PRESS TV has gone. EU sanctions against Iran have resulted in the death of Press TV.
Press TV is upset:
It also shows that the European Union does not respect freedom of speech, and spares no efforts to silence the voice of alternative media outlets.
JODY Sabral was a reporter on absurdly biased Press TV, the Iranian state broadcaster. She left. Why?
My four-year relationship ended with Press TV on October 17, mainly because there has been a deliberate attempt to suppress information on the Syrian uprising. It’s one thing to take a position on the news you report, but it’s another to completely ignore a story of interest to the public. It’s well known that Iran politically backs the regime of Syrian President Bashar Assad, but I was shocked to learn of the extent to which Press TV could be used to propagate propaganda.
Press TV: Laughing At George Galloway
Press TV is an Iranian international news network, which broadcasts in English.
Highlight of the show – and get a load of that set:
Lauren Booth: “Israeli commandoes…committed a massacre of innocent civilians sailing aid ships to the besieged Gaza strip”.
Kevin Ovenden (Viva Palestina): “[Israel‟s] inhuman and illegal blockade of the people of Gaza…This was the use of lethal force for political ends”.
Bahjat El-Helou (Palestinian Independent Commission for Human Rights): “[Israel] is a state above the law”.
Yousef Al-Helou (Press TV correspondent): “Israel‟s piracy in the Mediterranean Sea ended with a massacre”.
Haidar Eid (Political analyst): “The martyrdom of the supporters of the Palestinian people on the freedom flotilla”.
Lauren Booth: “This was obviously a barbarous attack on civilians…One thing is certain: As Turkey buries its murdered citizens and in Britain we welcome home our brave and injured, the brave men and women on those ships, in one move, have shifted world opinion against Israeli apartheid”
“Christmas viewers will be deluged with almost 100 hours of repeats. A Sunday Express study of the 2012 schedules found that a staggering level of old series and re-run films will be broadcast by the three main channels over Christmas Eve, Christmas Day and Boxing Day…”
Keen to prove to the world that Ashtiani is a wrong ‘un deserving of a good stoning to death, she popped up on the telly to show the folks at home how she sedated her hubby and better allowed her lover to kill him.
(Takes notes, woman of Iran. There will be Questions later. Lots of them.)
Gary Barlow, the substantial Take That frontman, is down. He has, as the Mirror observes,” broken down “in agony”.
While Barlow screams, “Go on, leave me!”, and his agent negotiates a twelve-part Living TV special about his suffering, the rest go on.
Tabloid tropes: we’ve seen that 2014 was a big year for Madeleine McCann news (surely no news – ed), Alzheimer’s cures, Big Brother and miracles in diabetes. 2014 is also the year when the Daily Express realised that the best way to stop its readership falling is to keep its readership alive for longer.
THERE’S nothing quite as morbid and depressing as watching football coverage on ITV. In Adrian Chiles, you have a man who looks like pudding doing an impression of. the. slow. concentration. of. Tim. Love. Joy. and in Andy Townsend, you have a man paid huge sums to point out things that have happened in play, a full 5 seconds after the viewers at home have already noticed.
Then there’s Clive Tyldesley, who can’t be arsed learning the names of foreign played (notably, James Rodriguez) and who is in possession of a faux-grandiosity that is as irritating as it is insincere.
So, the bad news is that ITV are hoping to steal the Premier League highlights from the BBC and Match of the Day. You can almost hear U2’s ‘Beautiful Day’ striking up and Matt Smith blankly looking into camera.
TO Australia, where an Apple fanboy who queued to buy an iPhone 6 is showing it off to the excited Press. His hand shakes as he touches the genuine cardboard box and peels the lid off:
IF you ever start to get depressed by the current TV offerings, take a look at the comedies airing in the States in decades past. Here are 15 adverts from TV Guide which will have you counting your blessings.
I’ll admit, sometimes I’m not in the mood for quality storylines and character development. There are days where I’ll pass on Mad Men and Game of Thrones in favor of something mindless. But even in those dark hours, I will never – I repeat, NEVER – opt for Gary Coleman with a Mr. T haircut. This is where my proverbial line in the sand is drawn.
WILLIAM Shakespeare once wrote that “the valiant taste of death but once,” while cowards die “many times” before their actual demise.
Audiences of cult TV classics might also be said to die many times too, especially if they watch and re-watch beloved characters die in their favorite genre programming.
Over the years, a number of beloved series characters have been unceremoniously offed by series writers, only to leave grieving audiences in shock at their passing.
MOVIES adapted for television series aren’t necessarily terrible; in fact, the outcome is often quite good. The Odd Couple and M*A*S*H* both had great translations for the small screen. Even Alice Doesn’t Live Here Anymore, a dark drama by Martin Scorsese found an interesting niche in the sitcom universe via Alice.
Unfortunately, for every success, there are a sizeable number of failures. This is where I come in and deliver up ten tragic examples of where a movie was adapted for television yielding regrettable results.
