Tag Archives: TV

Beyond cat videos: YouTube will offer its own pay-TV service

Fed up with paying for cable the traditional way? You may soon be able to subscribe to it over the internet with … YouTube.

The Google-owned site, known for cat videos and do-it-yourself makeup tutorials, is the latest company to offer a version of cable that looks and feels more like Netflix. Dish, Sony and AT&T already have internet cable alternatives, and Hulu has one coming soon.

None of these have yet been huge hits.

YouTube is hoping its expertise in recommendations and search makes it stand out.

Dubbed YouTube TV, the new service will cost $35 a month for access to about 40 channels when it launches in the next few months, similar to rivals. But it will be initially limited to a few cities where it has deals with broadcasters. And so far, Google doesn’t appear to have deals for popular channels such as HBO, AMC and TBS.

THE ONLINE PROPOSITION

There are roughly 3 million fewer traditional TV households in the United States then there were four years ago, a decline of about 3 percent.

Online alternatives such as Dish’s Sling TV, AT&T’s DirecTV Now and Sony’s PlayStation Vue had about 1.5 million customers combined in 2016.

But companies like YouTube believe a substantial number of people could be persuaded to pay for TV online. Many of these potential customers are younger people who have never had cable and watch shows and movies primarily through online services such as Netflix.

But these online cable alternatives have drawbacks of their own. They may not offer substantial savings compared with cable, and offer incomplete channel lineups and inconsistent video quality.

YOUTUBE’S OFFERING

YouTube’s service will cost $35 a month, similar to the cheapest deals from AT&T’s DirecTV Now and Sony’s PlayStation Vue, but more expensive than Dish’s Sling TV. It comes with unlimited storage in a cloud DVR; only Vue also offers a DVR to all customers. It will allow three people to watch on different devices at the same time.

The new service underscores how far YouTube has evolved since its early days as a repository for pirated shows and movies. Over the past several years, YouTube has beefed up anti-piracy controls and allowed television producers and networks to share in ad revenue. Those companies are now willing to partner with YouTube on this new endeavor.

But YouTube still faces challenges making this work. In addition to the no-shows in its channel lineup, it will launch only in cities where it can offer live feeds of the major broadcasters, which tend to be larger metropolitan areas. (YouTube says it will work on expanding to other markets, although that will require cutting deals with the owners of network affiliate stations in those cities.) It will work on a TV only via Google’s Chromecast streaming gadget.

WHAT’S THE PROBLEM?

In general, internet TV services are an incomplete substitute for cable.

Many popular programs aren’t available because digital rights are a hodgepodge. You can’t watch most NFL games on phones using these services — Verizon has those exclusive rights. DirecTV Now and Sling don’t carry CBS, and live feeds for ABC, CBS and NBC are available only in some big cities, as most network stations are owned by third parties.

Although many cable subscribers say they don’t need packages of 500 channels, they don’t agree on which channels they actually want. These online services offer cheaper packages with fewer channels, but they are bound to be missing someone’s favorites. As with cable, the cost mounts the more channels you add.

Cable companies also offer discounts when you buy internet and TV services together, which can be cheaper than getting them separately. Prices for the online services start at $20 for Sling’s cheapest bundle to $70 and up for the biggest packages from Vue and DirecTV Now.

Beyond that, these online services also have had quality issues with video freezing or not working at all. And to watch on a TV, you need an extra gadget like an Apple TV, a PlayStation game console, a Roku box or, now, a Chromecast — and not every service works with every gadget.

How to watch Oscar-nominated flicks from your couch

Movie fans, rejoice! You can — for a price — watch about two-thirds of the Oscar-nominated flicks from your couch.

Here’s your viewing guide:

BEST PICTURE (AND DIRECTING)

None of the nine best picture nominees is available through a subscription service.

You can rent “Arrival” and “Hell or High Water” through Amazon, Google Play or Apple’s iTunes.

You’ll have to buy downloads of “Hacksaw Ridge,” “Manchester by the Sea” and “Moonlight” to watch over the weekend, though iTunes says rentals of all three are coming over the weekend.

“Fences” will be available for purchase only next Friday.

Rentals typically cost about $3 or $4, or a dollar more if you want it in high definition.

Buying downloads usually cost about $15 for standard definition or $20 for HD.

Shop around, as prices aren’t always the same at the various services. Based on the cheapest options, including waiting for rentals, you’ll have to spend more than $35 on the best picture movies.

You’ll need to visit a theater for “Hidden Figures,” “La La Land” and “Lion.”

All three are available as pre-orders, meaning you buy now and the download will automatically be available whenever it comes out online. But the movies aren’t likely to be online before the Feb. 26 ceremony.

The good news is you’ll get the nominees for best directing out of the way, as all five movies are also up for best picture.

ACTING NOMINEES

In addition to the best picture flicks, you’ll need to watch six more movies to catch everyone nominated for the four acting categories.

“Captain Fantastic,” “Florence Foster Jenkins” and “Loving” are available for rent. “Nocturnal Animals” is available for purchase right away, with a rent option scheduled for Tuesday. “Jackie” comes out Tuesday.

The cumulative total: about $70.

To see “Elle,” you’ll need to visit your local cineplex or indie theater.

