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Official HATFIELDS & MCCOYS Thread (05.28)

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  • Atypical
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    #244538

    History’s
    first-ever scripted miniseries “Hatfields & McCoys” premieres on
    Monday, May 28, 2012 (Memorial Day) @ 9 PM ET.




    Here
    is the trailer:


    http://www.youtube.com/watch?v=IYIWdXYm8bc

    Reviews
    upcoming.

    Reply
    uncreativename
    Member
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    #244540

    All of the trailers I have seen for this have kept my interested in watching the series; let’s hope it doesn’t let us down.

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    Raylan
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    #244541

    this looks interesting i’ll definitely be watching

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    Atypical
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    #244542

    Variety’s review:

    Hatfields & McCoys

    (Miniseries — History, Mon. May 28, 9 p.m.)

    by Brian Lowry

    Filmed in Romania by Leslie Greif Prods. and Thinkfactory Media. Executive producers, Greif, Nancy Dubuc, Dirk Hoogstra; supervising producer, Barry Berg; producers, Kevin Costner, Darrell Fetty, Herb Nanas; director, Kevin Reynolds; writers, Ted Mann, Ronald Parker; story by Bill Kerby, Mann.

    Devil Anse Hatfield – Kevin Costner

    Randall McCoy – Bill Paxton

    Johnse Hatfield – Matt Barr

    Jim Vance – Tom Berenger

    Wall Hatfield – Powers Boothe

    Bad Frank Phillips – Andrew Howard

    Nancy McCoy – Jena Malone

    Levicy Hatfield – Sarah Parish

    Roseanna McCoy – Lindsay Pulsipher

    Perry Cline – Ronan Vibert

    Selkirk McCoy – Joe Absolom

    Cotton Top Mounts – Noel Fisher

    William “Cap” Hatfield – Boyd Holbrook

    Jim McCoy – Tom McKay

    Tolbert McCoy – Sam Reid

    Ransom Bray – Jilon Vanover

    Sally McCoy – Mare Winningham

    Fronted by all-star talent—with Kevin Costner and Bill Paxton playing the scraggly patriarchs of the feuding clans—the six-hour “Hatfields & McCoys” has a certain grungy intensity, a la “Deadwood,” but also features arid stretches, and too many supporting characters who register so sparingly you barely get to know them before they start catching bullets. Interesting but not particularly stirring, this ambitious miniseries spans decades, and sometimes feels like it. Then again, after “The Kennedys” wound up being punted to ReelzChannel, History should celebrate merely getting it on at all (profiling long-dead characters, apparently, has its advantages).

    Opening during the Civil War and airing over three successive nights, the production introduces Devil Anse Hatfield (Costner) and Randall McCoy (Paxton) fighting side by side for the Confederacy. Devil Anse deserts, however, and by the time Randall returns home, the Hatfields have a thriving business going, leading to ill feelings and a property dispute.

    More viscerally, Devil Anse’s crusty uncle (Tom Berenger) winds up murdering Randall’s brother, who not only has the temerity to wear a Union jacket but accuses the old coot of “fornicating” with his dog.

    From there, the feud is on, with a series of escalating provocations and acts of violence, spiraling upward. There’s even a “Romeo-and-Juliet”-like romance between Devil Anse’s ladies man son Johnse (Matt Barr) and Randall’s daughter Roseanna (Lindsay Pulsipher), which pretty obviously isn’t going to end well.

    Directed by Kevin Reynolds (whose lengthy relationship with Costner includes “Waterworld” and “Robin Hood: Prince of Thieves”) from a script credited to Ted Mann and Ronald Parker, “Hatfields” has the courage to proceed at a slow-rolling pace, and feature battles as brutal as they are ugly, with a whole lot of shooting and often not many casualties. Such veracity, however, doesn’t always make for compelling drama, and at times it all feels like a long slog waiting to see who dies next.

