The Morning Update for Tuesday, October 4, 2016.

Hi all, here’s your Morning Update for Tuesday, October 4, 2016:


I. Marlene King Inks Pod Deal With Warner Bros. TV, Hires Development Executive
I. Marlene King, the creative force behind Freeform’s flagship drama series Pretty Little Liars and the upcoming Famous in Love, has re-upped her overall deal with Warner Bros. TV and its cable division Warner Horizon which produces the two series. The new agreement will transform King’s Long Lake Media into a WBTV-based pod, with Outerbanks Entertainment exec Lauren Wagner joining the company as EVP development.

Acorn In Bed With ‘Close To The Enemy’; Boards WWII Drama As U.S. Co-Producer
Continuing its dive into originals, Acorn Media Enterprises has partnered with All3Media International and the BBC as the North American co-producer on period drama Close To The Enemy. Jim Sturgess, Alfie Allen, Alfred Molina, Angela Bassett and Freddie Highmore star in the seven-part series from Stephen Poliakoff. Coinciding with the BBC broadcast, the drama will make its U.S. debut on streaming service Acorn TV.

(sched) ‘Marvel’s Iron Fist’ on Netflix Premiere Date Revealed

Netflix has set the debut date for “Marvel’s Iron Fist,” the fourth installment in its New York-set street-hero series from Marvel Entertainment. All 13 episodes of “Iron Fist” will hit Netflix worldwide on March 17, 2017, at 12:01 a.m. Pacific.

(sched) ‘Shooter’ Gets November Premiere Date On USA Network
USA Network has set a new premiere date for its thriller drama series Shooter starring Ryan Phillippe. The series, based on Stephen Hunter’s novel Point of Impact and the 2007 Mark Wahlberg film Shooter, is now slated for debut on November 15, about two months after its original premiere date.

(opinion) TVBTN: Cancel Bear vs. ABC, week 2: ‘Speechless’ is fitting in just fine
In the context of this season “Speechless” has been a near-seamless fit in the early going. The series premiered to a 2.0 rating in adults 18-49 and held onto 90 percent of that audience in week 2, dipping to a 1.8. That’s a pretty minimal fall, and it’s also keeping nearly all of the “Goldbergs” audience around too.

(opinion) TVBTN: Cancel Bear vs. FOX, week 2: ‘The Exorcist’ is looking pretty frightful
“The Exorcist” didn’t exactly burst out of the gate with its premiere, but it put up a respectable-for-Friday 1.0 rating. Then it fell 40 percent in week 2. The show is in a low-risk timeslot, so if it keep from crab-walking any lower, the network will probably tolerate it for the remainder of the fall. But a 0.6 is what “World’s Funniest” did last season on Fridays, for presumably a fraction of what “The Exorcist” costs to make each week.

(opinion) TVBTN: Cancel Bear vs. CBS, week 2: ‘Elementary’ and the case of the disappearing audience
CBS is making a lot of money on “Elementary” thanks to a multi-pronged syndication. Even so, it’s going to be pretty tough to justify keeping the show on the air with ratings like it put up with Sunday’s premiere. The show managed only a 0.8 rating in adults 18-49, barely above replacement level on a network that historically doesn’t tolerate anything even close to that. It’s three tenths of a point below the next lowest-performing show on CBS — the all-but-certainly renewed “Madam Secretary,” thanks to the Third Season Rule — and among the lowest-rated shows on any network in the first two weeks of the season.

(review) Variety: ‘Frequency’
In the first hour of the efficient “Frequency,” however, despite the talents of the cast, which includes an underused Mekhi Phifer, the program doesn’t offer enough to set it apart from dramas loaded with similar cop-shop situations and murder-solving mechanics. The characters and relationships are never specific or resonant enough to make the attempted blending of family drama, time travel series, and cop show memorable, or, perhaps more importantly, as addictive as the several other smart hybrid programs on the CW.


Syfy’s ‘Krypton’ Casts Superman’s Grandfather
Newcomer Cameron Cuffe will topline the Syfy drama pilot from David S. Goyer.

‘Channel Zero: The No-End House’: John Carroll Lynch Joins Syfy Series
John Carroll Lynch (Fargo) has been cast as a series regular opposite Amy Forsyth in the second installment of Syfy‘s anthology horror series Channel Zero: The No-End House, set for premiere in 2017.