SCREENPLAY CATEGORIES

All but two of the nominees in the two writing categories overlap with best picture. “The Lobster” is available through Amazon Prime, while “20th Century Women” isn’t online at all.

FULL-LENGTH CARTOONS

Netflix has “Zootopia.” “Kubo and the Two Strings” is available to rent. “Moana” will be available for purchase Tuesday. Head to theaters for “My Life as a Zucchini” and “The Red Turtle.”

FULL-LENGTH DOCUMENTARIES

Netflix produced “13th” and streams it exclusively. Amazon Prime has “Life, Animated.” Hulu has “O.J.: Made in America” (as does WatchESPN, though you’ll need to sign in with a cable or satellite TV account).

“Fire At Sea” can be rented, while “I Am Not Your Negro” isn’t expected online until June.

FOREIGN LANGUAGE

Rent “A Man Called Ove” and “Tanna.” “Toni Erdmann” isn’t available until April 11. Pre-orders are being taken for “The Salesman,” but there’s no release date. Buy a ticket for “Land of Mine.”

THE 15 SHORTS

The documentary shorts “Extremis” and “The White Helmets” are available exclusively at Netflix. You can purchase the animated “Piper” through Amazon, Google Play and iTunes. ITunes also has the live action “La Femme et le TGV” and is expected to get the animated “Blind Vaysha” and “Borrowed Time” on Tuesday. Shorts cost about $2 each to buy.

The cable channel Shorts HD plans to release the shorts online on Tuesday, likely in separate packages for each of the three categories. According to iTunes, the package for animated shorts will cost about $13 and will include four of the five nominees. You’ll have to buy Pixar’s “Piper” separately. It’s not known yet whether the packages for live action and documentary shorts will include all the nominees. Some have been left out in past years because of rights issues.

To make sure you see them all, you’ll need to visit a theater, where Shorts HD runs screenings of all of them. In smaller cities, screenings are sometimes held at libraries or museums instead.

AND THE REST …

That leaves 15 movies for lower-profile categories such as music and makeup.

Netflix has “The Jungle Book,” while Hulu and Amazon Prime offer “13 Hours: The Secret Soldiers of Benghazi.” HBO has “Hail, Caesar!” and “Jim: The James Foley Story.”

Five other movies can be rented, while two are for purchase only.

That means theaters for four — if you can still find a screening. These include big releases such as “Rogue One” and “Fantastic Beasts and Where to Find Them,” so perhaps you’ve seen them already.

WATCHING THE SHOW

In major cities, the ceremony itself will be streamed online at abc.com and the ABC app if you can’t get to a TV. However, you’ll need to sign in with a cable or satellite account.

You also might be able to watch through an online TV subscription with Sling TV, PlayStation Vue or DirecTV Now. Availability depends on where you live; only a handful of ABC stations are offered this way.

For the E! channel’s red carpet coverage, you’ll need a subscription with an online TV service or a traditional cable or satellite provider. The cheapest plan with both ABC and E! is at DirecTV Now for $35 a month.

Oscar.com will have backstage and red-carpet coverage, starting at 7 p.m. ET. The stream continues once the ceremony begins at 8:30 p.m., but what’s on stage will be only on ABC. It’s free, with no cable or satellite account required.

Epic ‘Planet Earth II’ offers creatures’-eye view of nature

From jungles to deserts to mountains, the BBC’s epic nature series “Planet Earth II” takes viewers around the world — and around many genres of television.

The fortitude of a penguin family tugs heartstrings like a love story. The snail’s-pace courtship of a three-toed sloth is soothing comfort TV. And a life-or-death contest between baby iguanas and writhing racer snakes is heart-in-mouth action thriller.

The seven-part series, which begins in the U.S. on Saturday with a simulcast on BBC America, AMC and SundanceTV, is a spectacular demonstration of how far nature programs have come. And no one has been more closely linked to their evolution than David Attenborough, the 90-year-old naturalist who narrates “Planet Earth II.”

Attenborough has been making wildlife documentaries for so long that, when asked about the biggest technological change he’s seen, suggests “the shift from black-and-white to color” before settling on the transformative power of digital photography.

Speaking to The Associated Press ahead of the show’s U.S. premiere, he said in the days of celluloid film, “I went for as long as 2 1/2 months without seeing what I’d filmed.”

A decade ago, the BBC’s original “Planet Earth” was the first nature series filmed in high definition. The new series — shot in razor-sharp ultra-HD — uses even more technological wizardry. Stabilizers and drones let the cameras roam, capturing creatures’-eye-views of leaping lemurs and fighting Komodo dragons. Remote camera traps allowed close-ups of elusive snow leopards and grizzly bears.

The result is a show that gets viewers closer to the animals than ever before — and more emotionally involved. Broadcast in Britain in the fall, “Planet Earth II” has been sold around the world and starts airing this week in Canada and Australia.

Attenborough says in the past, program-makers felt “we weren’t giving the viewers the climax that they wanted” if a predator failed to catch their prey. In real life, he said, “the failure is more common and more significant than the catching. … Lions fail about eight times out of 10.”

Nowadays, producers understand that viewers often want to cheer for the underdog. When “Planet Earth II” aired in Britain, millions watched, caught between horror and hope, as newly hatched baby iguanas tried to make it across a Galapagos beach without being devoured by hungry racer snakes.

