Lifetime renews 'Dance Moms'

Lifetime has renewed "Dance Moms" for a 13-episode second season. The audience for "Dance Moms" has increased during its freshman campaign, which ends Oct. 5. Over the past four weeks, the unscripted skein has averaged 1.6 million viewers, a 62% increase over its premiere. For the year, it is averaging 1.3 million. Lifetime also notes that with a median viewer age of 38, "Dance Moms" is the cabler's youngest-skewing original program. Jeff Collins, Bryan Stinson and John R. Corella exec produce "Dance Moms" for Collins Avenue. Contact Jon Weisman at jon.weisman@variety.com

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TV Ratings: 'The Office' Return Dips, 'The Big Bang Theory' Tops Thursday

NBC The competition is getting fierce on Thursday nights. Fox topped the night with the second episode of The X Factor (12.5 million total viewers, 4.3 rating in adults 18-49 demographic). Simon Cowell's new reality competition series tied its series debut on Wednesday in total viewers and retaining most of its demo (4.3 vs. 4.4). So far this week, the network has notched victories for three of the four nights of the fall season. (Tuesday, Wednesday, Thursday). PHOTOS: Fall TV Death Pool: Which Show Will Be Axed First? Still, it was CBS' premiere of The Big Bang Theory (14.1 million, 4.8 and 14.7 million, 5.0) -- the show, airing back-to-back episodes and celebrating Jim Parson's second Emmy win -- that took the crown as the night's highest-rated and most-watched program for its 8:30-9 p.m. telecast. Person of Interest (13.2 million, 3.1), the high-concept drama from J.J. Abrams and Jonathan Nolan was down 9 percent compared to CSI's premiere, but ranked as the most-watched program at 9 p.m. At 10 p.m., The Mentalist (13.6 million, 2.8), down 18 percent from its premiere last year, still won the night in total tune-in. CBS was No. 2 in the demo, averaging a 3.6, but continued to fulfill its name of the "most-watched network," averaging a Thursday high: 13.6 million. PHOTOS: Behind the Scenes of THR's 'X Factor' Cover Shoot ABC's Charlie's Angels reboot (8.7 million, 2.1), though performing well above the launch of My Generation last September, didn't exactly strike a chord with viewers. The two-hour premiere of Grey's Anatomy (10.3 million, 4.1) dipped 24 percent and ranks as the veteran medical drama's lowest-premiere to date. NBC's Thursday night comedy lineup all saw decreases from last year, with most hitting lows for its season openers: Community (4 million, 1.7) dipped 23 percent, Parks & Recreation (4.1 million, 2.0) was down 38 percent and The Office (7.6 million, 3.9), with the reveal of a new branch manager and the first episode of James Spader's as a regular, saw a 11 percent drop. The eighth season opener of The Office is its lowest-rated since the first season. PHOTOS: Fall's 12 Most Anticipated Shows Even Whitney (6.1 million, 3.2) didn't improve upon the debut of work comedy Outsourced, which was canceled after one season, down 11 percent. The lull affected the launch of new series Prime Suspect (6 million, 1.8), the U.S. reboot with Maria Bello, which barely contended with its competition (The Mentalist, Grey's Anatomy) at 10 p.m. Up against heavy competition, the CW dramas The Vampire Diaries (2.5 million, 1.2) and The Secret Circle (2 million, 0.9) both saw steep drops. TV Ratings

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Crix mull Toronto fest's levels, lows

