ABC has not only decided to milk a summer success, it's going to do it as the new TV season has started. Here's the official announcement from the network.

In the spirit of good-natured competition, champion Kelly Monaco and her professional dance partner, Alec Mazo, will meet runner-up John O’Hurley and his professional partner Charlotte Jorgensen, once again on the dance floor. "Dancing with the Stars: Dance-off" airs TUESDAY, SEPTEMBER 20 (8:30-10:00 p.m., ET, LIVE on the East Coast/tape delayed to the West) on the ABC Television Network.

Audiences were dazzled by John and Charlotte’s elegant waltzes and raved at Kelly and Alec’s spicy Latin dances, resulting in a thrilling and hotly debated finale. For this special event, both champ and runner-up have agreed to reunite for one more electrifying showdown!

The dance-off will feature each couple performing several styles of dance — Latin, ballroom and freestyle. Our colorful and animated judges will return to give their critiques, but only viewers’ votes will count… America will truly decide the winner of the dance-off. Viewers are invited to weigh in with their votes via phones and the internet immediately following the broadcast on the 20th. And unlike the series, they won’t have to wait a week to learn the results of their votes. This time, results will be announced during a separate telecast which will air on THURSDAY, SEPTEMBER 22 (9:00-9:30 p.m. ET).

In addition to more fabulous costumes and the sensational live band, also included in the special will be dance demonstrations by the professional dancers from the series: Ashly Delgrosso, Jonathan Roberts, Edyta Sliwinska and Louis van Amstel.

If the current schedules hold, that will put the dance-off results show against the season premieres of "CSI" and "The Apprentice," which makes for an early test of strength for everybody.

By the way, for those of you who missed it, ABC has already signed up for a second series of "Dancing With the Stars" to air sometime in the coming season.

Tonight I was at the Beacon Journal as part of a series of open houses; movie critic George Thomas and I answered questions from folks, who also got a tour of the Beacon Journal building in the process.

I had a great time. Not only were the questions good, it's fun just to sit and talk about TV — and movies — with folks. I can't get enough of that, and the conversation is another way to know what you care about on TV.

We could have gone on much longer than time allowed. If you were there, and had a TV question you did not get to ask, e-mail me at rheldenfels@thebeaconjournal.com or post your question in my online Q&A at www.ohio.com. Also let me know if you'd like to see more chats like this — open-ended, you ask the questions and I try to provide the answers.

First, there's this from ABC today:

Beginning today, August 15, ABC News’ evening news broadcast will be titled "ABC’s World News Tonight." Formerly it was "ABC’s World News Tonight with Peter Jennings." Mr. Jennings passed away on August 7th.

ABC News President David Westin issued an internal memo throughout the News division which read in part:

"Last week was an emotional week for all of us. The tributes celebrating Peter’s life and career have served to remind each of us of the powerful legacy he leaves behind… After consulting with [Peter’s wife] Kayce and the family, we concluded that leaving the broadcast’s title as it was through last Friday was an appropriate tribute to Peter. But, of all people, Peter insisted on accuracy. As much as we would have it otherwise, from now on ‘World News Tonight with Peter Jennings’ will be known simply as ‘World News Tonight.’"

Mr. Westin continued: "The unrelenting standards, the demanding focus on covering the news from around the world, and the unwavering commitment to fairness that were the hallmarks of Peter’s career remain the core values of ‘World News Tonight’… For all of us who had the honor and privilege of working with him, I know we will always do our jobs with Peter Jennings firmly in mind."

And then this, on the DVD front:

As a lasting tribute to the accomplishments of one of the finest news reporters of the 20th Century, Anchor Bay Entertainment proudly announces the Tuesday, October 18 release of The Peter Jennings Collection on DVD, priced with a SRP of $24.98.

The Peter Jennings Collection presents six acclaimed primetime investigative documentaries hosted by Mr. Jennings and examining some of the burning issues facing the world today. All six full-length specials aired in the past two years on the ABC Network, Jennings’ home for over 41 years. Jennings served as prime-time anchorman and senior editor of “World News Tonight” since 1983.

Unseen since their first network airings, the six explosive documentaries presented in The Peter Jennings Collection DVD include:

No Place to Hide (Aired 01/25/05) – In a post 9/11 world, security surveillance can both save and destroy lives? Will America be forced to re-think all concepts of personal privacy?

From The Tobacco File (Aired 09/06/04) – The shocking true story of an industry under siege. But why has Congress still failed to regulate our country’s #1 killer?

