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Source: http://www.eonline.com/news/celebrity_apprentice_recap_did_clay/317730

Sometimes described as the most recorded singer in history, Fischer-Dieskau died in the town of Berg on Starnberg Lake in Bavaria, the Bavarian State Opera announced on its website.

“The death of Dietrich Fischer-Dieskau is a great loss for the entire music world. Through his interpretations of vocals he decisively influenced the art of opera singing. Today’s vocals would be unthinkable without the influence of Dietrich Fischer-Dieskau,” the opera’s administrator, Nikolaus Bachler, said in a statement.

The late soprano Elizabeth Schwarzkopf called him “a born god who has it all” and he was in high demand from opera houses and for recitals during a career that spanned almost 50 years until his retirement in 1992.

Born in Berlin in 1925, Fischer-Dieskau was trained at the Berlin School of Music and presented his first recital and was engaged by the City Opera of Berlin in 1947.

He emerged to international prominence after the end of World War Two and was particularly noted for his interpretations of the German art song, or lieder, especially the high romantic works of Schubert such as the song cycles Winterreise and Die schoene Muellerin.

One of the highlights of his career was his appearance in 1962 at England’s newly built Coventry Cathedral, at the invitation of Benjamin Britten for the world premiere of the composer’s “War Requiem”.

Britten wrote parts expressly for the German Fischer-Dieskau and the English tenor, Peter Pears, in a work that conveys the devastating impact of war.

Fischer-Dieskau was highly praised for his interpretations of Falstaff in Verdi’s opera of the same name, for his performance as Count Almaviva in Mozart’s “Marriage of Figaro” and for the hugely demanding role of Hans Sachs in Wagner’s “Die Meistersinger von Nurnberg”.

He teamed up with many of the best orchestras, conductors and accompanists of the age, including pianists Alfred Brendel, Gerald Moore and Daniel Barenboim and conductors Herbert von Karajan and Leonard Bernstein.

He had guest appearances at some of the world’s most renowned opera houses, in Vienna, Munich and Hamburg as well as London’s Covent Garden, New York’s Carnegie Hall and the festivals of Bayreuth and Edinburgh.

The New York Times once called him “the world’s best singer” and colleagues and music lovers sang his praises.

“He had only to sing one phrase,” Moore, his frequent accompanist, wrote in his memoirs, “before I knew I was in the presence of a master.”

In 1992 he gave a farewell concert in the National Theater in Munich and afterwards worked as a director, author and taught master classes.

He is survived by his wife, the Hungarian-born soprano Julia Varady.

(Reporting by Erik Kirschbaum, Writing by Michael Roddy; Editing by Andrew Heavens)

Source: http://news.yahoo.com/renowned-baritone-fischer-dieskau-dead-86-173407948.html

The French director has won a prize at the Cannes Film Festival and been nominated for an Academy Award, but he has a passion for the colorful cut-price end of the cinema market: horror films and thrillers, melodramas and westerns.

Audiard said the original notion for his new feature “Rust and Bone” was to make “a B movie with a star” — the star being France’s Marion Cotillard, whose best-actress Oscar for Edith Piaf biopic “La Vie En Rose” has spawned a Hollywood career.

It’s not a bad description. On one level, the film is an opposites-attract love story, set on the grittier side of the French Riviera, involving Cotillard’s haughty animal trainer and Matthias Schoenaerts’ down-and-out boxer. But the plot twists verge on melodrama. Early in the film Cotillard’s character has her legs bitten off by a killer whale, and Audiard also throws in brutal bare-knuckle fights, a child in peril and scenes scored to a pounding Katy Perry track.

“In the end it’s a very simple story — with some complex elements to it,” Audiard said in an interview at the Cannes Film Festival alongside his screenwriting collaborator Thomas Bidegain. “We take things from life and try to put cinema in them.”

It is, he admits, a risky approach.

“If you get too stylized then it becomes ridiculous, it becomes unbelievable,” said Audiard, as outside, thunder rumbled, unseasonable rain pounded the Croisette and a stiff wind whipped up a gray Mediterranean. “If you stick to reality you end up with a documentary approach and it can be boring.”

