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Mike Epps and Nia Long to Star in ABC Comedy Pilot "Uncle Buck"

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Mike Epps has been cast in the title role in Uncle Buck, ABC‘s single-camera comedy pilot based on the classic John Hughes film starring John Candy. Also cast in the project, from Universal TV and Will Packer Prods., is Nia Long.

nialongLike the movie, the series adaptation, written by Steven Cragg and Brian Bradley, centers on Buck Russell (Epps), a childish man who learns how to be an adult by taking care of his brother Will’s kids in a very childish way. Long will play Will’s strong-willed and smart wife.
The new Uncle Buck TV remake (there was a short-lived 1990s Uncle Buck CBS series starring Kevin Meaney) had been conceived with Buck as African American, giving the format a new twist. Packer is known for producing hit feature comedy franchises with Black leads, like Ride Along and Think Like A Man. On ABC, Uncle Buck would be a suitable companion for another single-camera African American family comedy, Black-ish.
article by Nellie Andreeva via deadline.com

Networks Casting More Actors of Color This Pilot Season

More Minority Actors Showing Up on
ABC knew going in to the casting process for its drama pilot “Runner” that it was looking for a Latino leading man, as specified in the script. But the female lead role had no racial or ethnic specificity.
Paula Patton, an African-American actress, landed the role of a woman whose life is ripped apart when she learns her husband, played by Adam Rodriguez, is wrapped up in a Mexican gun-running cartel.
“Runner” is but one example this pilot season of a surge of minority actors landing starring roles in prospective new series. Industry insiders say there’s an undeniable openness to African-American, Latino and Asian thesps on the heels of the success ABC and Fox have had with shows led by diverse casts.
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TV executives have talked for years about the need for the airwaves to reflect the growing cultural diversity of America. But the 2014-15 television season has marked a turning point in the embrace of diversity as a business strategy. Fox has fielded the biggest network TV hit in years with “Empire,” a soap with a largely African-American cast. ABC has scored with Viola Davis leading “How to Get Away With Murder” and the family comedies “Blackish” and “Fresh Off the Boat.”
Such hits prove that broadcast TV in particular can no longer afford to ignore the value of discrete racial and ethnic groups. The role of  “How to Get Away With Murder’s” Annalise Keating was not specifically envisioned for an African-American actress, but the casting of Davis undoubtedly helped generate sampling among black viewers — a demographic group that has boosted the overall turnout for the show.
ABC’s success this season “proves the point that audiences are hungry for shows that are well done but also reflect the world around us,” said Channing Dungey, executive VP of drama development, movies and miniseries for ABC. “It’s not about just diversity, it’s about authenticity. Audiences are really excited to see more of themselves on the screen.”
“Runner” is an example of how this pilot season, minority actors are much more in demand than they have been in the recent past. And with “Black-ish” and “Fresh Off the Boat” drawing crossover demographics, there’s a greater appetite for shows with ethnically specific settings.
“It’s been interesting to see how much more competitive it is with diverse actors and actresses now,” said Dungey, who added that she is proud ABC helped lead the way, not just with “Murder” but with the blossoming of Kerry Washington and “Scandal” into the first successful drama in decades led by an African-American actress.
“The thing I really hope is that this isn’t a passing phase,” Dungey said. “I’m hoping this is a trend that will continue.”
article by Cynthia Littleton via Variety.com