'Shame'Woody Harrelson was notable being an LAPD cop in Rampart. "Your Sister's Sister" Variety's senior film experts weigh in around the breakthroughs and disappointments from the 2011 Toronto Film Festival, which unspooled a selection strong on racy relationship drama, weak on politics and sometimes excessively just a few its stars.Peter Debruge: Under per week into North America's greatest film fest, things all of a sudden got cold in Toronto. The knit tops arrived on the scene, the purchasers went home and also the last couple of nights of gala tests put a definite chill on everyone's enthusiasm. Frankly, the ultimate stretch continues to be something of the disappointment for any festival that began out so strong, packing the kind of "Moneyball," "The Descendants" and "Shame" into its opening weekend.How did this happen? Tell any Toronto native you are around for that festival, and also the question always returns exactly the same: "So, perhaps you have seen any stars?" That virtually describes the fest's most questionable options, including fancy late-week premieres of these disappointments as "Trespass" (which stars Nicole Kidman and Nicolas Cage), "Purple and Daisy" (with Saoirse Ronan and James Gandolfini) and "Winnie," by which Jennifer Hudson and Terrence Howard reveal the unsung love story between your Mandelas.Justin Chang: Using its fabulous clothes and amusing old-age prosthetics, "Winnie" was one love story If only have been left unsung (that goes double for Jennifer Hudson's closing number). Between might Luc Besson's "The Woman,Inch Let me propose a festival moratorium on banal, well-meaning political biopics rather, it'd happen to be nice to possess some movies with a soupcon of actual politics.The possible lack of political emergency was particularly glaring considering the tenth anniversary of 9/11, to start dating ? that cuts especially deep with this September festival. Toronto duly commemorated the big event by showing a sober, rather self-serving tribute clip before tests on Sept. 11. But movies speak even louder than PR gestures, and when the 2010 selection is any suggestion, tales of terrorism and retaliation aren't weighing too heavily on present day filmmakers, who generally appear thinking about having sex, not war. Terence Davies' "The Dark Blue Ocean" and Mia Hansen-Love's "Goodbye First Love" superbly explore the ravages of turned away romance, as well as in their own, frequently fearlessly explicit ways, Sarah Polley's "Take This Waltz," David Cronenberg's "A Harmful Method" and Steve McQueen's "Shame" all test the limitations of forbidden desire.PD: "Shame" tests the limitations, okay, though I did not interact with it the way in which many experts at Venice, Telluride and Toronto did. It's fascinating that Michael Fassbender does the autumn-fest trifecta with both "Shame" and "Method": Within the latter, he plays Carl Jung, whereas "Shame" requires a decidedly non-psychoanalytic method of sex addiction. Rather than explaining, McQueen examines the smoothness through oblique angles, lengthy takes and unspoken moments. It's agonizing by design, though I'd have loved a little more insight or story make it possible for an association using the character.I discovered the approach I needed in another film, Oren Moverman's "Rampart," which signifies an enormous advance for that director of "The Messenger." With several compelling story lines along with a well-established feeling of its characters' backstories, "Rampart" takes us in to the gnarly mind of the corrupt LAPD officer, performed by Woodsy Harrelson, who experiences the film half-cocked with earthworm-thick veins throbbing both in temples. I loved the complexness churning behind his tinted shades -- a pleasant contrast using the zen-like inscrutability from the fest's other great L.A.-set thriller, "Drive."JC: I'll avoid gushing a lot more than I curently have about "Shame," though I'll state that your issues with McQueen's film -- its avoidance of easy identification and embrace of ambiguity -- are virtually the alternative from the problems I'd together with your fest fave, "The Descendants." Not too I do not admire Alexander Payne's bittersweet dramedy it is the smoothest picture of his career and most likely as funny a movie about losing a spouse/parent as anybody has available. However I like my movies about dying to visit lower with a little more sting, especially from the director who's done his best product (for me personally, "Election") within the key of callous satire.For "Rampart," as i did not respond as vigorously while you did, I am entirely agreement about Woodsy Harrelson's terrific performance, and between this and "The Messenger," Moverman is clearly a large talent. Similarly satisfying were the confirmations of early promise from filmmakers like Julia Loktev together with her accomplished and intelligent "The Loneliest Planet" Lynn Shelton together with her terrifically behaved "Your Sister's Sister" (acquired by IFC within this steady although not spectacular sales year) and Polley with "Take This Waltz."PD: No film affected me more at Toronto than "Take This Waltz." Stylistically, the film is nearly off-investing in its sunny cuteness, but, like a portrait of the lady struggling with grass-is-eco-friendly syndrome, it's wrenching through the finish. "Waltz," that was produced in Montreal, assisted overturn a lengthy-standing prejudice I have held against Canadian films in Toronto. Formerly, the bar appeared to become lower for local fare (Cronenberg and Guy Maddin making reliable exceptions), but this season, four of the greatest movies I saw were homegrown.Jean-Marc Vallee's "Coffee shop p Flore" constitutes a stylish companion piece to "Waltz" for the reason that it handles a lady visiting terms using the fact her ex-husband's true soulmate is another person. Ingrid Veninger's brave little indie "I'm a Good Person/I'm a Bad Person" (hidden away within the fest's Vanguard section) shows keen understanding of the contradiction between being creatively provocative along with a responsible parent simultaneously. And Philippe Falardeau's inspiring "Monsieur Lazhar" -- a good Algerian refugee who helps a grade-school class deal with their teacher's suicide -- strikes me like a no-brainer for everyone as Canada's foreign-language Oscar submission.JC: It had been also an excellent fest for British company directors -- not only McQueen but additionally Andrea Arnold, whose "Wuthering Levels" reps a bold departure in the classical tradition of literary adaptation, and Davies, who with "The Dark Blue Ocean" shipped an exquisitely motion picture, almost Proustian illustration of stated tradition. Incidentally, both films were co-funded through the now-shuttered U.K. Film Council, a significant participant on "The King's Speech" (which made an essential stay in Toronto this past year on the way to Oscar glory). At the minimum, the UKFC is unquestionably heading out on the high note.Peter, you pointed out the fest's sometimes excessive fuss over galas and stars. Among my most satisfying Toronto encounters was the entire antithesis of individuals things: Argentinian helmer Pablo Giorgelli's pitch-perfect, star-free road movie "Las acacias." Champion of the year's Camera d'Or at Cannes, it is a small movie having a huge heart, also it finishes on some quiet hope and renewal that, divorce lawyer atlanta, should chafe about this festival too. Contact Justin Chang at justin.chang@variety.com