    None of this is a knock on the principals, who exhibit the gradual toll of the killing, even after McCoy’s side has begun to rely on a bounty hunter (Andrew Howard). Impressive cast includes British star Sarah Parish and Mare Winningham as Devil Anse and Randall’s spouses, respectively, and Powers Boothe as a judge in the Hatfield camp.

    Producer-star Costner has done some of his best work in underappreciated Westerns like “Wyatt Earp” and “Open Range,” although this latest trip West doesn’t rise to that level. Nevertheless, it’s potent enough—more in subject matter than execution—to deliver for History, which, seemingly like every other basic cabler, is seeking to expand its profile, either through programs that have nothing to do with history or via scripted fare.

    With both miniseries and true westerns in short supply, it’s unfortunate “Hatfields & McCoys” doesn’t provide a clearer verdict. Not that it’s bad, but the result’s just not worth all the shootin’ and hollerin’, much less fighting about.

    Camera, Arthur Reinhart; production designer, Derek Hill; editor, Don Cassidy; music, John Debney, Tony Morales; costume designer, Karri Hutchinson; casting, Fern Champion. 6 HOURS.

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    Spenser Davis
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    #244543

    I’m glad Lowry mentions Costner’s track record with westerns. That is one of the reasons I want to see this miniseries. That, and because I think there need to be more one-and-done mini-series in America (or at least shorter seasons, like in the UK).

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    Atypical
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    #244544


    Entertainment
    Weekly’s review:


    TV
    Review


    Hatfields
    & Mccoys (2012)


    Reviewed
    by Ken Tucker | May 25, 2012


    Details:
    Start Date: May 28, 2012; With: Kevin Costner and Bill Paxton; Network: History
    Channel



    At
    four and a half-plus hours, the three-night, Kevin Costner-starring “Hatfields
    & McCoys”—a re-creation of a 19th-century rural feud that’s probably one
    generation beyond common knowledge—could have been a tedious bore. And did I
    mention that it was directed by the guy who took the fall for “Waterworld”?
    But, working once again with Costner, director Kevin Reynolds—who, to be fair,
    did a bang-up job with Costner on “Robin Hood: Prince of Thieves”—summons a
    vivid tableau of backwoods life. Costner, as Devil Anse Hatfield (yes, his real
    first name, Devil, rarely pops up on those lists of popular baby-boy names),
    and Bill Paxton, as Randall McCoy, head up the clans that clash, and both men
    give distinctively soulful performances.


    Here’s
    a summary of the epic squabble, for those who don’t know it: Just after the
    Civil War, friends and side-by-side Confederate soldiers Hatfield and McCoy
    return to their homes and drift apart. Arguments and misunderstandings grow
    like weeds between their respective plots of land in West Virginia and
    Kentucky. Everything from timber rights to the supposed theft of a pig
    ultimately results in bloody fistfights and deadly gun battles. Costner
    deserves credit, here and in his 2003 film “Open Range,” for doing variations
    on the Western genre capable of surprising audiences with their freshness and
    depth. He manages to keep Hatfield’s corncob-pipe-smoking stoic from being a
    hillbilly cliché. Similarly, Paxton’s McCoy, a devout man with a healthy streak
    of fear, is a complex figure in this saga. You can understand why these men
    initially admired and eventually hated each other. As Hatfield says at one
    point, ”If ever two men misunderstood each other, it was us.”


    “Hatfields
    & McCoys” occasionally gets bogged down in the miniseries’ chief subplot, a
    drawling “Romeo-and-Juliet” romance between Johnse Hatfield (Matt Barr) and
    Roseanna McCoy (Lindsay Pulsipher). But Jena Malone is around to spice things
    up as a devious McCoy cousin who tempts Johnse, and Tom Berenger, nearly
    unrecognizable beneath whiskers and buckskin, is fine as Devil Anse’s uncle and
    ruthless ally. “Hatfields & McCoys” is nearly hijacked by an interloper:
    Andrew Howard, in a delightfully showy performance as Bad Frank Phillips, an ex-Pinkerton
    agent who exploits the feud by becoming a sadistic killer for hire, collecting
    bounty rewards as the Hatfields and the McCoys commit crimes in the course of
    their fighting.