Series producer Tom Hugh-Jones said he thinks a growing number of female producers has added “a lot more emotion” to wildlife programs.

“They see different things, little looks or tender moments,” he said. “The male producers tend to go for the more bombastic stuff.”

The crew, who spent more than 2,000 days filming in 40 countries, also faced the fraught question of whether to intervene in life-and-death situations.

“We wouldn’t stop a predator from catching its prey, because that’s the natural cycle of things. And the predator needs to eat as much as the prey,” Hugh-Jones said.

But crew members stepped in to save a fledgling noddy bird that had become covered in sticky seeds.

“In certain situations, where you can see very little benefit of that bird dying, apart from maybe a bit of fertilizer for the tree, it feels fair enough to help the animal out of a sticky situation,” Hugh-Jones said.

It’s not just technology but the planet that has changed in the decade since the first “Planet Earth.” For one thing, a majority of the world’s population now lives in cities.

Alongside episodes exploring islands, mountains, jungles, deserts and grasslands, “Planet Earth II” devotes one episode to urban wildlife _ including Mumbai’s leopards, Manhattan’s peregrine falcons and the pesky raccoons of Toronto.

Climate change is also reshaping the globe and creating new dangers. It worries Attenborough, who has been exploring the beauty of the natural world for nine decades.

He admits he is not an optimist about the future of the natural world.

“I don’t think the world is going to recover to what it was like when I was a boy,” he said “But I am persuaded that we can ameliorate things. We can prevent things getting worse than they might be if we did nothing.”

Attenborough thinks the keys to that are cutting waste and getting far more of our energy from renewable sources. He’s among the scientists and educators behind the Global Apollo Program, aimed at drastically cutting the cost of carbon-free energy.

Attenborough believes plentiful and cheap green energy is “just out there, just beyond our reach. And all we need to do is organize scientific research to solve the particular problems on that roadmap.”

“It’s not there yet, but it’s possible,” he said. “And while there’s possibility, there’s hope.”

 

PFAW TV ad urges opposition to Gorsuch nomination

The progressive People For the American Way on Feb. 6 released a TV ad urging viewers to call their senators to oppose President Donald Trump’s Supreme Court nominee — Judge Neil Gorsuch.

The ad features an image of judge ripping up the Constitution and offers details as to why Gorsuch is unfit to sit on the nation’s highest court.

PFAW plans to run the ad for a week in Alaska, Arizona, Florida, Indiana, Maine, Missouri, Montana, Nevada, North Dakota, Pennsylvania, South Carolina and West Virginia.

“Americans know we need Supreme Court justices who will protect the most fundamental American freedoms and Judge Gorsuch cannot be trusted to do that,” PFAW president Michael Keegan said in a news release. “We’re releasing this ad to shine a spotlight on the threat Judge Gorsuch poses to the America Way. We urge Americans across the country to call their senators and make clear that they expect their senators to stand up against Gorsuch, a Supreme Court nominee who prioritizes corporate interests over the constitutional rights that Americans rely on.”

PFAW executive VP Marge Baker added. “Judge Gorsuch has criticized courts being used to advance core constitutional rights, e.g. the rights of LGBTQ people, but he does think the courts should be used to prop up corporations at the expense of everyday Americans. That’s absurd. Supreme Court justices serve for life — Trump could devastate fundamental rights for decades if the Senate confirms Judge Gorsuch, but we have the power to stop him by calling on our senators today to oppose this extreme nominee.”

What each of the TV networks are planning for election night

The long-running television drama known as Campaign 2016 reaches its conclusion tonight, and tens of millions of Americans will be following the results on their television screens.

The record election night audience of 71.5 million viewers came on the night of Barack Obama’s first victory in 2008 (it was 66.8 million in 2012).

Given the consistent level of interest throughout the 2016 campaign, it’s not hard to imagine that record being broken.

Besides following on TV, many of those viewers will have second or third screens at hand to dive deeper into results.

Here’s a thumbnail sketch of network plans:

NBC

NBC is the defending election night ratings champion and that’s a major point of pride for a television news division.

With Brian Williams now exiled to MSNBC, the main network is taking the team approach with Lester Holt, Savannah Guthrie and Chuck Todd as headliners for its coverage.

Tom Brokaw is a comforting presence as an analyst: He’s been involved in every NBC election night since 1968.

As in the past, NBC is dressing up New York’s Rockefeller Plaza, with the front of its headquarters lighting up in red and blue to mark the electoral progress of Hillary Clinton and Donald Trump and a map of the United States superimposed on the famed skating rink.

Todd will be NBC’s guru of exit polls and the electoral map.

Andrea Mitchell will report live from the Clinton campaign headquarters, with Katy Tur doing the same at Trump’s.

Each of the three top broadcasters will air elections coverage from 7 p.m. to 2 a.m. ET.

ABC

The current and two former anchors of ABC’s flagship “World News Tonight” broadcast will be on the set election night, but George Stephanopoulos will lead the coverage.

Stephanopoulos is ABC’s top man in politics, and it will be his first election night as the chief anchor.

