The Munsters Reboot Names Bryan Singer Executive Producer

The Munsters The Munsters reboot has drawn on Bryan Singer as executive producer, based on the Hollywood Reporter.Singer, the author-director-producer from the X Males franchise, is stated to become writing and executive-creating the project with Pushing Daisies and Dead Much Like Me creator Bryan Larger.Browse the relaxation of present day newsThis time around, the main one-hour drama is going to be edgier and more personal and more dark compared to original, which broadcast from 1964 to '66 and starred Fred Gwynne as Herman Munster and Yvonne P Carlo as Lily Munster.Singer and Larger labored together last year to evolve Augusten Burroughs' Sellevision right into a TV series for NBC, however the project never got off the floor.NBC accumulates Munsters reboot pilot from Pushing Daisies creatorSinger's TV credits include creating roles on House and Dirty Sexy Money.

TV Ratings: 'Victoria's Secret Fashion Show' Rakes in Record Ratings at CBS

Mark Leibowitz Holiday programming, repeats and scantily clad models were the right combination for CBS on Tuesday night. Following solid airings of Rudolph the Red-Nosed Reindeer (4.0 rating in adults 18-49) and NCIS (2.9), the 2011 iteration of the Victoria's Secret Fashion Show brought in its highest showing ever in the demo.our editor recommendsHow 'Victoria's Secret Fashion Show' Turns $12 Million Into $5 Billion in One Hour TV Ratings: Fox Wins November Sweep Among Adults 18-49'Kourtney & Kim Take NY' Hits Ratings Records With Season Premiere STORY: How 'Victoria's Secret Fashion Show' Turns $12 Million Into $5 Billion in One Hour The 10 p.m. broadcast of the runway show brought in a 4.6 rating in adults 18-49. That number is up 36 percent from last year's showing and marks best number in the demo to date. Total viewers for the show were also up, with 10.3 million for the hour, its biggest audience since 2002. Fox had new episodes of Glee, New Girl and Raising Hope, all of which saw growth from their last original broadcasts two weeks ago. Glee was up three tenths of a point to a 3.2 rating in adults 18-49, with New Girl reaching a 3.6 and Raising Hope bringing in a 2.4. PHOTOS: Victoria's Secret Fashion Show 2011 Parenthood and The Biggest Loser were both up for NBC, pushing the network to third place in the demo. Parenthood grew by three tenths in adults 18-49, with a 2.2 rating and total audience growth of over 1 million to 5.7 million. ABC filled the vacancy at 9:00 p.m. with back-to-back repeats of The Middle. The two broadcasts averaged a 1.4 rating among adults 18-49. New episodes of Last Man Standing (2.4) and Man Up! (1.7) were both down from their last original broadcasts, while Body of Proof only suffered slightly without its Dancing With the Stars lead-in. The drama got a 1.8 rating in the key demo, two weeks after its last original. PHOTOS: Behind the Scenes of the 'Victoria's Secret Fashion Show' On the CW, Ringer returned down with a 0.6 in adults 18-49. 90210, however, was up two tenths from last week with a 0.8 in the demo. Tuesday, Nov. 29, Overnight Ratings: 8 p.m. CBS: Rudolph the Red-Nosed Reindeer (12.7 million viewers, 4.0 rating in adults 18-49) Fox: Glee (7.8 million, 3.2) ABC: Last Man Standing (10.2 million, 2.4) NBC: The Biggest Loser (7.1 million, 2.3) The CW: 90210 (1.6 million, 0.8) 8:30 p.m. ABC: Man Up! (6.6 million, 1.7) 9 p.m. Fox: New Girl (7.6 million, 3.6) CBS: NCIS (R) (13.4 million, 2.9) NBC: The Biggest Loser (7 million, 2.5) ABC: The Middle (R) (4.7 million, 1.4) The CW: Ringer (1.6 million, 0.6) 9:30 p.m. Fox: Raising Hope (5.3 million, 2.4) 10 p.m. CBS: Victoria's Secret Fashion Show (10.3 million, 4.6) NBC: Parenthood (5.7 million, 2.2) ABC: Body of Proof (9.4 million, 1.8) PHOTO GALLERY: View Gallery Behind the Scenes of the 'Victoria's Secret Fashion Show' TV Ratings