EMMYS: With The Amounts And Full Results

Emmys Live-Blog Backstage Within The Emmys Emmy Analysis: Broadcast TV’s Large Honours Comeback Red-colored-colored Carpet Arrivals WINS BY NETWORK (several includes Creative Arts Emmys) Cinemax … 19 PBS … 14 CBS … 11 Fox … 9 ABC … 8 NBC … 6 Comedy Central … 4 Discovery Funnel … 4 History … 4 ReelzChannel … 4 AMC … 3 Cartoon Network … 3 DirecTV … 2 Disney Funnel … 2 Showtime … 2 WINS BY PROGRAM (several includes Creative Arts Emmys) Boardwalk Empire … 8 Downton Abbey … 6 Mildred Pierce … 5 Modern Family … 5 Most dangerous Catch … 4 Gettysburg … 4 Saturday Evening Live … 4 The Kennedys … 4 Freedom Riders … 3 And That Means You Think You'll Be Able To Dance … 3 64th Annual Tony Honours … 2 The The American Idol Show Show … 2 American Masters … 2 Phineas and Ferb … 2 Firebreather … 2 Friday Evening Lights … 2 Futurama … 2 Wager on Thrones … 2 Glee … 2 Mad Males … 2 The Borgias … 2 The Daily Show With Jon Stewart … 2 Check out a whole report on individuals who win.

EMMYS: Charlie Sheen And Ashton Kutcher, Male Hooking up Backstage And Also On Twitter

Despite fears that Charlie Sheen wouldn’t be on his best behavior through the Emmys tonight, the actorplayed it straight while showing the Outstanding Lead Actor in the Comedy Series award. Minutes later, , his two and a half Males alternative, joked onstage that he's “not Charlie Sheen.” Evidence of that switched on Sheen’s Twitter feed like a photograph of those two stars backstage. Sheen tweeted, “Seriously… @aplusk great speaking for you personally! We’ll be watching! Make us proud!!” Later via Twitter, Kutcher wanted Sheen well on his new gig and looked for his help with his DNA Foundation’s efforts to avoid human trafficking.

