-2020) / Chicago Med (early-2021 through mid-2021)

10:00 – Who Do You Think You Are? (late-2020) / Chicago P.D. (early-2021 through mid-2021)

For fall “filler” programming, Hollywood Game Night can be repurposed to film without a studio audience, if need be. A Wednesday edition of Dateline NBC plus the celebrity genealogy show Who Do You Think You Are? could also hold the night throughout October, November, and December. Another option would be a closed-set version of either World of Dance and/or The Titan Games.

After the new year, NBC’s successful roster of Chicago Fire, Chicago Med, and Chicago P.D. would presumably return for full seasons.

Thursday

8:00 – A.P. Bio (late-2020) / Superstore (early-2021 through mid-2021)

8:30 – A.P. Bio (late-2020) / Ted Danson-Tina Fey comedy (early-2021) / Young Rock (mid-2021)

9:00 – American Ninja Warrior (late-2020) / Brooklyn Nine-Nine (early-2021 through mid-2021)

9:30 – American Ninja Warrior (late-2020) / Night School (early-2021) / American Auto (mid-2021)

10:00 – American Ninja Warrior (late-2020) / New Amsterdam (early-2021 through mid-2021)

For fall “filler” programming, fresh episodes of A.P. Bio (resurrected by NBC’s Peacock streaming service) can fill the schedule, along with a modified fall edition of American Ninja Warrior.

By January or February, Thursday night comedies would return; Superstore and Brooklyn Nine-Nine can sandwich the as-of-yet-untitled Ted Danson / Tina Fey single-cam sitcom. Night School (based on the Kevin Hart comedy film of the same title) might function well in the post-Brooklyn time slot, and New Amsterdam could be the evening’s lead-out. Midseason replacement comedies could be Young Rock and American Auto.

Friday

8:00 – Making It (late-2020) / The Blacklist (early-2021 through mid-2021)

9:00 – Dateline NBC (late-2020) / Echo (early-2021) / Law & Order: Crimelords (mid-2021)

10:00 – Dateline NBC (late-2020) / Law & Order: SVU (early-2021 through mid-2021)

For fall “filler” programming, Making It could be nicely revamped into a quarantine-friendly format, followed by two hours of Dateline. Durable player The Blacklist would continue to lead off the night, lending action-packed support to time-travel drama Echo. The final hour of the night could go to Law & Order: SVU, which would also lend a cushion to the Christopher Meloni-led spinoff that ventures into the organized crime investigators of the L&O universe (preceding SVU once Echo finishes it’s 13-episode season).

Until then, TV shows will have to find creative ways around that...or develop alternative types of programming.

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