Ken Russell Has Died

Prolific British director dead at 84British director KenRussell has died peacefully in his sleep at the age of 84. Best known for dramas like Women In Love, which secured him an Oscar nomination, and rock musical Tommy, he was known for his flamboyant style and delight in controversial themes and presentations.Russell began his career as a photographer, before moving intoTV documentary and short films. His first film was a comedy called French Dressing in 1963, but it wasn't until 1967's Billion Dollar Brain, with MichaelCaine and KarlMalden, that he had a major success. His reputation was cemented two years later with Women In Love, the adaptation of DHLawrence's novel, which received four Oscar nominations, including one for Russell himself, and landed Glenda Jackson her win for Best Actress - all this despite inviting controversy for a naked wrestling scene between Oliver Reed and AlanBates.Russell continued to invite controversy with The Devils, starring Reed again and Vanessa Redgrave, before The Who's Tommy provided his biggest hit in 1975. 1980 saw his first foray into sci-fi with Altered States, before he took to directing opera and theatre inbetween sporadic cinematic releases.Ahuge personality - as anyone who watched The South Bank Show during the 1990s will tell you - it almost seems unlike the man to fall asleep for the final time.He is survived by his wife, Lisi Tribble, and his six children, Xavier, James, Alexander, Victoria, Toby and Rex. He will be sorely missed.

Icon U.K. to close distribution arm

After months of speculation, Icon U.K. Group is shuttering its U.K. distribution arm with Lionsgate U.K. believed to be in negotiations to buy its library and handle future releases of acquired titles in the territory. The news comes after Len Blavatnik's Access Industries, which purchased Icon U.K. Group in November 2009, tapped Aviv Giladi as CEO of the company last week in a move expected to herald a shift toward a more production-based business.According to sources, the remaining 32 employees at the London-based company were told last week that roughly 20 would be axed. Icon U.K. Group is going through a consultation phase to decide which positions to chop. Additionally, sources said that Lionsgate is expected to purchase the company's U.K. library, which includes "Drive," "A Single Man" and "Precious."Acquisitions that have yet to be distributed in Blighty include low-budget horror "You're Next," which Icon pre-bought for low six-figures from HanWay Films at Cannes. Coincidentally, Lionsgate picked up U.S. rights for the pic following its preem at Toronto. For the time being, sources say that the foreign sales arm, headed up by Hugo Grumbar, will remain intact but long-term plans are to eventually close that fraction of the business and focus solely on production and investment in commercial pics. This isn't the first time this year that Icon has axed jobs: In January, Icon laid off 15% of its staffers as part of cost cuts due to the increased pressures facing its U.K. biz. At the time, rumors were circulating that Access had given Grumbar and Ian Dawson, managing director of the U.K. arm, a year to show results or the company would be shut. In October, Variety revealed that Access had been shopping Icon's U.K. library to potential buyers following the distrib's weak performance. Giladi, who is chairman of Israeli media company R.G.E. Group and a non-executive director on the board of Ealing Studios, is believed to be one of the figures managing the potential sale of Icon's U.K. library. Icon refused to comment at the time of going to press while Lionsgate was unavailable for comment. Contact Diana Lodderhose at diana.lodderhose@variety.com

Sarah Silverman Comedy Can get Pilot Order at NBC

Sarah Silverman NBC has bought its Sarah Silverman comedy project to pilot. From Imagine TV and last century Fox Television, the network showed up the only real-camera comedy loosely based on Silverman's existence following a effective investing in an offer war in August. The pilot will star Silverman just like a lady readjusting to single existence undertaking a decadelong live-in relationship. The comic will co-write the project with Serta Sterling and Jon Schroeder, who co-written her Comedy Central series The Sarah Silverman Program. STORY: TV Development Report Card Executive producers round the comedy include Ron Howard, Silverman, Sterling, John Grazer and Francie Calfo. The pilot order has come about as the fourth-place network, under NBC Entertainment topper Bob Greenblatt, remains trading large this development season to create back the network. Email: Lesley.Goldberg@thr.com Twitter: @Snoodit Sarah Silverman TV Development Pilot Season 2011-12