Fox’s "Empire’" Delivers 8th Straight Week of Growth with 14.3 Million Viewers

Empire Fox
UPDATE: In updated Nielsen nationals released Thursday afternoon, Fox’s “Empire” was adjusted up to a 5.8 rating/17 share in adults 18-49 and 14.33 million viewers overall. That leaves it up 53% from its Jan. 7 premiere in 18-49 (5.8 vs. 3.8) and 45% higher in total viewers (14.33 million vs. 9.90 million).
Another week, another record high for Fox phenomenon “Empire,” which continued to show no signs of slowing down Wednesday, two weeks from its first-season finale.
“Empire” has now grown seven consecutive weeks in total viewership since its Jan. 7 premiere: 9.90 million (Jan. 7), 10.32 million (Jan. 14), 11.07 million (Jan. 21), 11.35 million (Jan. 28), 11.47 million (Feb. 4), 11.96 million (Feb. 18), 13.02 million (Feb. 18), 13.90 million and now to 14.3 million.
And in adults 18-49, it’s been up seven times in those eight weeks: 3.8/11, 4.0/12, 4.4/13, 4.3/13, 4.6/14, 4.8/15; 5.2/15; 5.4/15; and now 5.8/17.
Compared to its premiere, Wednesday night’s ninth episode was up 50% in 18-49 (5.7 vs. 3.8) and 43% in overall audience (14.2 million vs. 9.9 million).
With the exception of ABC’s “Modern Family,” no other Wednesday show could generate even half as many young adults as Fox’s “Empire.” And in adults 18-34 and women 18-34, “Empire” more than doubled every series (including “Modern Family”).
Last night’s 5.7 rating in 18-49 for “Empire” puts it ahead of the season premiere of CBS’ “The Big Bang Theory” as the season’s top-rated regularly scheduled broadcast. The last broadcast drama to do a higher same-night rating in its regular timeslot was ABC’s “Grey’s Anatomy” in October 2009.
article by Rick Kissell via Variety.com

Robin Roberts Presents New Series about Medical Breakthroughs

(Image: Facebook)
(Image: Facebook)
If you’re a big Robin Roberts fan and can’t get enough of the radiant personality, you can now catch her in a brand new web series. The Good Morning America host’s company Rock’n Robin Productions is teaming up with WebMD to premiere WebMD’s Future of Health with Robin Roberts. Each episode of the new digital series tells stories of “cutting-edge medical breakthroughs, inspiring individuals working to improve people’s lives, and the people that are benefiting from their efforts.”
In an official statement, Dr. Steven Zatz, President at WebMD, said “We want to create experiences that engage, inspire and motivate people, and we believe that working with great storytellers like Robin Roberts, and producing powerful video content like Future of Health, will enable us to do just that.”
Roberts leads viewers on a fascinating journey through cutting-edge research labs, playgrounds, classrooms and people’s homes as they explore the wonders of medicine and science. The series gives a front seat to the following: innovative use of 3-D printing for prosthetics and organ transplantation, a new obesity treatment that offers a much-needed alternative to highly invasive gastric surgery, transformative new technology that restores vision to the blind, a highly experimental procedure enabling women without a womb to carry and deliver babies of their own, and advances in wireless medicine that turn smartphones into life-saving devices.
Roberts said, “What’s on the medical horizon is incredible, and I hope this is just the first of many series that we will work on together.”
You can catch the five-part digital video series here.
article by Essence Gant via blackenterprise.com

Phylicia Rashad to Star in CBS’ "For Justice" Drama Pilot

Phylicia Rashad
(KEVIN MAZUR/GETTY IMAGES)

Phylicia Rashad has been cast as a series regular in CBS’ drama “For Justice.”
“The Cosby Show” co-star will play a gay woman by the name of Georgina Howe in the pilot, set to be directed by “Selma’s” Ava DuVernay.
Rashad’s character is described has a savvy Washington player who has faced discrimination for her race and sexual orientation, and fights to protect the independence and integrity of her high-profile Civil Rights Division.
The project, based on James Patterson’s novel “The Thomas Berryman Number,” follows a female FBI agent working in the Criminal Section of the Department of Justice’s Civil Rights Division who finds herself caught between her radical real family and her professional family.
“Law & Order” vet Rene Balcer wrote the pilot and will serve as executive producer, alongside DuVernay, Robert De Niro, Jane Rosenthal, James Patterson, Bill Robinson and Leopoldo Gout. Berry Welsh will co-executive produce. CBS TV is the studio.
article by Elizabeth Wagmeister via Variety.com

"Empire" Grows Audience for 7th Straight Week; Growth Spurt Fueled by Young Women, Urban Markets