Election night is all hands on deck, however, and Charles Gibson is coming out of retirement to be on the set. Diane Sawyer, who anchored ABC’s coverage four years ago, will also participate, along with current “World News Tonight” anchor David Muir.

ABC’s coverage will originate from Times Square, and Michael Strahan of “Good Morning America” will be outside to get public reaction.

ABC is stationing Robin Roberts at Hillary Clinton’s headquarters and Amy Robach at Donald Trump’s.

ABC News also has the closely watched prognosticator, Nate Silver of the FiveThirtyEight website, giving state-by-state analysis.

ABC will also air a special edition of “Nightline” from 2 to 4 a.m. ET.

CBS

CBS is stressing the ensemble approach for its coverage and showcasing its entire morning show team.

Rather than declare Scott Pelley as its chief anchor, CBS News is giving equal billing to seven different personalities: Besides Pelley, they are the morning show team of Charlie Rose, Gayle King and Norah O’Donnell, the network political director John Dickerson, correspondent Elaine Quijano and semi-retired anchor Bob Schieffer.

Rose will showcase his interviewing and also lead a panel of experts for analysis.

Anthony Mason is CBS’ man at the maps.

Major Garrett will cover Trump headquarters and Nancy Cordes will be with Clinton.

The CBSN streaming service, which celebrates its second birthday this weekend, will also stream a continuous news report Election Day and night.

CNN

Election night coverage on CNN begins before any of the polls close, at 4 p.m. ET, with Wolf Blitzer, Jake Tapper, Anderson Cooper and Dana Bash tag-teaming it.

Actually, Election Day coverage begins 16 hours earlier, with CNN appealing to insomniacs with a live overnight political show hosted by Poppy Harlow.

The network is stationing 25 correspondents to report from polling sites at swing states across the country.

John King is back in front of CNN’s Magic Wall of data, David Chalian will cover exit polls and Mark Preston is stationed at the network’s decision desk. Gloria Borger, David Axelrod, Nia-Malika Henderson and Michael Smerconish are at the analysts’ desk.

For overseas viewers, CNN International will simulcast the main network’s elections coverage all over the world.

MSNBC

No longer on the main network, Williams will anchor MSNBC’s coverage as part of a team with Rachel Maddow and Chris Matthews.

MSNBC’s coverage starts at 6 p.m., an hour earlier than NBC, and will draw on the same bench of experts used by the main network.

PBS

Judy Woodruff and Gwen Ifill will anchor PBS’ election night coverage, which begins at 8 p.m. ET on the public broadcasting network.

John Yang will be at Clinton headquarters in New York and Jeffrey Brown will be following Trump.

PBS’ list of analysts include David Brooks of The New York Times, Amy Walter from the Cook Political Report, veteran broadcaster Jeff Greenfield, Mitt Romney’s former campaign chief Stuart Stevens and former Obama pollster Cornell Belcher.

C-SPAN

If you tire of television analysts, C-SPAN offers an alternative.

The network will dart around the country to hear victory and concession speeches by candidates running for various races.

The network will also take viewer calls and sample comments from social media throughout the night, beginning at 8 p.m. ET.

Deadly season for lesbian, bisexual TV characters

A record number of gay characters are featured on broadcast series, but small-screen shows overall can be deadly for the female ones, according to a study released this fall.

More than 25 lesbian and bisexual female characters died on scripted broadcast, cable and streaming series this year, the media advocacy group GLAAD found in its report on small-screen diversity.

While TV remains far ahead of film in gay representations, the medium “failed queer women this year” by continuing the “harmful ‘bury your gays’ trope,” the report said.

The violent deaths included characters Poussey Washington (played by Samira Wiley on “Orange is the New Black”) and Bea Smith (Danielle Cormack on “Wentworth”).

It’s part of a decade-long pattern in which gay or transgender characters are killed to further a straight character’s story line, GLAAD said, sending what it called the “dangerous” message that gay people are disposable.

For its annual report titled “Where We Are on TV,” researchers tallied the LGBTQ characters seen or set to be portrayed in the period from June 2016 to May 2017. Counts were based on series airing or announced and for which casting has been confirmed.

The study, which in 2005 began examining other aspects of diversity on TV, found record percentages of people of color and people with disabilities depicted on broadcast shows.

Among the detailed findings:

  • Broadcast TV includes the highest percentage of regularly appearing gay characters — 4.8 percent — since Gay rights organization GLAAD began its count 21 years ago.

Among nearly 900 series regular characters on ABC, CBS, CW, Fox and NBC, 43 characters are LGBTQ, up from 35 last season.