Peace for some time as org and prodco collaborate

Once the Hollywood Foreign Press Assn. and Dick Clark Prods. attempt the 2010 Golden Globe telecast, they'll be within the awkward position on joining up at the time of acrimonious lawsuit.Although it might have no impact on the program itself -- simply because they were within this same position this past year -- there was expectation the whole problem of that has privileges towards the show might have arrived at some form of resolution right now.The HFPA prosecuted Dick Clark Prods. in November 2010, charging that it is longtime producer discussed a long term broadcast cope with NBC without its consent. But Dick Clark Prods., possessed by Serta Snyder's Red-colored Zone Capital Partners, continues to be strident in the contention that they are within their contractual privileges achieve this, which they legally can produce the show as lengthy because they forge an offer using the Peacock.After several weeks of proceedings, the situation was poised to visit trial on Sept. 6, raising the chance there could be a minimum of a verdict arrived at within the dispute prior to the ceremony. But simply days prior to the trial ended up being to start, U.S. District Judge Valerie Baker Fairbank withdrew in the situation for any health reason, but her alternative, Judge Howard Matz, has already established this type of crowded calendar he's been not able to locate dates for any trial this season. A hearing is scheduled for November. 30 to create a brand new date, which looks apt to be within the first quarter of 2012.The problem, clearly, wasn't ideal, and both sides then completed a contract where Dick Clark Prods. would again produce the show for HFPA in 2012 however with both sides "protecting their particular positions," based on some pot statement the parties launched at that time. Quite simply, just the truth that they're cooperating, possibly for that one before, doesn't have any effect on the sun and rain from the lawsuit.Over a showdown in the court may resolve the dispute, additionally, it intends to rehash past rifts inside the HFPA along with the business practices of Dick Clark Prods. Chances are it will focus on the discussions in 1993 that brought towards the extension of the privileges agreement the HFPA forged with DCP, in addition to a much in dispute contract clause. Before she withdrew in the situation, Fairbank stated that at problem was if the parties in 1993 "validly joined right into a contract term for limitless, unilateral extensions."What which means would be that the trial will concentrate on precisely what that language meant at that time and what it really has meant over time, and among individuals who might be known as to testify are past and offer HFPA leaders and a range of industry figures, including Dick Clark themself. Even CBS' Leslie Moonves is around the witness list, on the face to provide testimony concerning the HFPA's recent discussions using the Eye attaining privileges towards the ceremony.Past fissures between HFPA people curently have been elevated in pre-trial controlling, and could be broached again inside a trial. The HFPA claims that in 1993, its then leader Mirjana Van Blaricom, was without the legal right to sign an agreement having a "perpetual privileges" clause. The org claims that DCP's leader, Frances La Maina, symbolized for their people in 1993 the contract gave Dick Clark Prods. merely a finite quantity of options.But Van Blaricom, who began her very own rival press association in 1996, states that they did possess the authority. She not just challenges the HFPA's version of occasions, along with the conditions surrounding her departure in the org in 1994, but she filed a declaration in the courtroom with respect to Dick Clark Prods. Inside it, she states that they requested a lawyer to examine the suggested amendment before coming back the performed contract to DCP. She also stated that they and La Maina talked about the intent from the provision, that was a part of DCP's "desire to make sure that its interests weren't jeopardized as long as the Golden Globe Honours continued to be on NBC.""The 1993 Amendment was greatly advantageous towards the HFPA because getting the Golden Globe Honours show broadcast with a major network like NBC made certain both greater license costs and elevated notariety for that HFPA, its primary goals at that time,Inch Van Blaricom mentioned.The show hasn't only been elevated, it's be a cash cow for NBC, Dick Clark Prods. and also the HFPA. Based on court filings, NBC compensated HFPA permission fee of just about $5 million in 2005, which is likely considerably greater since that time.Gold GLOBES PREVIEWRicky did not lose their number Peace for some time as org and prodco collaborate No-limit rule a boon for global pic parade HFPA declines being starstruck in noms process Marketing methods can change at Globes time No relaxation for that bleary-eyed New kids on the market Contact Ted Manley at ted.manley@variety.com