Timbaland Empire Fox
In music biz terms, Fox’s “Empire” is zooming up the charts with a bullet.
On Wednesday the family soap centered on a hip-hop musical mogul continued its unprecedented growth streak by gaining audience for a seventh straight week, hitting 13.9 million. No series in the history of Nielsen’s People Meters (going back to 1991) had grown with the first five episodes following its premiere, and “Empire” has now bested that by two weeks.
The 20th Century Fox TV/Imagine TV drama stunned the industry with its Jan. 7 premiere, which averaged a 3.8 rating/11 share in adults 18-49 and 9.9 million total viewers, according to Nielsen. It built on its lead-in, the season premiere of “American Idol,” by 32% in  adults 18-34 and logged the net’s top premiere score in this demo in six years.
And it’s only gotten bigger since. “Empire” is part of the ratings boom this season for series that feature diverse casts and executive producers — as exemplified by ABC’s success with comedies “Blackish” and “Fresh Off the Boat” and drama “How to Get Away With Murder.” But “Empire’s” audience is so big that it is clearly a big-tent hit with broad viewership across a range of demographics.
In adults 18-49, it has grown in six of the last seven weeks, with Wednesday night’s rating (5.4) — a monster 42% build on its premiere — the top score for a regularly scheduled broadcast drama since ABC’s “Grey’s Anatomy” in the fall of 2010.
The biggest growth spurt for “Empire” has come in women 18-34, in which last night’s rating (6.2) was 68% larger than its premiere rating (3.7).
“Empire” figures to once again rank as the week’s top-rated broadcast series in adults 18-49, having leapfrogged CBS vet “The Big Bang Theory” for the first time last week. And for the season, “Empire” is on track to finish as broadcast television’s No. 1 drama; only AMC’s “The Walking Dead” rates higher.
(Fox estimates that in the month since the “Empire” pilot aired, it has been watched by 22.6 million when all time-shifting and viewership on other nonlinear platforms are included.)
“Empire” is being driven by a young, urban audience and is faring especially well in many of the nation’s biggest cities.
Among the top 12 markets, Wednesday’s episode of “Empire” won in the 18-49 demo in every one but Boston. The top scores in those cities came from Atlanta (14.9 rating/29 share), Detroit (9.2/24), Washington, D.C. (7.8/23), Cleveland (7.5/17) and New York (7.3/20) — all well above the show’s national average of 6.0/17.
Roughly two-thirds of those age 2 and older watching “Empire” last Wednesday night (66.9%) were African-Americans. It joins ABC’s Thursday tandem of “Scandal” (42% African-American) and newcomer “How to Get Away Murder” (41%) as broadcast dramas in which more than 4 in 10 viewers are black.
In addition to “How to Get Away With Murder,” ABC has also added two solid comedies featuring minority leads (“Black-ish” and “Fresh Off the Boat”) this season while its “Cristela” has fared decently on Fridays. CW, meanwhile, has garnered critical accolades and is slowly building an audience for its comedic hour “Jane the Virgin.”
All of these series are delivering a younger skew than other shows on their networks, which only makes sense based on U.S. Census data.
According to Nielsen’s calculation of the 116 million-plus TV homes in the U.S. this season, whites make up 75% of the nation’s 50-and-older population, but they comprise 59.3% of the adults 18-49 pie — down from 63.5% just five years ago.
African-Americans make up 14.2% (up from 13.3%) and Asian-Americans have jumped to 5.6% (from 5.0), but the biggest growth spurt has come among Hispanics, which have grown from 17.6% to 20.1% of the country’s TV-viewing population.
In addition to the two-thirds of its audience that is black, “Empire” has also dominated in the top-10 Texas markets of Dallas (7.2 local rating in 18-49/19 share last night) and Houston (7.0/18), where Hispanics make up more than 40% of the population.
In fact, with about 10% of its audience Hispanic, “Empire” ranks as the season’s No. 1 new series and No. 1 broadcast drama overall with Hispanic (English-language) adults 18-49 and 18-34.
The median age for “Empire” last night was 43.5, making it the night’s youngest-skewing program on the Big Four. The net’s “Gotham” is the only other current drama on ABC, CBS, NBC or Fox this season to consistently have a median age under 50.
Another indication of just how big “Empire” has become is that while roughly 63% of its 18-49 audience is female, it also ranks as the season’s No. 1 new series in men 18-49.
“Empire” is benefiting from increasingly strong buzz in social media. Based on Nielsen Social Guide and Twitter metrics, “Empire” now has the highest average number of tweets per episode during its live airings (381,770) than any other broadcast drama this season — overtaking ABC’s “Scandal” (355,012).
And last night’s episode generated a record 714,742 social comments.
Ratings for primetime shows tend to drift downward at the onset of Daylight Saving Time (which starts March 8), so it’s likely that “Empire’s” growth streak will come to an end in one of the weeks prior to its March 25 finale. But at this point, you’d be crazy to bet against it.
article by Rick Kissell via Variety.com