Guantanamo (Aired 06/25/04) – A rare look inside the controversial U.S. prison camp. Is the military bending the rules in order to win the War On Terrorism?

LAPD (Aired 06/01/04) – A ride with one police division as they attempt to protect, serve and survive the most gang-infested neighborhoods in the nation.

Ecstasy Rising (Aired 04/01/04) – It remains one of the most widely used illegal drugs in America. What is it and why is our government willing to lie about its effects?

How to Get Fat Without Really Trying (Aired 12/08/03) – Nearly 2/3 of the U.S. population is overweight. Could the food industry and our own government be to blame?

While I was the office this morning, I had the TV set on next to my desk — but not because I was screening a show, or keeping an eye on a news channel. I was catching the end of the PGA championship. A co-worker (as you will see below, I work in a sea of sports fans) want to see it. And I was going to turn it on anyway, to see if Phil Mickelson could hold on for the win — and if Tiger Woods was going to get to play a little longer.

Woods, after all, had recovered enough that just a little bit more of a slide from the leaders could have put him in the playoffs. And I became a devoted golf watcher because of Tiger. Yes, I appreciate other golfing greats. But the thing that keeps me coming back to golf is WWTD — What Will Tiger Do? And then, because of that, I got to enjoy the exciting finish, including Mickelson's big win.

One gap in my golf education is watching a tournament without benefit of the TV cameras. I'm hoping to make up for that on Saturday, since my wife and I have tickets for the NEC at Firestone. I know it will be very different from TV. I've walked around Firestone before, so I have a sense of the massiveness of a golf course — a massiveness I'm not convinced that TV successfully conveys. But I'll be curious any other possible differences.

The gap between live and TV sports was also clear to me again this past Saturday, when the bride and I went to the Indians-Devil Rays game at Jacobs Field. Great seats, close to the field on the third-base line. Not such a great game — Indians went behind early, and not even a long rain delay could get them energized enough to make a battle out of it.

Still, it was a nice way to spend an evening, even if part of it was spent standing under cover, wondering when the downpour would stop, deciding which expensive food to eat and watching bits of a Red Sox-White Sox game on the stadium monitors. (Talk about proof that nothing is free: Every time that telecast on WGN went to a commercial break, the monitors went to an Indians logo — so no one in the stadium would see the ads.)

It was still getting out, a chance to watch other people, and better than being stretched on a couch, channel-flipping until a rain delay ended.

Of course, being at the Indians game meant that I wasn't at home for most of the telecast of the Browns. Hey, it's an exhibition game. The NFL may want to inflate such games' importance by calling them "preseason," but there's no real significance to any matchup where the starters are on the bench before the tailgaters have emptied their first keg.

I did get home in time to see some of it, though, and was unimpressed by what I heard from the gang of announcers WOIO had spread throughout the stadium. (The visual side was better, although some closeups on replays were not as good as you would expect from a network telecast.)

A co-worker stopped me in the hall today to comment on the awfulness of it. Another co-worker even called me during the telecast to wonder if the WOIO gang really thought the game was all about them. The answer is yes, in part because the games figure to bring an abundance of viewers to WOIO — and the rating Saturday was more than respectable, especially for an EXHIBITION game on a Saturday night — and the station wants to persuade them to check its news and other programs.

But the station's self-absorption doesn't just apply to football. WOIO is a bastion of first-person, look-at-us, we're-so-cool presentation. It's like watching bloggers compose.

And yes, I know I'm writing that in a blog. Which should tell you that — unlike WOIO — I am at least capable of feeling embarrassment.

Sounds if things are improving for the ailing TV producer and star, at least based on this announcement from his public-relations firm:

A classic holiday tradition adds a new face, but keeps its heart and soul, as Ryan Seacrest has been tapped in a long term deal to executive produce and join Dick Clark co-hosting the 34^th edition of “Dick Clark’s New Year’s Rockin’ Eve,” live from Times Square in New York on December 31st airing on the ABC Television Network.  No stranger to New Years, Seacrest will move over to ABC in a multi-year deal to occupy the co-host post and eventually take over as sole host.

Clark, who returns to the festivities after missing last year's show as he was recovering from a stroke, stated "It will be good to be back in New York again for New Year's and I'm elated that Ryan has agreed to join me in ushering in New Year’s on America's favorite holiday special.  This also gives me the opportunity to welcome him to the position."