    In
    stretching the tale over three nights, the pacing sags at times, and
    recriminations can get repetitive. It also doesn’t help that Reynolds shot the
    miniseries in that perpetual sepia tone that gives everything a faux-antique
    look. But overall, “Hatfields & McCoys” is engrossing, and enlightening about
    a feud that proves to be a lot more than the bumpkin brawl of pop legend.


    Grade:
    B+


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    Atypical
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    Hollywood
    Reporter’s review:


    “Hatfields
    & McCoys”: TV Review


    5/25/2012
    by Tim Goodman


    The
    Bottom Line: It may be historical fiction, but there’s no rooting interest in
    either the Hatfields or the McCoys as History gets into the scripted game.


    Airdate:


    9
    p.m. Monday-Tuesday-Wednesday, May 28-30 (History)


    Cast:


    Kevin
    Costner, Bill Paxton, Tom Berenger


    Director:


    Kevin
    Reynolds


    History’s
    first foray into scripted fare focuses on the legendary civil war era feud and
    features fine performances from Kevin Costner and Bill Paxton.


    With
    History feeling the urge of pretty much every other cable channel—to get into
    the scripted business—it makes sense it would choose historical fiction.
    However, the six-hour miniseries “Hatfields & McCoys,” starring Kevin
    Costner and Bill Paxton, is not, creatively speaking, the greatest start
    History could have hoped for.


    The
    network, once famous for Hitler documentaries and now for such unscripted hits
    as “Ice Road Truckers” and “Pawn Stars,” already has greenlighted its first
    scripted series, “Vikings,” from Michael Hirst (“The Tudors,” “Elizabeth”), set
    for 2013. So “Hatfield & McCoys,” the first scripted miniseries, can be
    seen as a trial run.


    Here’s
    the first problem: Revenge dramas are inherently flawed. You killed one of
    mine, so I kill one of yours. Is there drama in there? A bit—waiting for the
    gun to go off yet again as the sides tally the score. But, dramatically, you
    know what’s going to happen here: An eye is going to be taken for an eye until
    the whole South goes blind.


    This
    is amplified tenfold with an adaptation of the real-life battle between the
    Hatfield and McCoy families, of West Virginia and Kentucky, respectively. The
    feud began in the late 1800s, and there’s much debate about who started it. Not
    that we want to side with either clan in the History version; both are pretty
    damn unlikable.


    We
    meet Devil Anse Hatfield (Costner) and Randall McCoy (Paxton) fighting together
    and fleeing Union soldiers during the Civil War. The South is reeling, and
    despite fierce fighting from Hatfield, who leads his brigade, and McCoy, who is
    willing to die until the end, it looks like fate is against them. Then, without
    enough reason given, Hatfield quits and heads home. McCoy stays and as the last
    survivor of his brigade is captured and put into a Union prison. Upon his
    return home, he’s a little miffed to see that Hatfield is doing just fine in
    the timber business. There are no bygones here.


    But
    then events go astray. It’s not clear if the families had issues before the
    war, but they seem to have a whole lot of them out of the blue when the
    fighting is over. Conveniently, the Hatfields and McCoys always seem to be at
    some event where alcohol and guns are involved and, well, one thing always
    leads to another. This, underwhelmingly, is where the miniseries decides to
    keep at it. Issue after issue comes up. Family members die, retaliation comes,
    and both families spit out the names of the other in every conversation.


    Then
    a pig gets stolen (allegedly) and the six Hatfields on one side of the jury
    battle the six McCoys on the other, until one McCoy who is married to a
    Hatfield makes the wrong choice and—look out—more bloodshed. You may think that
    story about the pig is a fabrication of events to illustrate the mundane
    warring of the families, but no.