REVIEW: Ryan Gosling Is the Goslingest in Superb, '70s-Inflected Drive

Some actors are chameleons, shifting drastically from one color to another depending on the role. Ryan Gosling may not be one of them: There will always be a little Ryan Gosling, even just a mischievous glimmer, in any character the actor plays. But then, that’s part of what makes a movie star a movie star: It’s impossible to separate Cary Grant from his Cary Grantness, or to think of Bette Davis without seeing an enormous pair of eyes framed by mascara fringe. Though Gosling is still young, he’s at his Goslingest in Nicolas Winding Refn’s Drive, playing a Hollywood stunt driver who moonlights as a wheelman. Drive is a vibrant and meticulous piece of filmmaking, an homage to existential driving movies of the ’70s like Richard C. Sarafian’s Vanishing Point and Walter Hill’s The Driver. Refn — the Danish-born director who may be best known for his Pusher trilogy — understands the heart of his hero, a maestro who coaxes music from the gas pedal. The action sequences serve the conception of the character, not the other way around, an important distinction to be made in a time where there’s an undistinguished action movie being released almost every week. (The screenplay is by Hossein Amini, from James Sallis’s novel.) Drive has a pulse, a soul and a style — three elements that don’t always come together in contemporary entertainment — and they’re all channeled though the conduit known as Gosling. We know Gosling’s character only as Driver, a laconic man of action whose very name doubles as a job description. By day, he’s a movie stunt driver and car mechanic. By night he acts as a chauffeur for bandits and baddies, and his preternatural sense of calm behind the wheel — a toothpick perches delicately between his lips — is a little like Fred Astaire’s dancing: He makes it look like it’s nothing. Driver involves himself in his employers’ activities only tangentially and only for the amount of time it takes him to shuffle them from here to there. After that, they’re on their own — in the movie’s taut and exquisite opening sequence, he ends a tense chase by slipping off on foot into the night, an everyman being absorbed into an anonymous crowd as if he were a minnow rejoining his school. When he’s not driving, Driver has a crush on a neighbor in his apartment building, Irene (Carey Mulligan), a for-now single mom with a young son. Just as their romance starts to heat up — and after Driver has bonded with her kid, beginning with a captivating, exceedingly dry exchange that begins, “Wanna toothpick?” — Irene’s husband, Standard Guzman (Oscar Isaac) is sprung from jail. He may be free, but he’s not out of trouble. And when Standard’s thuggish pals threaten his family, Driver takes a job just to help him out, not realizing that the real danger at hand involves Albert Brooks’ two-bit crime boss and his overgrown, velour-sweatsuit-wearing sidekick, played by Ron Perlman. If you’re thinking Driver is the quintessential laid-back selfless hero, cool as cool can be in the Steve McQueen mode, the kind of guy you’ve seen hundreds of times in good movies and in bad ones — you’re right. In fact, if you’ve watched any movies made in the past 40 years, you’ll see and hear lots of familiar elements in Drive: The slightly grainy, low-lit look of ’70s cheapies (the DP is Newton Thomas Siegel); the new-wave neon-pink script used in the credit sequences; the at-first jarring but later sublimely perfect ’80s-style synth score. Refn doesn’t pretend to have invented any of this stuff. His movie is 90 percent unapologetic referencing, and he knows how to recombine familiar elements in a way that feels fresh and exciting. Refn has a knack for both violence and romance: The love scenes between Mulligan and Gosling are casual and sweetly unassuming. There’s lots of brutality in Drive, and while it isn’t always discreet, it’s not assaultive, either. (Refn isn’t a slavish Tarantino imitator, but it’s clear they share certain tastes in terms of references and tone.) And Gosling isn’t lost amid the movie’s violence, which sometimes happens to actors unaccustomed to playing action roles. Instead, the picture’s brutality seems to be a quivering compass arrow for him — he follows it to find the heart of his character, walking the line between being minimalist and mannered. Gosling’s Driver is all about sharp reflexes and meaningful eye contact, and he has a jazz musician’s ear for language — he knows everything sounds cooler when it’s just a hair behind the beat. Even the movie’s simple costuming is pure genius: Driver’s signature garment is a silver baseball jacket with an abstract scorpion stenciled on the back. Its very contrivance is part of its brilliance. Flashier than, say, McQueen’s (or Dean’s) Baracuta, it’s a garment that hisses “Look at me!” only to turn around and whisper, “Now you see me, now you don’t.” Drive could have been the best drive-in feature of 1975. As it is, it’s likely to be the best action movie of 2011. Refn hasn’t invented a new language; it’s just that he uses the vocabulary so well — he’s got the right tools and the right touch. The movie’s newness is, paradoxically, intertwined with an appreciation for the past. Drive is a picture retooled from vintage parts, proof that you can build them like they used to. [Portions of this review appeared earlier, in a different form, during Movieline’s coverage of the 2011 Cannes Film Festival.]

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Netflix Shares Tumble on Modified Customer Growth

Shares of Netflix were falling apart by a lot more than 15 % in midday buying and selling after the organization acknowledged that it is questionable cost hike of 60 % on a single of their most widely used plans might cost it a million customers.our editor suggests CBS, Netflix Sign Two-Year Content Agreement ICMs Chris Silbermann on New Network Chiefs, Netflixs Impact and also the Quite Interesting Pilot Season STORY: Netflix Responds: Starz Submissions Are 'Down to 8Percent of Domestic Netfilx Customers' Viewing' The organization on Thursday cut its customer estimations for that finish from the third quarter to 24 million within the U.S., although it had forecast two several weeks ago it might finish the quarter with 25 million subs. STORY: Netfilx Stock Drops 8% After Starz Renewal Talks Finish Shares from the formerly highflying stock were off around $33 on Thursday and also have sunk 40 % since Netflix introduced its cost hike in mid This summer. The stock is all about in the cost it began the entire year at, but nonetheless up nearly 300 percent previously 2 yrs. STORY: Netflix Cost Increases Work Thursday Netflix has mostly been a Wall Street darling, with lots of experts even bullish within the cost hike. Lately, though, bears happen to be more vocal within their opinion the stock was headed for any fall, especially because the cost of obtaining content for streaming has risen roughly ten-fold previously 3 years approximately. While problematic for Netflix, the dramatic increase in the worthiness privileges to stream Television shows and films on the internet is really a boon to content designers. On Thursday, for instance, forecasters at Trefis stated Time Warner shares should rise to $38.90 because Netflix and it is rivals need its content. Shares of TW were up 2 percent Thursday to $30.47 in midday buying and selling. Related Subjects Netflix