  • Streamed shows included 65 regular and recurring LGBTQ characters, up six from last season. Lesbians, including characters on “One Mississippi” and “Orange is the New Black,” account for the majority of characters, 43 percent, a far higher share than on broadcast or cable.
  • Cable series held steady with 142 regular and recurring LGBTQ characters, with a 5 percent increase in the number of gay men but a 2 percent drop in the number of lesbian characters depicted.
  • The number of transgender characters in regular or recurring appearances on all platforms has more than doubled from last season, from seven to 16.
  • Characters with a disability represented 1.7 percent of all regularly seen broadcast characters, up from 0.9 percent last season. Each platform has at least one LGBTQ character that’s HIV-positive, with only one such character a regular (Oliver on “How to Get Away with Murder”).
  • African-Americans will be 20 percent (180) of regularly seen characters on prime-time broadcast shows this season, the highest share yet found by GLAAD. But black women are underrepresented at 38 percent of the total, or 69 characters.
  • The percentage of regularly appearing Asian-Pacific Islanders on broadcast TV hit 6 percent, the highest tally found by GLAAD and slightly more than the group’s U.S. population percentage. Contributing to the increase are the Asian-American family shows “Fresh Off the Boat” and “Dr. Ken.”
  • Latino characters rose a point to 8 percent, equaling the highest representation found two seasons ago by GLAAD. That differs sharply from the 17 percent Latino representation in the U.S. population as measured by the Census Bureau, the report said.

Johnson, Feingold prepare for 1st debate in tightening race

Republican Sen. Ron Johnson and former Democratic Sen. Russ Feingold are preparing to meet for the first of two televised debates in their tightening race.

They’ve been here before, six years ago, when Feingold was the more experienced, polished politician and Johnson a underdog newcomer. This year, Johnson enters Friday’s debate in Green Bay — just 25 days before the election — as the incumbent.

Even so, the underlying dynamic remains the same, said Republican strategist Mark Graul, who helped Johnson prepare in 2010 and again is lending his advice. What’s he telling Johnson?

“To be himself,” Graul said. “Ron Johnson is famously not a politician. He’s not the guy who’s going to go up there and deliver the canned one-liners and sound bites.”

Still, there’s more pressure on Johnson to shake up the race, given he’s trailing in polls, said Paul Maslin, a Democratic pollster from Madison. Feingold — who’s been in politics for 34 years, 28 in elected office — should stay the course, not do anything too dramatic, and “keep on keepin’ on,” Maslin said.

The presidential race has cast a long shadow over the race, as Johnson has long been seen as vulnerable due to the state generally skewing Democratic in presidential years. But he was buoyed by a Marquette University Law School poll released this week showing the race as nearly even.

He’s also become increasingly aggressive on the campaign trail, sticking by Donald Trump in the wake of sexual assault allegations and challenging Feingold to defend backing of Hillary Clinton.

Meanwhile, Feingold has been careful not to break ties with the more liberal wing of the party, appearing at recent rallies with Massachusetts Sen. Elizabeth Warren and Vermont Sen. Bernie Sanders.

Johnson expects Feingold to try to use his support for Trump against him in the debate, which he says he’ll counter by comparing Feingold’s “lack of having a record of accomplishment” with his own record in the Senate.

Johnson’s Senate office released a report this week highlighting his work as chairman of the Senate Homeland Security and Governmental Affairs Committee, noting bills passed on issues like border and immigration security and reducing federal regulations.

Feingold’s signature legislation in the Senate was co-sponsoring with Republican Sen. John McCain a campaign finance overhaul. He also was the only senator to vote against the Patriot Act, which was enacted after the Sept. 11 terrorist attacks, and opposed President Barack Obama’s decision to expand the war in Afghanistan.

He was a vocal supporter of Obama’s health care overhaul law.

Johnson has been preparing for Friday’s showdown by going over tapes from 2010’s three debates.

Feingold campaign spokesman Michael Tyler said he’s been “listening to the needs of middle-income and working families” in advance of the debate.

The two will take questions from a panel of journalists during the hour-long debate, which is sponsored by the Wisconsin Broadcasters Association and will be broadcast widely across the state as well as on C-SPAN.

Feingold and Johnson’s second and only other planned debate is Tuesday in Milwaukee. That 90-minute debate will be hosted by WISN-TV and the Marquette University Law School and moderated by Mike Gousha, a veteran broadcast political journalist.

Trump was lewd, sexist, say ‘Apprentice’ cast and crew

Donald Trump repeatedly demeaned women with sexist language in his years as a reality TV boss, according to The Apprentice insiders who said he rated female contestants by the size of their breasts and talked about which ones he’d like to have sex with.

The Associated Press interviewed more than 20 people — former crew members, editors and contestants — who described crass behavior by Trump behind the scenes of the long-running hit show, in which aspiring capitalists were given tasks to perform as they competed for jobs working for him.

The staffers and contestants agreed to recount their experiences as Trump’s behavior toward women has become a core issue in the presidential campaign. Interviewed separately, they gave concurring accounts of inappropriate conduct on the set.

Eight former crew members recalled that he repeatedly made lewd comments about a camerawoman he said had a nice rear, comparing her beauty to that of his daughter, Ivanka.

During one season, Trump called for female contestants to wear shorter dresses that also showed more cleavage, according to contestant Gene Folkes.

Several cast members said Trump had one female contestant twirl before him so he could ogle her figure.

Randal Pinkett, who won the program in December 2005 and who has recently criticized Trump during his run for president, said he remembered the real estate mogul talking about which female contestants he wanted to sleep with, even though Trump had married former model Melania Knauss earlier that year:   “He was like ‘Isn’t she hot, check her out,’ kind of gawking, something to the effect of ‘I’d like to hit that.’”