During the TV critics' press tour, I had asked Jonathan Prince, who worked with Clark on "American Dreams," about Clark's recovery. He said: "I talk to him on the phone … He sounds like Dick Clark. Exactly like Dick Clark. … His intonation's not changed at all. … He sounds a little bit muted emotionally, But he's going to work — he's going to his office. … I know that they said he was walking with — not a walker, but a cane … faster than they ever thought he would."

Well, the investigation of Corey Clark's claims about Paula Abdul is done. And it doesn't exactly exonerate her — mainly saying there's not enough evidence against her. Here's the official statement from the production companies and Fox:

Upon hearing allegations made earlier this year about an improper relationship between “American Idol” judge Paula Abdul and former contestant Corey Clark, FremantleMedia, N.A., Inc., Fox Broadcasting Company and 19 Entertainment immediately launched an internal investigation.  This decision to begin an inquiry was motivated by a profound commitment to preserve the integrity of the “American Idol” competition. 

The inquiry was jointly conducted by outside counsel Marcellus McRae, a partner at the law firm of Gibson, Dunn & Crutcher LLP and a former federal prosecutor, and Ivy Kagan Bierman, an entertainment and labor partner at the law firm of Morrison & Foerster LLP. Both have particular expertise in handling Entertainment Industry matters and extensive experience in handling investigations of this nature.

The investigation required almost 600 hours of legal work and spanned over three and a half months.  43 individuals were interviewed, including Ms. Abdul and Mr. Clark.  An extensive review was also conducted of records and materials provided by Mr. Clark and Ms. Abdul.

After completing the inquiry, the investigators concluded:

·        Mr. Clark’s allegations that he and Ms. Abdul had a sexual relationship have not been substantiated by any corroborating evidence or witnesses, including those provided by Mr. Clark, and Ms. Abdul expressly denies that any such relationship ever existed.

·        Mr. Clark’s allegations that Ms. Abdul provided him any special assistance regarding his performance during the competition (including, but not limited to such things as song or wardrobe choice) have not been substantiated by any corroborating evidence or witnesses, including those provided by Mr. Clark himself, and Ms. Abdul expressly denies these allegations.

·        Ms. Abdul acknowledges that she had telephone conversations with Mr. Clark while he was a contestant.  Their accounts of those conversations, however, differ greatly and no evidence was uncovered to resolve the conflicts in their accounts.  Ms. Abdul expressly denies that any of these conversations related to Mr. Clark’s claims of special assistance.

We have determined, based on the findings of this thorough and detailed inquiry, that there is insufficient evidence that the communications between Mr. Clark and Ms. Abdul in any way aided his performance.  Further, we are confident that none of these communications had any impact on the outcome of the competition. 

Paula Abdul, therefore, can continue as a judge on “American Idol.”

Regardless of these findings, and to further protect the integrity of the competition, we are implementing an enhanced non-fraternization policy aimed at preventing any future incidents that could even appear to call into question the relationships between contestants and judges or any other individuals working on “American Idol.”

We appreciate the cooperation of Mr. Clark, Ms. Abdul and others who participated. As the inquiry relates to matters of a personal nature, and in order to protect the privacy interests of the individuals contacted in the course of this investigation, no further information regarding the identity of witnesses or details of the inquiry will be disclosed.

We thank the fans of “American Idol” for their patience and support.

Here, too, is Abdul's statement:

I'm grateful this ordeal is over, and I'm so looking forward to getting back to the job I love. Once again, I thank my fans from throughout the world for their undying love and support.

So our long national nightmare, 2005 edition, is over. Clark's claims did not seem all that strong when ABC aired them, at least to me. Here's some of what I posted (on my old blog site) at the time:

I think (Clark)'s a publicity hound trying to take advantage one last time of his only claim to fame — being on "Idol." I thought a lot of the ABC report was slimy, including the way that Clark's claim was presented to other former contestants in a dragged-out segment that seemed like a blend of one of "Idol's" after-the-break teasers and a reveal from "Trading Spaces." Yes, the phone records bother me. But I'm still more inclined to look for alternate explanations than to accept what Clark is saying. Time could prove me wrong, but that's where I am right now.

(end old posting)

So now Abdul is free to go back to calling mediocre singers "shining stars," to refusing to say whether one singer is better than another, and to dance to covers of songs done far better elsewhere.

Here is HBO's latest announcement that "The Sopranos" will keep going longer than anticipated — which, of course, just makes us all wonder if it could keep going beyond this.

LOS ANGELES, Aug. 11, 2005 - HBO announced today that in addition to THE SOPRANOS' upcoming sixth season, which will include 12 episodes, HBO will produce an additional eight bonus episodes, to debut in January 2007.