    It’s
    pretty difficult to feel sorry for either side, since each episode appears to
    be dumb/drunk hillbillies doing something bad to the other side. Even when “Hatfields
    & McCoys” sets up a scenario in which the viewer can get emotionally
    invested (despite seeing it coming a mile away), like the love affair, marriage
    proposal, and baby out of wedlock between a Hatfield and a McCoy, the
    investment is lost when both sides do something stupid.


    Are
    we supposed to care for these people? Are we supposed to pick a side? It ain’t
    easy. There are times when Costner gives a terrific performance and you think,
    “Well, there it is, he’s our hero.” Then he does something despicable. Paxton
    then rises up and does something righteous, only to go dumb immediately
    afterward.


    That
    is to say, no matter how hard each actor works to present the Hatfield or the
    McCoy side, it’s a moot point. Neither family gets sympathy or respect. And
    maybe that’s considered a badge of honor at History—as if it has presented two
    antiheroes so effectively that the edginess of the effort cuts you to the bone.


    Except
    it doesn’t. “Hatfields & McCoys” is less dark and dramatically difficult
    than it is pointlessly trying to tell each side of the story and ultimately
    making the case for neither. Hatfield vs. McCoy vs. Hatfield vs. McCoy vs.
    Hatfield vs. McCoy ad nauseam isn’t dramatic. It’s tedious. Somewhere around
    the three-hour mark, all you want to do is have both families line up opposite
    each other, pull the trigger and fade to black.

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    Atypical
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    #244546


    Chicago Sun-Times review:


    Costner, Paxton make fine pair of feuders
    on History


    BY LORI RACKL TV Critic/lrackl@suntimes.com
    May 25, 2012


    “HATFIELDS & MCCOYS”: ★★★


    8 to 10 p.m. Monday, Tuesday, and Wednesday
    on History (9 p.m. ET)


    Now that ABC’s retribution romp, “Revenge,”
    has ended its first season, satisfy your bloodlust with a History channel
    miniseries about the ultimate family feud—this one featuring horses, moonshine,
    and muskets.


    “Hatfields & McCoys” tells the true story
    of a legendary grudge match that started at the end of the Civil War and
    dragged on for decades, nearly igniting a war of its own between Kentucky and
    West Virginia. It stars Kevin Costner and Bill Paxton as the respective
    patriarchs of the Hatfield and McCoy clans.


    The three-part drama is an intimate look at a
    notorious rivalry that made international headlines and went so far as to
    require U.S. Supreme Court intervention.


    The series starts on a battlefield in 1863,
    the last time Confederate soldiers Devil Anse Hatfield (Costner) and Randall
    McCoy (Paxton) would find themselves fighting on the same side. Not long after
    Hatfield goes home to West Virginia and McCoy returns to his house across the
    border in Kentucky, tensions and tempers start to flare.


    A dispute erupts over timber rights. Someone
    gets accused of stealing a pig. Hatfield’s uncle offs McCoy’s brother, a Union
    soldier. Before you know it, everyone’s ginned up and the body count is higher
    than some cable network’s audiences.


    “The Hatfields and McCoys are famous,” a man
    tells his wife on a family outing to watch a member of Team Hatfield get
    hanged.


    “Famous for what?” she asked.


    “Killing each other,” an onlooker chimed in.


    Despite all the hatred, or perhaps because of
    it, a love story develops between Hatfield’s handsome playboy son, Johnse (Matt
    Barr, “Harper’s Island”), and McCoy’s wide-eyed daughter, Roseanna (Lindsay
    Pulsipher, “True Blood”). Their “Romeo-and-Juliet” relationship only adds fuel
    to the fire.


    “Hatfields & McCoys” reunites Costner
    with director Kevin Reynolds, who collaborated with the actor on many projects,
    including the 1995 big-screen bust “Waterworld.”