The balance of gritty subject matter and cinematic flourish gives Audiard’s films a flavor unlike those of any other filmmaker.

His 2005 film “The Beat That My Heart Skipped,” about a man torn between crime and music, was a deft French update of the 1978 Harvey Keitel vehicle film “Fingers.” ”A Prophet,” which won Cannes’ second-place Grand Prize in 2009, was a blend of tough prison drama and little-guy-makes-good story that was nominated for the foreign language Oscar.

Looking like a dapper academic with his trademark trilby hat and pipe, Audiard cited film fanatic’s range of influences — from 1960s Brazilian director Glauber Rocha to 1950s thriller “The Night of the Hunter” and Tod Browning’s 1930s sideshow shocker “Freaks.”

Bidegain, who also worked on “A Prophet,” chimed in to call “Rust and Bone” “‘Terms of Endearment’ meets ‘Freaks.’”

“Rust and Bone” grew from a desire to make a movie about the economic crisis, and was loosely adapted from a book of short stories by Canadian writer Craig Davidson — with their California setting replaced by the Cote d’Azur.

Audiard said the power of B movies — from 1930s horror films to 1940s film noir thrillers — is that they said something about the crisis-ridden world around them.

It’s an element he finds lacking in a lot of films now that the world is in crisis again.

“If you look at American studios, the big productions have nothing to do with reality,” he said.

“We are just French filmmakers, but seen from here, things need to move. You have to find niches where you can put yourself, points of view from which you can see the world changing.”

“Rust and Bone” has been well received at Cannes, where it is one of 22 films competing for the top prize, the Palme d’Or. There has been near-universal praise for the performances of Schoenaerts — the beefy Belgian star of Oscar-nominated cattle drama “Bullhead” — and Cotillard.

Audiard said Cotillard was the obvious choice for the role.

“She’s an actress I’d seen in ‘La Vie En Rose,’ and I really liked her,” he said. “I was very impressed by her masculinity, somehow, her toughness.”

Her star quality also gave the film an edge.

“It’s an interesting thing to cut off the legs of a star,” the director said. “The higher they are, the better they fall.”

Audiard’s films can take years to go from conception to completion — “Rust and Bone” was in the works for three years and was completed just days before its Cannes premiere. He says it’s too soon to talk about his next project.

But he has an idea.

“I really would love to do a musical about drug and arms trafficking,” he said, a touch wistfully, turning to Bidegain. “We have to do it.”

__

Jill Lawless can be reached at: http://Twitter.com/JillLawless

Source: http://www.foxnews.com/world/2012/05/20/jacques-audiard-praises-b-movies-at-cannes/

Source: http://www.miamiherald.com/2012/05/20/2806375/celebrity-birthdays-on-may-20.html

Though he was estranged from his wife, Robert F. Kennedy Jr. (RFK Jr.) recalled her fondly as he accepted condolences from a crowd that included Gov. Andrew Cuomo (D-N.Y.), tennis great John McEnroe, comedian Larry David, actor Edward James Olmos, actress Julia Louis-Dreyfus and comedienne Chelsea Handler.

“She was special. We’re all going to miss her,” Kennedy said at one point. “It’s going to be difficult for a while now.”

Despite the sense of loss, some mourners felt the troubled, alcohol-abusing Richardson Kennedy was long headed toward a tragic end.

“This was a matter of time,” one woman at the gathering said within earshot of a reporter. “You know, after a certain point there was nothing that could be done.”

There also was support for RFK Jr. in his dispute with Richardson Kennedy‘s family, which blames him for driving the 52-year-old to her untimely end.

“They are blaming Bobby for everything,” one mourner said.

Another exclaimed, “Give me a break. She brought a lot of these issues into the situation.”

Tight security hired by RFK Jr. watched over the wake, along with a heavy police presence. Some mourners took shuttle buses to the Mount Kisco mansion.