Currently filming its sixth season, the critically acclaimed, Emmy(r)- and Peabody-winning THE SOPRANOS will continue in production for these eight additional episodes. The sixth season is slated to launch in March 2006.

‘‘We are obviously delighted that we will be able to extend THE SOPRANOS' series beyond its slated 12 episodes,’’ said Chris Albrecht, chairman and CEO, HBO. ‘‘When something is as remarkable as THE SOPRANOS, our audience would like to see it continue as long as possible, so we are thrilled that David Chase felt there are more stories to be told.’'

‘‘With every season, this series continues to creatively evolve and grow. We are all looking forward to spending more time with 'The Sopranos',’’ said Brad Grey, executive producer of the series.

Odds and ends from too much TV watching (and thinking):

– Over the weekend I was watching "Million Dollar Baby" again, and watching it in two ways. One was the involvement in the story and the characters. The other was feeling that I was watching a really great movie.

I get the same feeling when I watch "Rescue Me," the FX drama starring Denis Leary as a troubled firefighter. This week's episode was moving and powerful — and, while I was being moved, another part of me sat back and said, "You realize this is absolutely brilliant, don't you?"

Now, I like plenty of things on TV. But I try, with mixed success, not to throw the word "brilliant" too much. Still, when "Rescue Me" was doing its elaborate party sequence, with multiple stories playing out, with one moment telling you to laugh, and another daring you not to cry — well, it was brilliant. There's no other word. This show should have many millions of viewers, and every award available — and run forever.

— I don't know what's going on in the next episode of "Rescue Me" but I did jump ahead on "Entourage" thanks to review copies of the next couple of episodes. If you haven't already discovered this HBO comedy-drama about a young actor and the friends enjoying his success, then you should go catch up (the first season is on DVD) and tune in now. The acting is good, the characters are intriguing and there are some really good plot twists coming up.

— I won't tell you what those plot twists on "Entourage" are because I try not to spoil the surprise for viewers. Because of that, I sat on the major development at the end of the first episode of "Over There," even though I knew where it was going. And I have so far kept quiet about a twist at the end of the first episode of "How I Met Your Mother," a new CBS comedy, because it would wreck a surprise — and because I was asked not to by one of the producers. This created a peculiar dynamic during a "How I Met" press conference in July, where pretty much everyone in the room knew the twist, and there were a lot of questions about the twist, and some pretty good answers — and, for me at least, none of it is usable until people have had a chance to see the show.

We live in a spoiler culture, after all, where eager Internetters are seeking and finding news about where shows are going and posting it for anyone who wants to know. I still think most viewers would rather not know ahead of time. Although, to return to a famous twist, I enjoyed "Million Dollar Baby" as much on second viewing as I did before I knew its surprise.

By now, you all should know of the death of Peter Jennings, the ABC News anchor who had been battling lung cancer.

I'll have an extended tribute to him in tomorrow's Beacon Journal.  It is online at www.ohio.com.

In brief, I didn't know him, but what I did know, I liked. Jennings seemed unendingly enthusiastic about his job and the world at large. He was also obviously an optimist, even when life gave him reasons for pessimism. If there's a lesson to be learned from him, that's it.

ABC will air a special about Jennings at 8 p.m. Wednesday.

Just when you thought you had all your fall viewing plans worked out … here's a change from UPN:

Cycle 5 of AMERICA'S NEXT TOP MODEL returns to UPN this fall with a special two-hour premiere on Wednesday, Sept. 21 (8:00-10:00PM, ET/PT).  The following Wednesday, Sept. 28, UPN's critically acclaimed drama VERONICA MARS (9:00-10:00PM, ET/PT) will make its sophomore season debut.  All other premiere dates remain as previously announced. 

The first AMERICA'S NEXT TOP MODEL encore on Tuesday, September 27 (8:00-9:00PM, ET/PT) will be an encore presentation of the second hour of Wednesday's season premiere, which includes the first elimination

A reader of my online mailbag recently asked about the song playing at the end of the second-season finale of "Nip/Tuck." It wasn't that surprising — I get a fair number of queries about songs in TV shows — but it was tidily coincidental. Last week, I had seen that scene as the setup for a "Nip/Tuck" press conference in Hollywood.