The Trump campaign issued a general denial. “These outlandish, unsubstantiated, and totally false claims fabricated by publicity hungry, opportunistic, disgruntled former employees, have no merit whatsoever,” said Hope Hicks, Trump’s campaign spokeswoman. “The Apprentice was one of the most successful prime-time television shows of all time and employed hundreds of people over many years, many of whom support Mr. Trump’s candidacy.” She declined to answer specific questions that were emailed and declined an interview request.

Former producer Katherine Walker said Trump frequently talked about women’s bodies during the five seasons she worked with him and said he speculated about which female contestant would be “a tiger in bed.”

A former crew member who signed a non-disclosure agreement and asked not to be identified, recalled that Trump asked male contestants whether they would sleep with a particular female contestant, then expressed his own interest.

“We were in the boardroom one time figuring out who to blame for the task, and he just stopped in the middle and pointed to someone and said, ‘You’d f… her, wouldn’t you? I’d f… her. C’mon, wouldn’t you?’”

The person continued: “Everyone is trying to make him stop talking, and the woman is shrinking in her seat.”

Other cast and crew interviewed said they had positive, professional experiences with Trump, and added that they had never heard comments that made them uncomfortable.

“He was extremely supportive. You could tell there was so much respect there on all sides, especially with the female athletes,” said contestant and U.S. softball star Jennie Finch, a two-time Olympian. “Obviously, he was complimentary, but never in an inappropriate way.”

Contestant Poppy Carlig, who performed the twirl, said she considered Trump’s request “playful banter.” She added: “I don’t immediately jump to the conclusion that people are having bad intentions with what they are saying. He said I reminded him of his daughter and I thought that was really touching because I know how much he values his family.”

Twelve former contestants or members of the crew spoke on the record about what they described as Trump’s inappropriate behavior. Another nine spoke to the AP about their concerns regarding Trump’s treatment of female colleagues but said they did not want to be identified because they signed non-disclosure agreements, or were concerned about wrecking their careers or retaliation from Trump.

Most offered no opinion on the November election in the course of their interviews, but the majority of those who did said only that they were not supporting Trump.

Trump points to his record of hiring women, but he has often been accused of sexist behavior; at the first Republican debate, in August 2015, Fox anchor Megyn Kelly asked whether a man who has called women “fat pigs, dogs, slobs and disgusting animals” has the temperament to be president. After that debate, Trump attacked Kelly and her questioning, “You could see there was blood coming out of her eyes. Blood coming out of her wherever.”

The remarks of former Miss Universe Alicia Machado, who said Trump called her “Miss Piggy” because she’d gained weight during her reign, became campaign fodder last week following the first presidential debate. Trump used to own the pageant.

NBC, which broadcast the hit series, referred questions to executive producer Mark Burnett, whose studio referred calls to a public relations firm. The public relations firm did not respond to multiple voicemails and emails seeking comment. AP previously asked Burnett to provide original footage for review, but those calls were not returned.

Debuting in 2004, The Apprentice and a spinoff, Celebrity Apprentice, propelled Trump to national stardom following a string of bankruptcies and bad business deals in the 1990s that had splintered his New York-based real estate empire. The series, meant to showcase Trump’s business acumen, became a major hit and Trump’s name became a global brand that helped launch his political career.

But on the set, usually inside Trump Tower, the former cast and crew members say, the businessman’s treatment of women was sometimes far from professional.

Walker, who said she was the only high-level female producer during the first season, said Trump turned to her during a break outside of the control room to ask who he should fire. Walker demurred, she said, but noted that team members had told her one contestant had caused her team to lose their business task. Trump raised his hands and cupped them to his chest to ask whether it was a contestant with large breasts, she said.

“He said, ‘You mean the one with the’ _ and he puts his hands out in a gesture to signal the girl with the giant boobs. He didn’t even know her name,” Walker said, adding that the contestant, Kristi Frank, was fired at the end of the episode.

“I thought he noticed my hard work, but I guess he didn’t,” said Frank, a former restaurant owner who studied industrial engineering.

She said that after Trump delivered his punch line “You’re fired!” he told her fiance that “of all the girls,” she was the contestant he would have chosen to marry.

“It makes me a little sick,” Frank said. “It’s kind of sweet, but it makes me feel like ‘OK, he’s checking me out again.””

In portions of boardroom sessions never broadcast, Trump frequently would ask male contestants to rate the attractiveness of their female competitors, former crew members and contestants said.

“If there was a break in the conversation, he would then look at one of the female cast members, saying ‘you’re looking kind of hot today, I love that dress on you,’ then he would turn to one of the male cast members and say ‘wouldn’t you sleep with her?’ and then everyone would laugh,” said a former crew member who spoke on condition of anonymity because of a non-disclosure agreement. “There would be about 10 or 12 cameras rolling and getting that footage, which is why everybody was like, this guy just doesn’t care.”

Trump would carry on with the questions even if all involved were married, said Gene Folkes, who appeared on the program in 2010.

“If you didn’t answer, he would dig in and say, ‘Do you think so and so is attractive? Would you sleep with her? Well, what about if you really had to, would you?’” Folkes said. “It was so bizarre, because he (otherwise) seemed so professional.”

Folkes said he also remembered that Trump “asked one of the women their breast size at one point, or said, ‘are those real or natural?””

