After brief blackout, CBS and Time Warner Cable resume talks

A notice Time Warner Cable apuestas de futbol showed subscribers when it briefly pulled a CBS-owned channel from its system. (July 29, 2013)
July 29, 2013, 10:05 p.m.
The tense negotiations for a new distribution deal between CBS and Time Warner Cable turned bizarre Monday night as the pay-TV distributor started to pull down networks owned by CBS, only to stop the process after a few minutes.
Around 9 p.m., Time Warner Cable alerted the media that it was pulling down channels owned by CBS including KCBS-TV Channel 2 and KCAL-TV Channel 9 in Los Angeles, KCBS-TV in New York and the cable network Showtime.
Time Warner Cable said in a statement that the "outrageous demands" by CBS forced it to remove several of its networks and local stations from its lineups. "We offered to pay reasonable increases, but CBS’s demands are out of line and unfair – and they want Time Warner Cable to pay more than others pay for the same programming," the company added.
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"We're at war with Time Warner Cable," CBS Chief Executive Leslie Moonves said after a reporter showed him Time Warner Cable's statement during at a party the network was throwing at the Beverly Hilton to promote its fall television season.
But the war was short-lived as Time Warner Cable subsequently put out a statement that the channels had been restored at the request of CBS.
CBS then issued a statement that said negotiations with Time Warner Cable had resumed.
Although squabbles between programmers and distributors are fairly common, seldom does it reach a point that a signal gets taken off the air, especially in big markets such as Los Angeles and New York.
But as programmers become more aggressive by seeking higher fees from tight-fisted distributors, more blackouts are likely. The Federal Communications Commission typically prefers not to weigh.

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Consumers, of course, can still receive the CBS signal over the air for free with an antenna. Some CBS content is also available online. "Under the Dome," for example, can be seen on the Amazon Prime streaming service, although a subscription is required.
CBS is seeking a big increase in distribution fees for its stations, which Time Warner Cable is resisting. CBS, the most-watched TV network, argues that it is undervalued compared to cable channels that have lower ratings but collect higher distribution fees from pay-TV operators.
Media analyst David Banks of RBC Capital Markets said in a recent report that CBS is looking to increase the fee Time Warner Cable currently pays from less than $1 per-subscriber, per-month to a figure approaching $2 in the first year and with subsequent increases in later years.
Time Warner Cable - CBS dispute heats up
CBS boss Leslie Moonves warns staff of potential blackout
CBS and Time Warner Cable take their distribution feud public
Follow Joe Flint on Twitter @JBFlint.


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ON LOCATION: People and places behind what's onscreen

PHOTOS: Hollywood back lot moments

PHOTOS: Highest-paid media executives of 2012
ON LOCATION: People and places behind what's onscreen
PHOTOS: Hollywood back apuestas deportivas lot moments
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classic corporate greed that uses the consumer as pawns while in the end, they will tie up the courts at taxpayer expense and only law firms will benefit at the expense of the consumer as all expenses end up there anyway.
If you ever remember back in the mid to late 90s when the predecesor to Time Warner Cable, Adelphia ran campaigns about crimes against stealing, then what the hell do they call this.
With the Lakers and the Dodgers, and CBS.........If you TWC bill goes up one more cent..........I will be cancelling my program.
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Review: Power 106 FM's Powerhouse at Honda Center

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Only one person got booed offstage at Power 106 FM’s sold-out Powerhouse concert at Anaheim’s Honda Center on Saturday night. Luckily for the show and its producers, it wasn’t one of the acts.

Halfway through the night’s nonstop lineup of hip-hop acts, the presiding DJs brought out a few local sports heroes, as they often do at Powerhouse. The Dodgers had won at Angels Stadium earlier that day, and before the host could even finish the phrase, “… From your Los Angeles Angels of Anaheim,” the hissing started. The poor Angels player, Torii Hunter, was only a few hundred yards from his home field and he suffered the wrath of unforgiving fans. Only the arrival of the Dodgers’ Matt Kemp saved the darkening mood and brought out a few cheers.