    Their newest venture has a cinematic feel.
    The well-executed drama is a welcome addition to the programming lineup for a
    network better known for non-scripted series like “Swamp People” and “Pawn
    Stars,” the latter of which will air back-to-back “Hatfield and McCoy”-themed
    episodes at 7 p.m. Monday.


    Spread out over six hours, the miniseries can
    feel a tad repetitive at times. A few tangential characters are guilty of
    chewing up the scenery, but in general the acting is arguably the show’s
    greatest strength.


    Costner and Paxton are joined by an
    impressive cast that includes Tom Berenger as Hatfield’s hot-headed uncle,
    Powers Boothe as Hatfield’s big brother, Mare Winningham as McCoy’s beleaguered
    wife, and Jena Malone as McCoy’s trouble-making niece.


    “Hatfields & McCoys” is an interesting
    look at a subject we all heard about in school, but most of us would be
    hard-pressed to go into specifics about what prompted this piece of American
    lore and how it played out.


    It’s a cautionary tale about vengeance and
    how difficult it can be to bury the hatchet, which didn’t happen—at least
    officially—until recently. Sixty descendants of the Hatfields and McCoys signed
    a symbolic peace treaty in 2003.


    Let’s hope the miniseries doesn’t open old
    wounds.


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    Atypical
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    #244547


    SF
    Gate’s review:


    “Hatfields
    & McCoys” review: Feud got out of hand


    David
    Wiegand


    Saturday,
    May 26, 2012


    “Hatfields
    & McCoys”: Three-part miniseries. 9 p.m. Mon.-Wed. on the History Channel.


    The
    bloody six-year feud between the Hatfield and McCoy families at the end of the
    19th century has become so much a part of American folklore and cultural
    mythology that it would be unthinkable to refer to it, even 130 years after it
    started, as the McCoys and the Hatfields.


    The
    indelibility of the mythology is just part of what director Kevin Reynolds and
    screenwriters Ted Mann and Ronald Parker were up against as they turned the
    feud into a three-part miniseries for the History Channel, airing over three
    nights next week. When you consider that the feud occasionally popped up in old
    cartoons and defined Americans’ concept of “hillbillies” from old sitcoms
    like “The Real McCoys” to Al Capp’s classic comic strip “L’il
    Abner,” the challenge for Reynolds, Parker, and Mann was to disabuse us of
    the notion that there was anything remotely humorous about the feud.


    What
    we think we know about the dispute is that for several years, two families in
    West Virginia and Kentucky fought and killed each other. Some people know about
    a court case involving a stolen pig, which of course only adds to the
    inappropriate humor surrounding the feud. Other people may think the dispute
    must have had something to do with moonshine—it didn’t, although hooch no doubt
    fueled the combatants on a regular basis.


    “Hatfields
    & McCoys” does a good job of explaining the roots of the feud and
    helping us see that, regardless of whatever legitimacy there may have been in
    one family’s hatred of the other, none of it was worth the lives lost over
    those six blood-soaked years.


    Like
    many feuds, the hatred between the patriarchs of the two families began with
    friendship. Devil Anse Hatfield (Kevin Costner) and Randall McCoy (Bill Paxton)
    fought together in the Civil War, until Hatfield mounted his horse and returned
    home to his wife in West Virginia in the midst of battle. McCoy returned to the
    hills just across the state line in Kentucky much later, embittered by his
    experiences in the war and resentful of Hatfield for deserting. That bitterness
    was the tinder for what would become the titanic war between the two families.


    No
    single cause


    There
    was no single cause of the feud—one thing just seemed to lead to another. The
    murder of a McCoy family member by Hatfield’s uncle, Jim Vance (Tom Berenger),
    was the first spark, followed by accusations that the Hatfields had stolen a
    pig from one of the McCoys. The families also fought over the timber rights to
    a plot of land deeded to the Hatfields by a deceased McCoy, whose descendants
    insisted that while the Hatfields owned the land, they had not been given its
    timber rights.