Animal House (1978)
1979 TV Adaptation: “Delta House”, 13 episodes
When you remove the bawdy humor from Animal House, you’re cutting out its heart. It’s like removing the dancing from Singin’ in the Rain. Crass jokes and irresponsible humor were the lifeblood of the original film; to clean things up for prime time TV was a mistake of epic proportions.
THIS might well be the most depressing story of the year. Having removed two pandas, Macy and Qianqian, from the Yunnan Wild Animal Park, China, Scarlett was alone.
The experts were amazed when Scarlett became listless. They played with her. They talked to her. But nothing worked for the only panda in the cage.
THE painter Pablo Picasso once asked who can see the human face correctly: the photographer, the mirror, or the painter.
Popular horror films and television programs have long highlighted all three possibilities, but focused most intently, perhaps, on the mirror.
WITH Captain America: The Winter Soldier (2014) shattering box office records this weekend, it is an opportune time to recall that this iconic Marvel superhero — and symbol of non-ironic Americana — has not always been treated very well by Hollywood.
In particular, the 1970s and 1980s proved a difficult span for the patriotic Cap, who had made a career in his Marvel comic-book of smashing Nazis and communists.
But first, the 1944 Republic serial, Captain America, created a new character and origin for the superhero.
WE might accept as axiomatic the belief that patience is a virtue. However, over the decades, several notable and even celebrated science fiction TV series have failed to live up to this ideal.
Instead of demonstrating patience and prudence, their makers have instead demonstrated radical impatience, and — after promising first season sorties — instituted sweeping changes that, in some cases, threw away the baby with the bath water.
IT shouldn’t be a big deal when a familiar actor or actress is abruptly replaced on a TV show. Yet audiences are often unable to cope. I suppose it’s due to the fact that a subconscious connection is often developed between audience and actors. When, suddenly, an interloper appears in his or her place, all hell breaks loose.
The textbook example is Darrin from Bewitched: when Dick York was replaced by Dick Sargent audiences were left confused and disoriented. What happened to Samantha’s husband? Did she remarry, or did she magically transform his physical appearance? What in the name of all that is holy is going on?!?
The problem is compounded when the original character was particularly beloved. Audiences got used to the “New Darrin”, but sometimes the shoes are just too hard to fill. Here are a few examples of when replacements had a particularly tough time filling in. Television audiences are an unforgiving lot.
Jenilee Harrison (as Cyndi Snow) replaces Suzanne Somers (as Chrissy Snow)
Somers, in a mad grab for cash, demanded more money and the network execs dropped her like a bad habit. The very nature of the show demanded that there be a third roommate. Enter Jenilee Harrison, a Los Angeles Rams cheerleader with no acting experience. Not surprisingly, it was nothing short of an abject failure. The following season, Jenilee was let go, and Priscilla Barnes (as Terri Alden) took over for the final seasons (1981-1984). Priscilla succeeded where Jenilee could not primarily because she didn’t play a similarly imbecilic character, but had a good head on her shoulders. However, nothing ever captured the magic of Suzanne Somers – “jiggle TV” at its finest.
Linda Thorson (as Tara King) replaces Diana Rigg (as Emma Peel)
In season six of The Avengers, Linda Thorson replaced Diana Rigg (a replacement herself). It would prove to be the show’s last season. American audiences didn’t seem to care, and French audiences actually preferred the replacement; however, British viewers would have no part of the change. Linda was roundly thrashed by the press as being a poor substitute – all looks and no brains, a damsel in distress rather than a strong heroine.
Some of the criticism was well-founded – Linda was very inexperienced as an actress and she got the part because she was the girlfriend of then-producer John Bryce. However, I think it’s clear the criticism was pretty unfair. Linda did a respectable job, and the show was already slipping before her arrival. I’m not sure who could’ve replaced Rigg and saved it. The show failed because it became dependent on US audiences, and it was lined up against Laugh-In (a show which also killed Star Trek).
Finally, it should be noted that Season 6 was actually an IMPROVEMENT over the previous season. Few will argue that Rigg’s last season was lame – it was becoming a spoof like Batman. In the final season, things started to get back to being serious.
Cheryl Ladd (as Kris Munroe) replaces Farrah Fawcett (as Jill Munroe)
It’s hard to comprehend what a phenomenon Farrah had become after her single season on Charlie’s Angles. Her shoes were impossible to fill, and it’s a testament to the likeability of Cheryl Ladd that the show survived. Far from being mortally wounded, the show strolled along for four more seasons…. but it just wasn’t the same. Even though Farrah was only there for the first season, when you think of Charlie’s Angels, you think of the Farrah year.
Certainly, there were other shows which lost a star but kept on truckin’: Welcome Back, Kotter lost Vinnie Barbarino (John Travolta), Alice lost Flo (Polly Holliday), M*A*S*H lost Trapper John (Wayne Rogers) and Lt. Colonel Henry Blake (McLean Stephenson), etc. However, those were shows that lost actors and actresses. Charlie’s Angels was a show that lost an icon.