Among the family members at the wake were Richardson Kennedy‘s sister-in-law and childhood friend, Kerry Kennedy, and her mother-in-law, 84-year-old family matriarch Ethel Kennedy.

“We just feel helpless right now,” Kerry Kennedy said.

As mourners gazed at some 100 photos of the deceased in happier times, her four children seemed overwhelmed by the crowd.

At one point, two of the kids slipped away with their arms entwined to gaze at photos of their mother.

Richardson Kennedy‘s siblings did not appear to be at the wake.

Read more: New York Post

Source: http://www.myfoxmemphis.com/dpps/news/celebrity-packed-crowd-honors-former-wife-of-rfk-jr-dpgonc-km-20120519_20069885

Source: http://news.yahoo.com/jack-white-attempts-record-most-metaphors-231537980.html

The surface-ship tale, a special-effects-laden movie which
opens nationally today, received full U.S. Navy cooperation.
Navy Secretary Ray Mabus had a one-line role as commanding
officer of the USS Ronald Reagan aircraft carrier: “Commence
air operations.”

The cooperation included filming on U.S. vessels during the
RIMPAC 2010 naval exercise and at famous Hawaiian sites, use of
sailors on leave, helicopter flights and one day at sea filming
the USS Missouri, a floating museum normally docked at Pearl
Harbor. The so-called Mighty Mo battleship last fired its guns
during the 1991 Persian Gulf War.

In exchange for such access, equipment and personnel,
filmmakers must modify a script if requested by the Pentagon or
military service. Among the most famous maritime films that
received Pentagon and Navy support was 1990’s “The Hunt for Red
October.”

“The only significant modification I had to make”
involved the actor initially cast as a destroyer executive
officer, Berg said in an interview in Washington.

“I cast without meeting him,” Berg said. “I saw him just
on video. He was 35 pounds overweight. The Navy consultants had
a ‘body-fat’ rule. They said ‘he’s too fat, don’t use him.’ I
had to get rid of him. That was the only issue I had with the
Navy.”

‘Adventure Film’

“There were times when we would argue and disagree but we
would always work it out,” Berg said.

Battleship “is an adventure film” not meant to be taken
literally, Berg said. Still, Navy consultants were involved with
how to portray procedures, such as “the way the Navy
communicates, certainly wardrobe and cause-and-effect — if some
member acts out, he’s got to be held accountable,” Berg said.
“That was no problem.”

The singer Rihanna, making her acting debut, had a female
Navy technical adviser.

The adviser coached the Barbadian pop singer — who’s a
petty officer second-class in the movie — on military protocol
and weapons handling, ranging from a small-boat Gatling gun to a
5-inch destroyer deck gun she uses to demolish an alien.

The Navy allowed the filmmaker access to vessels during
previously scheduled training events and dockside, said
spokesman Lieutenant Myers Vasquez in a telephone interview.

Brief Voyage

NBC Universal worked directly with the Naval Facilities
Engineering Command and paid all expenses for any crane, lift
and dumpster usage on base, Vasquez said.

The film crew was considered media and allowed to film on
the Arleigh Burke-class destroyers USS Hopper and John Paul
Jones and amphibious assault ship USS Bonhomme Richard, he said.

Actor Alexander Skarsgard, who plays the commanding officer
of a destroyer, also was allowed time on the USS Benfold to
watch a real one in action.

Berg’s crew filmed the Missouri in January 2010 during a
brief, at-sea foray as it returned from dry dock to its
permanent site near the USS Arizona after an $18 million
maintenance and preservation upgrade.

Tugboats towed the Missouri about two miles offshore
Honolulu’s Waikiki Beach. Special effects artists recreated the
battleship for its climactic encounter with aliens.

“Her historic albeit brief ‘voyage’ was an image not seen
since the ship’s arrival in Hawaii in 1998,” according to the
production notes.

The Missouri, commissioned in 1944, was the last battleship
built by the U.S. Japan surrendered to the U.S. on board the
Missouri in 1945, ending World War II.