Jim Dowd, who did public relations for Trump, NBC and The Apprentice shows between 2003 and 2009, said Trump was a “lover of women” and a “guy’s guy.”

“Was he complimenting the women? Of course. Was he behind closed doors with just the guys rating the women, who were the hotter ones on the show? Yes, he certainly was prone to that,” Dowd said.

“I never heard him say anything about women’s bodies, but he was definitely unscripted,” said former producer Michael Dietz.

Eight former crew members said Trump took a fancy to a particular female camera operator, and frequently gave her attention that made many on the set feel uncomfortable. Two former crew members said the woman made it clear to them privately that she did not like Trump’s comments.

Walker, the former producer, said it was clear Trump was attracted to the camera operator as far back as 2003.

“He said something like she was cute and she had a nice ass, and it was brought to my attention by someone else that he had a crush on her,” Walker said. “We all knew, so that’s uncomfortable in and of itself. I remember it being too much, that he made it obvious.”

Rebecca Arndt, a camera assistant who worked on the show following Trump’s 2005 marriage, said Trump would stop production to make comments about the camera operator’s looks in front of the crew.

“I remember being in the foyer once with eight or 10 cameras set up and he said something about her being so pretty,” Arndt said. “He would make it about his line of sight, like ‘There is a beautiful woman behind that camera, so I only want to look at that.’ It was supposed to be considered a compliment, but of course it was inappropriate.”

German Abarca, another former camera operator, said most of the camera crew knew that Trump was attracted to their colleague.

Abarca said the woman was the frequent subject of ribbing by others in the crew, almost all of whom were much younger than Trump. “I think she mostly tried to ignore it.”

Arndt said that Trump would publicly discuss the woman’s beauty and how her blue eyes and blonde hair compared to his daughter Ivanka’s looks.

“He would just mention it all the time. I remember him comparing Ivanka to her and saying that only Ivanka was prettier,” she said.

The woman did not respond to a voicemail seeking comment. The AP spoke in person twice with her husband, who said his wife did not wish to be interviewed, “doesn’t have a problem with Donald Trump” and denied she had been subjected to repeated, unwanted attention from Trump.

One former contestant, Tyana Alvarado, said she wasn’t offended when Trump told her she was attractive — but noted that he played by his own rules.

“Most men have to behave because they are in a workplace, but he could do what he wanted,” Alvarado said. “In all jobs, people have to sign sexual harassment paperwork, but Mr. Trump was putting on a TV show so he got to do it.”

Holt, Wallace to moderate presidential debates

NBC News chief anchor Lester Holt will moderate the first of three scheduled debates between Hillary Clinton and Donald Trump on Sept. 26, with ABC’s Martha Raddatz, CNN’s Anderson Cooper and Fox News Channel’s Chris Wallace lined up for the others.

The Commission on Presidential Debates also said CBS News’ Elaine Quijano will moderate the vice presidential debate between Republican Mike Pence and Democrat Tim Kaine on Oct 4.

The third presidential debate, to be moderated by Wallace on Oct. 19, and first will be traditional question-and-answer sessions with the journalist choosing the topics. Raddatz and Cooper will team up for the second session on Oct. 9, a town hall-style meeting with half of the questions to be posed by audience members.

Each of the debates is scheduled for 90 minutes, with a 9 p.m. EDT start time.

Clinton has said she will participate in all three debates.

Trump as of Sept. 6 had not formally agreed, although he has reportedly been preparing to debate.

There was no immediate reaction from the candidates to the chosen moderators. The campaigns have no say in who is selected.

Moderating is one of a journalist’s most visible, and risky, roles.

Millions of people will be watching and ready to critique performances. Trump’s anger with Fox News’ Megyn Kelly was one of the primary campaign’s biggest stories, and it began because he didn’t like a debate question she asked about his attitude toward women.

The commission is bringing in new faces; none of those selected has moderated a general election debate before, although Raddatz did the 2012 vice presidential debate between Joe Biden and Paul Ryan.

Before Wallace’s selection, no Fox News personality had been a general election moderator.

It will be the first time since 1984 that the general election campaign’s much-anticipated first debate won’t be moderated by the now-retired Jim Lehrer of PBS. Two other 2012 moderators, Candy Crowley of CNN and Bob Schieffer of CBS, are also no longer active in TV news.

The leadoff position is a coup for Holt, who took over as NBC “Nightly News” anchor last year for Brian Williams and kept the broadcast on top of the ratings. The commission avoided potential political problems by not selecting Kelly or ABC’s George Stephanopoulos, who was a White House aide of Clinton’s husband, former President Bill Clinton.

Fallout, however, included a letter of protest sent to the commission by the president and CEO of Univision, the nation’s most popular Spanish-language network.

Randy Falco said he wanted to express his “disappointment, and frankly disbelief” that no Latino journalist was selected as a moderator.

“It’s an abdication of your responsibility to represent and reflect one of the largest and most influential communities in the U.S.,” Falco wrote.

Univision’s Jorge Ramos, who celebrates 30 years as anchor of the network’s evening newscast this fall, said this week that it was “high time” a Latino journalist was considered. He said he was interested, and suggested others like Jose Diaz-Balart of Telemundo and Maria Hinojosa of NPR.