Perhaps L.A. Dodgers fans were in a mood for gloating. But the catcalls might have said something about this year’s Powerhouse and the state of local hip-hop as well. Unlike previous years, which leaned heavily on the insurgent dance-infused pop-rap that dominates today’s airwaves, this year’s Powerhouse was relatively orthodox and old apuestas deportivas school. With a bill heavy on traditional MCs such as T.I., Young Jeezy, Compton’s Kendrick Lamar and (in regal post-Coachella form) Snoop Dogg, the set suggested that L.A. rap fans, like L.A. sports fans, are interested in some tried-and-true success.
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The undercard at Powerhouse is rarely worth an early arrival, filled with mini-sets by relative newbies, but this year’s was an entertaining hot mess. Local upstart Kid Ink mined a Drake-ish singing-rapping hybrid style on his hit “Time of Your Life.” The DC rapper Wale, on a second round of fame after joining Rick Ross’ Maybach Music squad, has a refined snarl of a delivery — but he unfortunately spent most of his set turning his ire on his own DJ (even, at one point encouraging the audience to boo him — maybe that makes two jeering victims for the night). The cackling rapper YG reaffirmed his claim to the least classy morning-after anthem ever.

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penned as he performed his hit “Toot it and Boot It.”

The important part of the night truly started at Lamar’s set, and the 25-year-old proved he’s at an interesting juncture in rap stardom today. In the ’90s and early 2000s, to be Dr. Dre’s protege was to get the keys to a mansion with a Champagne moat. But despite a full-court press from nearly every serious figure in hip-hop, Lamar is working to break through to pop stardom. But he lived up to expectations here, roughing up his vocals and taking victory-lap trots through the songs “A.D.H.D.” and “The Recipe.”

Young Jeezy and T.I., each unimpeachable stalwarts of rap radio for the last decade, elaborated their tales of Atlanta drug culture in different ways. Jeezy, who relies more on rapping than his blustery ad-libs on his latest, “TM:103 Hustlerz Ambition,” softened his imposing presence a bit on “SupaFreak” and “Leave You Alone,” on which he was joined by Ne-Yo. T.I. has always leaned poppier, and though he alluded to his recent gun-running woes (“I had to take care of some things first”), his set was elastic and snappy -- and his guest MC, the Australian expat Iggy Azalea, made a worthy novice arena appearance.

The show’s final third seemed to misplace its priorities a bit. Snoop Dogg, fresh off playing to 140,000 people over two Coachella weekends, has become the éminence grise of the Power 106 universe. He could quit releasing new music entirely for the rest of his Doggfather reign and still headline shows like this on the strength of his catalog and slithery cool alone. So it felt weird that Roc Nation’s J. Cole and the local newbie Tyga, each young MCs figuring out their aesthetic, could headline over him.

The latter’s Lil Wayne cameo helped his bona fides, and Tyga’s clattering tune “Rack City” is a hit in any decade. But these days, Snoop seems to be aiming past mere rapping into the rare air of cultural transcendence. That’ll play in any arena.
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-- August Brown
Photo: Kendrick Lamar performs during Powerhouse, the annual summer show from the rap station Power 106 FM, at the Honda Center in Anaheim. Credit: Katie Falkenberg / For The Times.
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Review: 'Breaking the Girls' tracks 'Strangers on a Train'

Shawn Ashmore, Madeline Zima and Agnes Bruckner in "Breaking the Girls." (Ryan Aylsworth / Myriad Pictures)
August 2, 2013, 12:23 p.m.
Though not credited as a remake, "Breaking the Girls" takes the basic premise of "Strangers on a Train," the Patricia Highsmith novel famously adapted to the screen by Alfred Hitchcock — I'll kill for you if you'll kill for me — and transports it to the modern day. Law student Sara (Agnes Bruckner) has had a run of misfortune brought on in no small way by a jealous classmate, costing her a job, a scholarship and a place to live. She also meets the rich, troubled Alex (Madeline Zima), setting in motion a series of events to solve all their problems.
The film's screenplay.

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Director Jamie ver futbol en vivo Babbit first broke through with her satiric comedy "But I'm a Cheerleader" before moving mostly to television, working on a wide swath of smart shows including the recently departed "Bunheads." She and her screenwriters have fun throughout, flirting with making the film as a self-aware late-night-cable erotic thriller, as in the three-way make-out scene in a pool that playfully rebuffs the male fantasy of the moment.
"Breaking the Girls" isn't exactly a throwaway, but more an extended act of teasing foreplay, a movie that is fine for what it is but also never really shifts into something more.
"Breaking the Girls"
MPAA rating: None.
Running time: 1 hour, 23 minutes.
Playing: At the Arena Cinema, Hollywood.