Paula Patton Lands Lead Role In ABC Drama Pilot "Runner"

Paula Patton Medavoy Management
(KEVORK DJANSEZIAN/GETTY IMAGES)

Paula Patton will star in ABC’s drama pilot “Runner”.  Patton will play the lead, Lauren Marks, a woman whose perfect life is torn apart by one twist of fate. To uncover the truth, Lauren must follow a trail of lies that take her into the world of cartels and the illegal gun trade between the U.S. and Mexico.
Australian director Michael Offer (“How to Get Away With Murder,” “Longmire”) will direct the pilot from 20th Century Fox and ABC Studios. “Runner” was written by Michael Cooney, who will executive produce with Peter Horton, Ian Sander, Kim Moses and Jon Cowan, with Cowan as showrunner.
The project marks Patton’s first-ever TV series as a regular. She co-starred in “Mission: Impossible — Ghost Protocol” with Tom Cruise, “Deja Vu” with Denzel Washington and “Precious.” Patton will also star in “Warcraft,” alongside Travis Fimmel and Dominic Cooper, set to hit theaters in 2016.
article by Elizabeth Wagmeister via Variety.com

"Empire" Hits New High with 6th Week of Growth and over 13 Million Viewers

Empire Ratings Fox
According to Variety.com, primetime television has never seen a ratings growth story like Fox’s smash hit drama “Empire,” which continued to defy the odds on Wednesday night by drawing a series-high audience for a sixth consecutive week.
In its 7th week of airing, “Empire” moved above the 13-million mark in total viewers for the first time (13.02 million).  As a result, it gained week to week by a big 8% in the 18-49 demographic and 9% in total viewers; and vs. its premiere on Jan. 7, it’s up 37% in 18-49 and 32% in total viewers.
Since debuting with 9.9 million viewers on Jan. 7, “Empire” has grown with each week in total viewers: 10.32 million, 11.07 million, 11.35 million, 11.47 million, 11.96 million and now roughly 12.9 million. In 18-49, it has set highs with five of its six episodes following its premiere, which did a 3.8 rating/11 share: 4.0/12, 4.4/13, 4.3/13, 4.6/14, 4.8/15 and now 5.2/15.
Compared to its premiere, last night’s “Empire” was up 34% in adults 18-49, 55% in adults 18-34 and 30% in total viewers.
Additionally, in social media tracking, last night’s “Empire” episode generated a whopping 615,461 tweets on Twitter during its on-air broadcast. (By comparison, AMC’s “The Walking Dead” drew 243,986 on Sunday.
article by Lori Lakin Hutcherson (follow @lakinhutcherson)

Tonight's CNN Special "Witnessed: The Assassination of Malcolm X" Hopes to Answer What Really Happened in Audubon Ballroom

malcolmprayer
Almost 50 years ago, El-Hajj Malik El-Shabazz, more popularly known as Malcolm X, who had risen to prominence as one of the most outspoken and public faces of the Nation of Islam, was gunned down inside the Audubon Ballroom in New York. And ever since his death Feb. 21, 1965, there has been speculation as to who had the civil rights leader murdered.
Some have argued that the government was complicit in his death; others have argued his public feud with NOI leader Elijah Muhammad may have led to his assassination. On Tuesday at 9 p.m., CNN premieres Witnessed: The Assassination of Malcolm X, a special report which asks some of those who were there when the shooting occurred—Earl Grant, former radio reporter Gene Simpson, Malcolm X’s daughter Ilyasah Shabazz and Peter Bailey, an associate of Malcolm’s—to share their memories.
“We failed him, I tried to help him,” photographer and friend Grant cries, when describing the horrifying day inside the Audubon Ballroom, and “describes the chaotic moments after the shooting.” Grant takes viewers inside his private photo collection, sharing never-before-seen images of the civil rights icon.
Zaheer Ali, who served as project manager of the Malcolm X Project at Columbia University, leads an online experience at cnn.com that delves into the unanswered questions surrounding the assassination. Bailey describes Malcolm’s plan to expose injustices against black Americans before he was gunned down, and Simpson, who was in the front row of the Audubon Ballroom when Malcolm took the stage, discusses the first time he interviewed the civil rights leader.
article by Stephen A. Crockett Jr. via theroot.com