    Then
    there was the “Romeo and Juliet” plot twist: Devil’s son, Johnse
    (Matt Barr), fell in love with Roseanna McCoy (Lindsay Pulsipher), who left her
    family and moved in with the Hatfields, incurring biblical wrath from her
    father. She gave birth to a child out of wedlock, while Johnse went on to marry
    Roseanna’s cousin, Nancy McCoy (Jena Malone). Today, some of these issues could
    be decided on “Judge Judy.”


    As
    the body count rises in the History Channel film, even the family members seem
    to forget why they hate each other, which only adds to our realization that if
    anyone had just taken a step back at the beginning, all those deaths could have
    been avoided. 


    Costner
    dominates the miniseries so thoroughly, he seems present even when Devil Anse
    isn’t on the screen. Despite his nickname, Devil isn’t a completely evil man.
    He has more than a little blood on his hands as the Hatfield family patriarch,
    but as the feud wears on, he grows increasingly aware of its tragic futility.
    He is tormented by the death and loss. Yet he is either unable or unwilling to
    stop it.


    Scarred
    by war


    Paxton
    has a tougher job with his character because Randall McCoy has been so scarred
    by the war, his daughter’s perceived “betrayal” by taking up with
    Johnse, and by deaths among the McCoy clan. The role isn’t written with as much
    nuance and depth as that of Devil Anse, but Paxton nonetheless brings him
    tragically alive.


    The
    miniseries is blessed to have actress Mare Winningham as Sally McCoy. Loyal to
    her husband and children, a voice of moderation, Sally becomes an avenging
    angel when the family cabin is surrounded by Hatfields and set ablaze.
    Winningham has an uncanny ability to disappear into a role. The busybody Ida
    Corwin from TV’s “Mildred Pierce” is nowhere to be seen in the McCoy
    family matriarch. Her determination to protect her family at all costs dooms
    her and her final moment onscreen breaks your heart with its clear-eyed
    emotional honesty.


    The
    one thing “Hatfields & McCoys” can’t deliver, even after the feud
    ended, is a clear reason for it to have happened in the first place. It was
    just hatred and resentment and it just got tragically out of hand.

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    Atypical
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    #244548

    HATFIELDS & MCCOYS[/i]

    PART 1


    Kevin
    Costner and Bill Paxton star in History’s all-new three-part miniseries about
    the legendary and deadly family feud between the Hatfields and the McCoys that
    broke out in the backwoods of West Virginia and Kentucky after the Civil War.
    The clash of clans begins when a Hatfield murders a McCoy, and Randall McCoy’s
    daughter and Devil Anse Hatfield’s son begin a tempestuous, forbidden love
    affair.

    Discuss.  
        
      

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    Atypical
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    #244549

    There were some dry patches here and there, but this was a strong opener. These two families took the “eye for an eye” theme to the extreme, but by the end of this first part, things finally reached a high point with whatever’s going to happen between Johnse and Roseanna. Top-notch cast and direction here too. Kevin Costner and Mare Winningham are early standouts. Very much looking forward to the remaining installments.

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    Hollis Mulwray
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    #244550

    Enjoyed the opening third very much. Kevin Costner, Mare Winningham and in a smaller role Andrew Howard are the ones to watch for me.

    And damn, they did an awful lot of spittin’ back then.

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    Atypical
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    #244551

    PART 2

    When the McCoys murder Anse’s younger brother, the Hatfields ride out to get bloody revenge. Soon, friends, neighbors, and outside forces join the feud, and all-out hostilities between the Hatfields and McCoys bring West Virginia and Kentucky to the brink of Civil War.

    Discuss.

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    Film Turtle
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    #244552

    Huge ratings for Part One: 13.9 million viewers, the highest ever for non-sports programming on ad-supported cable. It rises to more than 17 million viewers when you factor in the encore later that night.

    More: HollywoodReporter.com.

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    Atypical
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    #244553

    I wasn’t expecting ratings like that. That’s something. Good for them. Things are getting crazy right now.

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