To contact the reporter on this story:
Tony Capaccio in Washington at
acapaccio@bloomberg.net

To contact the editor responsible for this story:
John Walcott at
jwalcott9@bloomberg.net

Source: http://www.businessweek.com/news/2012-05-18/navy-wanted-slimmer-sailor-for-role-in-battleship-movie

Jon Kopaloff/FilmMagic/Getty Images

Forbes list of the World’s Most Powerful Celebrities is fascinating to me.  Dorothy Pomerantz and her team did a remarkable job of putting the list together.  However, I always wondered what makes a celebrity “powerful”.  Is it how much money they made?  Their influence within their industry?  The size of their fan base?

Dorothy explains, “The Celebrity 100 is based on entertainment-related earnings plus media visibility (exposure in print, television, radio and online). We consider film and television actors, TV personalities, models, athletes, authors, musicians and comedians.

To compile our earnings numbers, we talk to industry insiders, including agents, lawyers, producers and other experts, to come up with an estimate for what each celebrity earned between May 1, 2011, and May 1, 2012. Earnings consist of pretax gross income. Management, agent and attorney fees are not deducted.

Online exposure is measured using Google blogs. Print media mentions come from Factiva, and we use Lexis/Nexis to find out how many times each star was mentioned on television and on the radio. We comb through dozens of magazines from the past 12 months to count how many times each star appeared on covers. Covers are an important part of our fame algorithm but their rankings do not show up on celebrity profiles.

Twitter followers and Facebook fans are measured using Twitter and Facebook searches.

All of the data is processed through an algorithm that creates our power ranking. We then divide the celebrities into categories like musician, actor, actress and personality.” 

OK, that sounds like a very thorough analysis. 

I rate a celebrity’s “power” a bit differently.  Admittedly, my ranking is directly related to the celebrities’ impact on the brands they endorse. As part of the brand strategy services we provide clients, we often match celebrities with ad campaigns.  For obvious purposes, we leverage celebrity status to bring more (or different) attention to our client’s products with the ultimate goal of increasing sales.  To be real, many times celebrities are chosen based on who on the brand team wants to meet them.

We all know the downside of celebrity endorsements and the negative effects an endorser’s personal life can have on brands.  From that perspective, and an attempt to mitigate potential negative fallout, I would not recommend most of the top 20 on Forbes list.  My definition of “power” is the measure by which their affiliation with a brand creates a mutually beneficial, positive effect on the brand’s equity.  Or, does the relationship move the sales and brand perception needle?

Based on the top 20 of the Forbes list and the type of consumer-facing companies I deal with, only 8 would make the Paul Jankowski Most Brand-Friendly Celebrities list.  My picks are in bold:

1.      Jennifer Lopez

Source: http://www.forbes.com/sites/pauljankowski/2012/05/18/do-brands-need-celebrities/?ss=strategies-solutions

The superhero adventure film is expected to be No. 1 yet again with about $50 million in ticket sales, according to those who have seen pre-release audience surveys. The movie already has surpassed the $1-billion mark at the global box office and will have grossed more than $400 million in the U.S. and Canada alone by Sunday. 

“Battleship,” the popcorn movie about a maval fleet battling aliens which cost Universal Pictures $209 million to produce, probably will start off with a so-so $40 million in ticket sales. Nonetheless, that would be more than enough to beat Sacha Baron Cohen’s spoof”The Dictator,”which debuted Wednesday with a modest $4.2 million. The film about a fictional North African leader is projected to sell about $20 million worth of tickets by the end of the weekend.

The weekend’s other new opener,”What to Expect When You’re Expecting,”an ensemble comedy, could also make around $20 million — a respectable figure considering it cost $25 million less to make than “The Dictator.”

Universal opted to open “Battleship,” which was directed by Peter Berg, overseas nearly a month before it hit U.S. theaters in an effort to avoid the crowded marketplace of summer tentpoles debuting abroad this summer.

The results of that effort have been decent, as the movie, starring Taylor Kitsch, has collected about $221 million abroad so far. It has performed particularly well in China and Russia, countries where audiences typically embrace special-effects-heavy films.