Quijano is of Filipino descent. At 42, she’s the freshest face of the selections. She’s an anchor and leads political coverage at CBSN, CBS’ 24-hour streaming service, and anchors CBS’ Sunday evening newscast.

Although he hasn’t done a general election debate, Wallace has moderated GOP primary debates with colleagues Kelly and Bret Baier. During the primaries, Cooper moderated two debates and seven town halls on CNN.

Fox’s Wallace said he was excited by the opportunity.

“They knew I was interested,” he said. “You kind of put the word out there to the debate commission, but you can’t lobby for it. You can’t do anything. They end up deciding it.”

The commission, chaired by former Republican National Committee head Frank Fahrenkopf and former Bill Clinton press secretary Mike McCurry, says little about its selection process.

Cast a wide net among channels when sampling new fall shows

The fall TV season always marks a reset of sorts, signaling an influx of new shows and a respite from reruns.

That’s the way it’s been since TV began, back when there were only three or four networks and dinosaurs roamed the Earth. Well, almost.

But despite this time-honored ritual of rebirth, series’ comings and goings have evolved into a seamless affair that flows year-round, boosted by the ever-escalating number of video outlets.

Dubbed “Peak TV,” this latter-day embarrassment of riches is noted by FX network’s president with a mixture of wonder and dismay.

Speaking to the Television Critics Association recently, John Landgraf forecast that a new peak of some 500 different scripted series would be introduced by TV outlets in 2017.

Of these, he said, “only” about 150 would be offered by the six major English-language broadcasters (ABC, CW, CBS, Fox and NBC, plus PBS).

The rest would emerge on cable and streaming services.

“I do this for a living, I think I have a pretty good memory, and I certainly can’t come close to keeping track of it all,” sighed Landgraf, adding, “While there’s more great television than at any time in history, audiences are having more trouble than ever distinguishing the great from the merely competent.”

Not to mention more trouble even stumbling on shows that viewers might consider great but instead get lost in the shuffle.

For instance, how many viewers will happen upon StartUp, one of the most distinctive and addictive dramas on any lineup? Starring Martin Freeman and Adam Brody in a steamy Miami mashup of techies and drug lords, it premieres Sept. 6 on Crackle, the streaming network known, if at all, for Jerry Seinfeld’s “Comedians in Cars Getting Coffee.”

On MTV, where “gym, tan, laundry” was once the mantra thanks to Jersey Shore, a much smarter situation awaits on Mary + Jane (premiering Sept. 5), a devilish comedy about two gal pals who run a marijuana delivery service in Los Angeles.

And on Hulu, where you may typically binge on Forensic Files reruns, you might be happy to discover Hugh Laurie in the psychological drama Chance (Oct. 19) as a physician perilously different from his role as life-saving Dr. House.

These new arrivals might well escape your notice in the fall onslaught.

But word of other new shows is impossible to miss.

In particular, NBC leveraged its sprawling, much-watched Rio Games to beat the drum for fall newcomers like This Is Us and Timeless.

Both those series are sure to be heavily sampled by the audience. But while many viewers may embrace This Is Us (Sept. 20) as a tenderhearted and touching dramedy about divergent characters who have a lot in common, other viewers may dismiss the show as saccharine and labored.

And while some viewers may see Timeless (Oct. 3) as thrilling and eye-popping, others may dismiss this time-travel romp as clunky in concept and a misappropriation of lavish computer-generated imagery.

While ABC’s sitcom Speechless (Sept. 21) can congratulate itself for its special-needs focus — the family’s teenage son has cerebral palsy (as does the actor who plays him) — some viewers nonetheless may find it cartoonish and, well, not very funny.

While Michael Weatherly is certifiably a fan-fave from his years on NCIS, his much-awaited new CBS drama, Bull (Sept. 20), seems over-reliant on his fast-talking, glib portrayal. For some viewers, his performance as a charming trial consultant gaming the legal system may quickly wear thin.

And while Notorious (Sept. 22) will plant its flag in the Shonda Rimes-ruled landscape of ABC’s Thursday lineup, this dismal poppycock (a hunky defense attorney joins forces with a hot TV producer to promote their respective professional interests) may succeed primarily by exposing how hard it is to pull off what Rimes does so well.

None of this is to suggest that the commercial broadcast networks aren’t a party to TV’s current Golden Age.

Television, almost anywhere you look, is enjoying a renaissance.

But for the most part, broadcast TV has been overtaken by its cable and streaming competition while being forced to chase conflicting goals — to please a necessarily mass audience while taking enough creative risks to not get left in the dust by its more nimble rivals.

Millions of viewers are satisfied with the results.

Now, as ever, broadcast TV serves as a home for the expected, a 22-episodes-a-season respite where the viewer can feel comfortable, not challenged.

Meanwhile, surprises and creative daring greet viewers who look elsewhere — and result, sometimes, in explosive success (consider HBO’s Game of Thrones or AMC’s The Walking Dead, neither of which would have ever gained admittance by broadcast gatekeepers).

Granted, mining shows from the mountain of Peak TV can be a daunting task, especially since on niche media platforms, as with mainstream broadcast, there’s plenty of fool’s gold cluttering the view.

But if this fall season is any indication, TV’s current Golden Age is aglow — and this gold rush clearly leads toward cable and streaming.