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Review: 'Europa Report' gets good mileage from low-budget sci-fi

Karolina Wydra in "Europa Report." (Magnet Releasing)
August 1, 2013, 3:30 p.m.
"Europa Report" is a Grade A version of a B picture, a streamlined science fiction story that smartly tells a familiar tale without breaking the bank.
Though modern moviemaking often mandates that science fiction be synonymous with multimillion-dollar expenditures, director Sebastian Cordero and a crack team including cinematographer Enrique Chediak and production designer Eugenio Caballero (who won an Oscar for Guillermo del Toro's "Pan's Labyrinth") have crafted a visually sophisticated film that elegantly involves audiences on a budget of less than $10 million.
While cinematic spaceships have been leaving our planet for distant destinations at least since Georges Méliès' 1902 "A Trip to the Moon," the unfolding narrative of Europa One (named for the moon of Jupiter it's headed for) captures the excitement of space travel in a way that's not business as usual.
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As written by Philip Gelatt, "Europa Report" is a mock documentary supposedly compiled from thousands of hours of declassified footage taken by eight on-board cams as that ship sped the nearly 400 million miles to Europa. Interviews with Earth-bound project director Dr. Samantha Ungar (Embeth Davidtz) and archival TV news footage fill us in on necessary background.
That TV footage reveals that, excited by indications of conditions on Europa that could produce life, private investors put together $3.7 billion to fund a mission in hopes of making what one scientist calls "the single most profound discovery in human history."
The ship has a six-person, multinational crew whose most memorable members are James Corrigan (Sharlto Copley of "District 9"), who is always making videos for his son; dour Russian Andrei Blok (Michael Nyqvist, the star of the Swedish versions of "The Girl With the Dragon Tattoo" trilogy); and short-haired and sparky pilot Rosa Dasque (Romania's Anamaria Marinca of "4 Months, 3 Weeks, 2 Days").
The gang gets a jolt early in the film when they lose communication with Earth and the crew has to go on for months burdened by the knowledge that "no one knows we're alive."
That loss, combined with a terrifying incident involving two of the crew members, puts everyone on edge as they get closer and closer to Europa.
PHOTOS: Movies Sneaks 2013
Once the landing module alights on this spooky moon, things get increasingly difficult. One virtue of "Europa Report" is that it allows us to feel everyone's insecurity and fear as situations arise that are definitely not in the apuestas online space explorer's handbook.
While "Europa Report" does quite well dramatically without breaking any new ground, its great strength is how striking it is visually and the stratagems it employs to make itself memorable.
Determined to create as realistic a look for the spacecraft as possible, not to mention a credible moonscape for Europa, production designer Caballero consulted closely with scientists from NASA, the Jet Propulsion Laboratory and SpaceX, the Elon Musk-founded private space travel company. The results feel convincing in a way other films have not always managed.
Because of the nature of the script, Caballero had to construct an enclosed 360-degree set, essential for using cinematographer Chediak's system of eight fixed cameras that mimic the spaceship's always-on cams.
"It was unique in that every other movie I've done you move the camera to accommodate the actors," Chediak has said. "On this particular project, you move the actors to accommodate the cameras."
In an age of cynicism and sarcasm, "Europa Report" is also noteworthy because it manages to maintain an air of idealistic hope and a belief in the value of classic questions like "Are we alone?" When one of the crew speaks up and says, "What does a life matter compared to the breadth of knowledge to be learned?" that's the message of the film as well.
'Europa Report'
MPAA rating: PG-13 for sci-fi action and peril
Running time: 1 hour, 30 minutes
Playing: At Sundance Sunset, West Hollywood


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This review pretty much nails what I thought of this movie. I thought it's ballyhooed adherence to real science was a marketing gimick, but, no, it adds to the suspense of it. The cast is excellent. Their low key approach furthers the believabilty of the wonder & the strangeness of being so far far away from home.
I hate to review budgets. I loved "Man Of Steel", but this film rates up there with it & proves, like "Moon", that less is sometimes more . It is far & away the best "lost footage film" I've ever seen. It maybe this year's "District 9" --a film that comes out from nowhere to stun us.
People who love science fiction films --science-based fiction films-- must see this awe inducing film.  
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