“Battleship,” in which singer Rihanna makes her acting debut, is the second film this year with a budget of more than $200 million that stars Kitsch. The 30-year-old actor was the lead in Walt Disney Studios’ ill-fated “John Carter,” which performed so poorly at the box office that Disney took a $200-million write-down on the movie. Kitsch has so far received positive reviews for his performance in “Battleship,” and he will star in Oliver Stone’s gritty drug cartel thriller “Savages” in July.

In February 2008, Universal made an agreement with Hasbro toys to make at least four films based on the company’s games and toys, including “Candy Land” and “Monopoly.” “Battleship” is the one movie to result from that deal so far; the only other Hasbro-related project currently in development at Universal is a low-budget version of “Ouija.”

“The Dictator” — which cost $65 million to make — was initially slated to open against “Dark Shadows,” but Paramount Pictures decided in at the last minute to push the film’s opening back five days because both movies are comedies. On Wednesday, the picture attracted a young, mostly male audience — 65% were men, and 56% were under the age of 25. Those who saw the film disliked it, assigning it a grade of C on average, according to market research firm CinemaScore.

The R-rated picture may be failing to attract an older audience because that demographic of moviegoers strongly disliked Cohen’s last film, “Bruno,” which also received a C CinemaScore. “Bruno,” a mockumentary about a flamboyant gay Austrian who comes to America, made a disappointing $60 million in the U.S. in 2009 but fared better overseas, with about $78 million.

The movie did not perform as well as Baron Cohen’s breakout hit “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan,” another mockumentary, which collected $261 million worldwide in 2006.

“What to Expect While You’re Expecting” is based on the popular pregnancy advice book published in 1984. The film, which features Cameron Diaz, Jennifer Lopez and Chris Rock, has received the worst reviews of any the weekend’s debuts. As of Thursday, it had notched only a 31% fresh rating on Rotten Tomatoes.

The movie, co-financed by Lionsgate and Alcon Entertainment for $40 million, is going after the same female audience that turned up to see the hit ensemble romantic comedy “Valentine’s Day” in 2010. “What to Expect” furthers Lionsgate’s efforts to break out from the niche of horror and Tyler Perry-directed films the studio has been best known for. So far, that strategy has had mixed results: Taylor Lautner’s “Abduction” and the mixed martial arts film “Warrior” flopped, but March’s “The Hunger Games” turned out to be a massive blockbuster.

RELATED:

‘Battleship’ ups game for studio

Movie review: ‘The Dictator’ rules with crudeness and smarts

‘Battleship’ keeps Taylor Kitsch afloat after ‘John Carter’ debacle

Follow Amy Kaufman on Twitter @AmyKinLA.

Source: http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-battleship-box-office-dictator-20120517,0,6439172.story

It’s like that Great Circle of Life that Disney’s so fond of — or that fempire Fox programming chief Kevin Reilly marveled at a couple days ago!

Taking the open Monday timeslot is a new comedy called “Partners” based on the lives of comedy team David Kohan and Max Mutchnick, who created “Will Grace” only this time it’s a straight architect, played by David Krumholtz (“Numbers”), and his gay co-worker, played by “Ugly Betty’s” Michael Urie. Advertisers seemed to love the clip they saw Wednesday afternoon at Carnegie Hall.

“Men,” like the hoary old lion who’s lost a step or two on the savanna, will go lick its wounded ego on Thursday nights, in company with the show it helped turn into a hit back in the day, “Big Bang Theory.”

CBS did not, however, launch a four-comedy block on Thursdays, as forecast, packing “BB” and “Men” into the 8 p.m. hour, to keep JJ Abrams’ “Person of Interest” intact at 9.

“We created a Super Comedy Hour – the No. 1 and No. 2 comedies,” CBS scheduling guru Kelly Kahl boasted during a breakfast news conference Wednesday morning.