Studios setting tales far, far away

'Cars 2''Rio''Puss in Boots'With the exception of "Rango," all of this year's American-backed big-studio toons take place abroad, ranging from "Rio's" beautiful Brazilian vistas to "Cars 2's" whirlwind tour of a world inhabited only by cars. Such exotic settings may not seem surprising when you consider animation's long tradition of transporting auds to foreign worlds, though lately, there seems to be a new incentive for telling global stories.First and foremost, while domestic box office remains relatively flat, international audiences -- particularly those in the emerging markets of China, Brazil and Russia -- are rapidly expanding, along with the number of screens."As the technology improves, you can really embrace other cultures and other countries in a way that was never done before," says Bill Damashke, chief creative officer of DreamWorks Animation. A case in point is DWA's "Kung Fu Panda 2," which did $653 million, of which $500 million was international. Carefully designed and animated as "a version of China and a celebration of Chinese culture and art," the sequel did great business all over Asia, he reports.How a toon will play overseas affects everything from writing the script to the casting of vocal talent. For DWA's "Puss in Boots," which is set in what Damashke calls a romanticized version of Spain, "It just made sense to put Salma Hayek opposite Antonio Banderas. She's a great match and has the right Latin feel for the role," he says. Similarly, "Kung Fu Panda 2" features Asian stars Jackie Chan and James Hong alongside Angelina Jolie and Dustin Hoffman. "We wanted a very mixed, international cast," he says.Sony's "Arthur Christmas" was developed by U.K. animation house Aardman (of "Wallace & Gromit" fame). "When they came to us it already had Santa's sled journeying from the North Pole all around the world," says Bob Osher, president of Sony's digital production division. After 18 months of work in England, the director, producers and some crew then moved to Sony's Culver City facility, and later back again to finish post-production in London. "So working with an English team from Aardman, who are so well-known around the world, gave our film a built-in international feel and look."With "Cars 2," Pixar abandoned the quintessential Americana setting of Radiator Springs in favor of a wider international scale, with pit stops in Tokyo, Paris, London and Italy."It was developed as an international story right from the get-go by John Lasseter," says "Cars 2" producer Denise Ream. "He got the initial idea while traveling all over the world promoting the first one -- along with some of the humor, like driving on the 'wrong' or opposite side in the U.K."In conceiving "Rio" at Blue Sky, Brazilian-born director Carlos Saldanha decided on the eponymous city and built the story around it, capitalizing on the creative team's drive "to explore a world and place that hadn't been done yet," the director says. "As I was writing, I was thinking about how 'Ratatouille' used Paris so well, so why not Rio? It's so photogenic and exotic. And then everything -- the animation palette, the design, the music -- all just flowed naturally from that."Native son Saldanha is pleased to see that "Rio" may end up being the biggest film of the year in Brazil. "People were so proud to see a film set there, while for American audiences, there's more of a cultural challenge." He notes that when the project was first greenlit, "We knew it was a little risky, setting the story in Rio. But once we'd made it and done all the trailers and promotion, we just thought of it as a global movie.""It's certainly great for international audiences to be able to go to the movies and see something that's relevant and part of their world," agrees Ream, who suggests that the global trend is also related to filmmakers expanding their storytelling muscles: "They're more confident in exploring unfamiliar worlds, and the technology enables us to be far more adventurous. From a Pixar perspective, it's all about the storytellers just letting their imaginations really run wild."Osher stresses that animation has always been very strong internationally. "Successful animated films tend to well outperform internationally than they do domestically," he says. "They're typically dubbed into 40-plus languages, so they feel like local films, whether you're watching in Brazil, Japan or Cuba. That's a big advantage over live-action films with subtitles."RELATED LINKS Live-action pros blur toon lines Contact Peter Debruge at peter.debruge@variety.com