REVIEW: BET's "The Book of Negroes" Miniseries is a Compelling Look at a Slave's Journey

As a handsome period miniseries, “The Book of Negroes,” which premieres tonight on BET and continues through Wednesday, is a first for a network whose original offerings have often seemed something less than ambitious. That the miniseries is Canadian-made, based on a novel by African Canadian author Lawrence Hill, who co-wrote the screenplay with Jamaican-born Canadian director Clement Virgo, is noteworthy but does not diminish the moment. What would PBS be without the BBC?

The series’ provenance does mean that, as a story of slavery and escape from slavery, it differs in substance and theme from American tellings. The road here, which begins in Mali in 1761 and ends in London in 1807, runs through snowy Nova Scotia (by way of South Carolina, New York and Sierra Leone); in its recounting of the American Revolution, from the black (and Commonwealth) perspective, the British are better than villains and the colonists not quite heroes.
“The Book of Negroes,” which refers to a historical ledger of colonial African Americans granted freedom by the British for their help in the war, is itself a paean to names, words, storytelling and literacy, as containers of the past, organizers of the present and keys to the future. Its heroine is Aminata Diallo (Aunjanue Ellis, “The Help”), the bright, independent child of bright, independent parents; she has been trained as a midwife but dreams of being a jeli, or griot, an oral historian of her people.

The first hour, which follows Aminata from Mali to South Carolina, is the series’ most original and compelling. It’s powered by a deep, serious and at surprising times sweet performance by Shailyn Pierre-Dixon, now 11, who plays the young Aminata. The scenes in which she is captured and hustled on her way, through one strange experience after another, toward American slavery, have a sharp-focus dreaminess to them, a kind of horrible beauty. With little exposition, seen as they are from the point of view of one lacking words or context, they feel less played than lived through.
As the series progresses and history moves more swiftly by, its points are made more explicitly; the ironies float on the surface. (Colonial white Americans describe themselves as “slaves” to the British.) For some characters, the story arcs, whether of sin and redemption or of just desserts finally served, are fairly mathematical — sometimes at the expense of an emotional payoff. The story stays novel enough, nevertheless, and the understated tone of the production and performances keep the drama grounded. Hill and Virgo catch the ordinariness even in the awfulness — the creepy dailiness of the business of slavery, and the capability of those who profit from it to regard themselves just and even tender people. In the same way, to the opposite effects, they allow their protagonists daily lives and love; they are not victims all the time.
At the same time, “The Book of Negroes” is an adventure story, a straight-up classic romance. Lyriq Bent plays Chekura, Aminata’s longtime love interest.
The heroine’s fearless and clever character, the self-knowledge and self-possession her tormentors lack, and her gift for survival are fixed from first to last. She is sometimes thwarted but never altered. If this makes “The Book of Negroes” less psychologically complex than it otherwise might be, there are real pleasures and comforts to be had from it.
“The most capable woman I’ve ever seen,” New York innkeeper Sam Fraunces (Cuba Gooding Jr.), of Fraunces Tavern fame, calls her. (There is an old tradition, without much scholarly support, that Fraunces, who was nicknamed Black Sam, was of African descent; in any case, Hill goes with it.) Aminata holds on to her name; she trades slap for slap; no one can tell her what to do. She asks George Washington (a bit of an officious boob in this rendering), “Do you think the Negro will one day have his freedom like you Americans?”
“I’m afraid the general must be on his way,” his flack responds.
review by Robert Lloyd via latimes.com