Plus, “Person of Interest” provides maybe a more compatible leadin than comedies for TV’s latest update on the Sherlock Holmes story, “Elementary” — one of just three new dramas on CBS’s fall schedule. At 10 o’clock Thursdays with “Elementary” the field was “wide open for us,” Kahl said, noting NBC’s placement there of extremely low rated “Rock Center with Brian Williams” and ABC’s chick drama “Scandal.”

“Elementary”
(Craig Blankenhorn – CBS)
“Elementary” is a gutsy move for CBS, not because it’s replacing “The Mentalist” on the night, but because it begs the very large question: with American viewers accept a show that stars a character who speaks with a British accent, even if they’re playing Sherlock Holmes – in New York?

Clearing up one of the great mysteries of this year’s Broadcast Upfront Week, CBS execs revealed that Sherlock Holmes killed Horatio Caine. (They had no explanation to offer for this week’s other great mystery: what’s NBC’s “Rock Center” doing at 10 on TV’s most important night?)

In order to open up the Thursday 10 p.m. hour for Sherlock — who will be played with that proper British accent by Jonny Lee Miller, BTW (Lucy Liu plays Dr. Joan Watson) CBS had to pluck “The Mentalist” out of the hour.

Network suits decided “Mentalist” was best moved to Sunday nights at 10, following “The Good Wife.” Into the tumbrel was tossed this season’s Sunday 10 o’clock drama, “CSI: Miami,” instead of the heavily favored to get the axe, “CSI: NY.”

The New York version of the “CSI” franchise instead survives on Friday, moved to 8, to become one end of an all-New York/Jersey lineup on the night. At 9, new “Made in Jersey” stars Janet Montgomery as a young working class chick from Jersey who lands a job as a prestigious New York law firm with the help of a sassy secretary, a sexy older sister and a big Italian family. No cliché left behind on this one!

Janet Montgomery as Martina Garretti in “Made in Jersey.”
(David Lee)
After being disappointed when two chick-led dramas — “The Good Wife” and “Unforgettable” — tried, but failed, on Tuesdays at 10 to capitalize on the ratings leadin provided by two high-testosterone “NCIS” dramas, CBS has finally wised up and put a guy’s-guy show at 10 p.m. on the night.

The 60’s-set “Vegas” stars Dennis Quaid as the WWII vet rancher/mayor of Las Vegas who tangles with ruthless Chicago mobster Michael Chiklis for control of Las Vegas. “Vegas” will get the guy audience, while NBC’s “Parenthood” and ABC’s “Private Practice” squabble over the chicks, Kahl forecast.

Grievously, in the clip of “Vegas” CBS showed to advertisers at Carnegie Hall, Dennis Quaid scowled, sneered, and grimaced, and chewed some scenery, but he only smiled once and it wasn’t The Full-On Quaid. Dennis Quaid has a million-dollar smile. Dennis Quaid’s smile makes Simon Baker’s smile look like the minor leagues. After CBS’s presentation, advertisers came up to Quaid and asked if they could get a photograph “of the smile.”

”Vegas”
(Lorey Sebastian – CBS)
Hopefully, CBS will right this wrong before the show’s premiere.

CBS suits seemed particularly jazzed about the 9 p.m. potential for “NCIS: LA” this season, where both ABC and NBC have planted comedy blocks – “The Comedy Sig-Alert” on the schedule, Kahl joked, adding “We’re the carpool lane at 9.”

“NCIS: LA” star LL Cool J opened CBS’s Carnegie Hall presentation Wednesday afternoon, when he engaged in a little competitive dueting with soprano Danielle de Niese. We’re giving her the win.

Wednesday’s lineup is returning intact: “Survivor,” “Criminal Minds” and “CSI,” which, network programming chief Nina Tassler noted, improved considerably, ratingswise this season, with Ted Danson and Elisabeth Shue added and Marg Helgenberger gone.

TV critics at the breakfast seemed most surprised by the “Men” move out of Monday, and the season-long success of “2 Broke Girls.”

“One of our hallmarks has been, over the years, to make sure you have a strong emotional core to your storytelling,” Tassler explained of “2 Broke Girls.” “Funny is great, but one of the things people talk about with those two characters is they care about each other and we care about them.”