‘Outlander’ Casts César Domboy As Older Fergus & Lauren Lyle As Marsali In Season 3
Starz‘s hit time-travel saga Outlander has cast two more key roles for Season 3. César Domboy (The Walk) will play an older version of Fergus, the beloved French pickpocket who Jamie (Sam Heughan) and Claire (Caitriona Balfe) took under their wing in Season 2. British actress Lauren Lyle also joins the cast, playing one of Laoghaire’s (Nell Hudson) young daughters, Marsali.

‘The Man In The High Castle’ Casts Tzi Ma; ‘Empire’ Adds Kirk ‘Sticky Fingaz’ Jones
Tzi Ma (Hell on Wheels) has booked a recurring role opposite Cary-Hiroyuki Tagawa on the second season of Amazon’s The Man in the High Castle. Actor-rapper Kirk ‘Sticky Fingaz’ Jones is set for a recurring role on Season 3 of Fox’s Empire.


Go90 Reups Awkwafina’s ‘Tawk’ for Seasons 4 and 5, But Verizon’s Service Is Struggling to Win Fans
Verizon launched its Go90 free video service a year ago, angling to reel in mobile millennial viewers with a melange of original and licensed content. Now the telco has ordered two more seasons one of Go90’s so-called cult hits: late-night talk show series “Tawk” with Awkwafina — the stage name of comedian-rapper-actress Nora Lum — which will return for seasons 4 and 5 starting early 2017.

A Netflix tax? Pasadena and other California cities weigh whether video service subscribers should pay
Pasadena city officials are mulling whether to tax subscribers of Netflix, Hulu and other video streaming using an existing municipal utility tax code that initially was designed for taxing cable-television users. Sacramento and dozens of other California cities have similar codes that might enable them to consider the tax. That follows similar so-called “Netflix taxes” that already have gone into effect in Pennsylvania and Chicago.


(ratings) Verge: Even the NFL isn’t immune to declining television viewership
This season, the NFL is seeing double-digit drops in television viewership. Sunday Night Football, the highest-rated show for primetime TV for the last five years, has seen a 10 percent drop in ratings so far. Thursday night games have seen a 15 percent decline in viewers, while the live audience for Monday Night Football is down a whopping 19 percent.


Kit Harington In Talks For Guy Fawkes Drama With BBC, Kudos
Kit Haringtonis in talks to star in a Guy Fawkes-inspired drama for the BBC, dubbed Gunpowder (working title). Endemol Shine Group-owned Kudos is producing the 3 x 60 minute series. Harington is also expected to producze through his Thriker Films banner. Set in 1605, the historical drama is based around British radical Fawkes and a group of provincial English Catholics who attempted to blow up the House of Lords in UK Parliament and kill King James I in order to help restore a Catholic to the crown.


Disney rumours fuel Netflix shares
Netflix shares closed 4% higher in US trading yesterday after speculation of a takeover by The Walt Disney Company hit Wall Street. Rumours of a deal began spreading on Friday and carried over the weekend.


Steven Spielberg’s Amblin Partners Promotes Chris Floyd
Steven Spielberg’s Amblin Partners has promoted veteran executive Chris Floyd to chief operating officer and general counsel.

Weinstein Co. Promotes David Hutkin to CFO
He succeeds Andy Kim, who has joined Participant Media as its CFO.

Robert DeBitetto Departing A+E Networks After 14 Years
The TV exec is not retiring but has opted to move on after launching the in-house studio with breakouts ‘Roots’ and ‘UnReal.’


Variety: Stars’ Soaring Salaries Rattle TV BusinessThe unprecedented volume of series currently in production has triggered a gold rush for A-list performers, from film stars no longer ashamed to slum it on the small screen to TV veterans making their return to the tube, where programmers are eager to exploit their hit-making chops. Those big stars are commanding bigger bucks: upwards of $250,000 per episode. That kind of money used to be rare, even for lead actors on a first-year TV show. But competitive pressures, from deep-pocketed upstarts like Netflix in particular, have pushed many programmers into backing up the Brinks truck before the cameras even roll. And to keep up, even the more cost-conscious broadcast and basic cable networks are making exceptions to their usual pay ceilings.