CHICO AND THE MAN
Gabriel Melgar (as Raul) replaces Freddie Prinze (as Chico Rodriguez)
I will go on record and say that Freddie Prinze is among the top five stand-up comedians of all time. You’re certainly free to disagree, but there was just something truly special about his presence on stage. None of the jaded, cynical, self-deprecating stuff we come to expect from today’s comics. His was pure optimism and energy… which makes his 1977 suicide all the more unfathomable.
One thing I think we can all agree on is that Chico & the Man should have ended with Prinze’s death. The very notion that they would try and keep the sitcom rolling blows the mind. Poor Gabriel Melgar, recruited to fill the void, simply never had a chance. It was an awful idea that ended with predictable results – abysmal ratings and cancellation.
THE DUKES OF HAZZARD
Byron Cherry and Christopher Mayer (as Coy and Vance) temporarily replace Tom Wopat and John Schneider (as Bo and Luke Duke)
Dukes of Hazzard audiences tuned in to the new 1982 season only to find their beloved Bo and Luke Duke replaced by obvious clones. Schneider and Wopat had refused to come to the set, demanding more money. In response, the network replaced them with two guys that looked suspiciously similar. Audiences didn’t fall for the ploy, and so Schneider and Wopat got the contracts they wanted and returned.
In the end, the series wasn’t significantly impacted by this bizarre interlude. However, when it was all over, viewers were left scratching their head, wondering what the hell just happened.
TODAY is International Woman’s Day. What’s that , you say. ‘When’s International Men’s Day?’
A swift search of the web revels that it’s on November 19.
The female-dominated web has allowed men’s day to have its own website.
It’s in the same category as:
ON Tuesday, February 25, Monsters: The Complete Series will be released on DVD. For those who may not remember it, Monsters (1984 – 1988) was Laurel’s second TV horror anthology after Tales from the Darkside (1984 – 1988), and - much like its more well-known predecessor – it was crafted on an extremely low-budget.
In fact, the joke about Tales from the Darkside in the eighties was that its special effects were crafted for $188.00 per episode.
THE LATE 1960s to mid-70s were a manic depressive time period in music, populated by exultant highs and soul crushing lows. The highs came in the form of disco and bubblegum pop via ABBA, The Bee Gees and their ilk. The lows came in the form of devastating testaments to inner sadness and existential rage. Perhaps it was Vietnam, recreational heroin use, and an economy that was in the crapper that caused such a swell in depressing anthems. Who knows? What is known is that this time period was fertile ground for misery put to melody, and whittling them down to a list of 15 was a daunting task indeed, but here goes….
15. “All By Myself” by Eric Carmen
I think of all the friends I’ve known
But when I dial the telephone
It’s not so much the lyrics as the morose delivery under a melody lifted from Rachmaninoff’s Piano Concerto No. 2. Carmen sounds so deeply depressed that you half expect to hear a gunshot at the end of the song.
MINI Cab For Moyes: A Look At The Manchester United Manager’s Expression As The Red Devils Lost To
IN January 1963, an unknown young Bob Dylan got some work in a (now lost) BBC play The Madhouse on Castle Street. He sings The Ballad of the Gliding Swan. The Sunday night play also features Dylan’s first televised performance of Blowin’ in the Wind.
He was paid a fee of 500 guineas to play the role of Bobby.
* While in London, Dylan stayed with Martin Carthy, who helped introduce him to the burgeoning folk club circuit and who remembers chopping up a piano for firewood to counter the effects of that long cold winter. Dylan became a regular figure on the folk scene and even found the time to cut an LP in a record shop on Charing Cross Road, under the pseudonym of Blind Boy Grunt.
Dylan’s stay also resulted in a burst of original songs (Don’t Think Twice It’s Alright, Bob Dylan’s Dream) which were heavily influenced by his exposure to traditional English folk music.
ROBIN Van Persie is a lot of things – a top finisher for United’ a turncoat for Arsenal – but he is no John Terry. If you are going to call anyone a JT you’d best get your facts straight. PVP has been called a lot of names but labelling him a JT might result in a libel action and pardonable violence.
So, then, to David Ken in the Daily Mail:
You’re not fooling anyone, Robin! Were there shades of JT’s infamous Euro gaffe as substitute Van Persie strips out of his coat to celebrate against Arsenal?
IT turns out that the way to seduce Ashley Cole is not offer him a deal for a lucrative marriage nor write ‘puke here‘ on your face but to compliment his feet.
Roxanne Jeffers says she pulled the Chelsea FC defender by sayiong she liked his feet. Cole had posted a picture of his feet on the web. The Daily Mail reports: “The model got in touch with Ashley when she commented on how ‘cute’ his feet were after he posted a snap of them on Instagram. The Chelsea and England defender was so flattered he invited the 24-year-old beauty to the £3.5million home he once shared with Cheryl.”
That’s how much Ashley likes his feet.
IN November 1970, James Taylor, 22,appeared on the BBC in James Taylor Sings James Taylor. The first American signed to The Beatles’ Apple label, Taylor sang Carolina in My Mind with Paul McCartney and George Harrison.
“I just heard his voice and his guitar,” said McCartney, “and I thought he was great.”