Tassler was speaking of the audience, not of the critics, who have seemed largely united in their dislike for the comedy. Fortunately for CBS, the public does not fall in step with the critics.

CBS chairman Les Moonves kicked off the breakfast, noting that the day before at Upfront Week, ABC late night star Jimmy Kimmel once again delivered to advertisers his annual gag about CBS and its old audience, though CBS will finish this season a close No. 2 to Fox among younger viewers, while ABC is finishing dead with younger viewers last among the major broadcast networks.

“I’m a big fan of Jimmy Kimmel but somebody should tell him ABC is so far behind us in the demo, the joke went away like 10 years ago. He should freshen up his material a little bit,” Moonves said.

Kimmel, of course, delivers this gag every year because CBS, while attracting young viewers, also attracts a huge number of older ones, in part because CBS is the last broadcast network still practicing “broadcasting.” During Wednesday’s breakfast, Tassler said the network makes no apologies for its business model.

“We have one goal, and that is to continue making hit TV shows,” she said.

“There are a lot of messages out there floating around, but we want to make big hit show that a lot of people watch, that create breakout television stars, that create opportunity for CBS… and really engage our audience. That’s our goal and we don’t get confused; we don’t get sidetracked. That’s what we focus on every single year.”

CBS TELEVISION NETWORK

2012-2013 PRIMETIME SCHEDULE

(N=New, NT=New Time, all times ET/PT)

MONDAY

8:00-8:30 PM HOW I MET YOUR MOTHER

8:30-9:00 PM PARTNERS (N)

9:00-9:30 PM 2 BROKE GIRLS (NT)

9:30-10:00 PM MIKE MOLLY

10:00-11:00 PM HAWAII FIVE-0

TUESDAY

8:00-9:00 PM NCIS

9:00-10:00 PM NCIS: LOS ANGELES

10:00-11:00 PM VEGAS (N)

WEDNESDAY

8:00-9:00 PM SURVIVOR

9:00-10:00 PM CRIMINAL MINDS

10:00-11:00 PM CSI: CRIME SCENE INVESTIGATION

THURSDAY

8:00-8:30 PM THE BIG BANG THEORY

8:30-9:00 PM TWO AND A HALF MEN (NT)

9:00-10:00 PM PERSON OF INTEREST

10:00-11:00 PM ELEMENTARY (N)

FRIDAY

8:00-9:00 PM CSI: NY (NT)

9:00-10:00 PM MADE IN JERSEY (N)

10:00-11:00 PM BLUE BLOODS

SATURDAY

8:00-9:00 PM CRIMETIME SATURDAY

9:00-10:00 PM CRIMETIME SATURDAY

10:00-11:00 PM 48 HOURS MYSTERY

SUNDAY

7:00-8:00 PM 60 MINUTES

8:00-9:00 PM THE AMAZING RACE

9:00-10:00 PM THE GOOD WIFE

10:00-11:00 PM THE MENTALIST (NT)

More from Upfront Week:

VIDEO:
Check out previews of ABC’s new shows

ABC moves ‘Revenge’ to ‘Desperate’ timeslot and loads up on comedies for fall

VIDEO:
Check out previews of Fox’s new shows

Upfront Week 2012: Fox has Britney Spears, Demi Lovato; NBC has a monkey

Upfront Week 2012: Mindy Kaling, Demi Lovato, Britney Spears join Fox; ‘Glee’ moves to Thursday

VIDEO:
Check out previews of NBC’s new shows

CBS officially cancels “CSI: Miami”

NBC reveals schedule: ‘Community’ to Friday, ‘The Voice’ to launch in fall

CW orders five new shows including ‘Carrie Diaries,’ renews ‘Gossip Girl,’ ‘Nikita,’ ‘Hart of Dixie’

Source: http://www.washingtonpost.com/blogs/tv-column/post/upfront-week-2012-cbs-moves-two-and-a-half-men-to-thursday-mentalist-to-sunday/2012/05/16/gIQAL7JZTU_blog.html?tid=pm_entertainment_pop