"Is that Art Garfunkel?" I asked the critic sitting next to me. He wasn't sure, suspecting it was more likely some more recent artist. (TV soundtracks are more often than not slaves to the hip — especially hip artists who happen to be on labels that are corporate siblings to the makers of the TV show.) In any case, the song was hauntingly paired with the images onscreen — especially effective to me, since I'm not a fan of "Nip/Tuck." I'll be writing more about it sometime before the third season begins on Sept. 20, but that will be a function of readers' admiration for it instead of my own enthusiasm.

The song, it turned out, was indeed by Garfunkell; called "All I Know," it has been included on several Garfunkel albums. I found it on a cassette at the Akron library, and played it several times over the weekend. It's still a good song — in fact, the surrounding cuts made me appreciate Garfunkel anew — but hearing it on its own was not the same as hearing it along with the images from "Nip/Tuck." The song made the show better, but the show also improved the song.

Here are the fall launch dates for CBS's shows:

Sept. 15 –  SURVIVOR: GUATEMALA

Sept. 16 –  THRESHOLD (two-hour series premiere)

Sept. 19 — THE KING OF QUEENS, HOW I MET YOUR MOTHER, TWO AND A HALF MEN, OUT OF PRACTICE, CSI: MIAMI

Sept. 20 — NCIS

Sept. 21 — STILL STANDING, YES, DEAR,  CSI: NY

Sept. 22 — CSI: CRIME SCENE INVESTIGATION, CRIMINAL MINDS 

Sept. 23 — GHOST WHISPERER, THRESHOLD (time period debut),  NUMB3RS

Sept. 24  — 48 HOURS MYSTERY

Sept. 25 — 60 MINUTES, COLD CASE, CBS SUNDAY MOVIE ("Martha Behind Bars")

Sept. 27 –  THE AMAZING RACE: FAMILY EDITION

Sept. 28 — CRIMINAL MINDS (time period premiere)

Sept. 29 — WITHOUT A TRACE

Oct. 4 –  CLOSE TO HOME

I'm waiting for the day when a television series comes out on DVD first, then makes its way to cable or broadcast. That day is closer than you might think.

Already television producers are well aware of the importance of DVD to their revenues; shows like "Family Guy" and "Chappelle's Show" have proven their worth via video sales more than by the audience their telecasts have attracted.

And, while "Lost" is seen as a demonstration that audiences will sit through a season-long unresolved storyline, some observers are pointing to DVD as fueling that appetite, too. If you can sit down and watch a whole season of "24" on DVD, then you know the plot digressions along the way are taking you somewhere.

Anecdotal evidence suggests people wait for serialized shows to arrive on DVD — or they record the whole season's episodes before watching one, so they can follow the whole arc. Even a show people know, like "Lost," has viewers going back over reruns and recordings of the first season in search of clues; the DVD release in September will just encourage more of that. The commercial-free aspect of DVD is also appealing, to audiences and producers, because it creates an uninterrupted narrative that can be more involving for the audience.

We're already seeing very narrow gaps between series telecast and their DVD release. I know of some cases, with documentaries and children's shows at least, of DVDs preceding the actual telecast. So why shouldn't some enterprising producer make an entire comedy or drama series for immediate release on DVD, then sell it to a network? Word of mouth about the DVD might even give a boost to the later broadcast.

At least, I've been thinking about that some lately. But that's not the only thing. Lots of mental ping-pong lately.

– I see that CNN has finally suspended Bob Novak. Not for his role in the Valerie Plame nightmare. For swearing on the air and walking off a show. Here's a link to a story about the incident: Naughty Novak. (Note: Contains a strong word Novak used.)

You can draw your own conclusions from that about what's acceptable at the network and what isn't. Smearing, OK. Swearing, not OK. It also indicates that Novak is buckling some under the ongoing pressure to come clean about his role in the Plame case. And considering the pressure he has put on other people, I don't feel sorry for him.

– The great singer Little Milton has died. His version of "Grits Ain't Groceries" has been one of those songs stuck in my head ever since I heard a band do a cover of it when I was in college. Maybe you know the key lyric: "If I don't love you baby, grits ain't groceries/Eggs ain't poultry/And Mona Lisa was a man." How could you not love a song with lines like that? I did, anyway.

– Looking at the baseball standings, I've been wishing once again that all leagues instituted a .500-or-better rule, which simply says that any team has to have at least a .500 record to make the playoffs. If, say, a division leader has a sub-.500 record, then it still could not go. Instead, another team in the same conference with an over-.500 record that is not otherwise playoff-eligible would be chosen; if there are no such teams, then the playoffs are restructured with the eligible teams.

I have a hard time accepting the idea that a team incapable of winning half its regular-season games is somehow allowed into the playoffs. And I'd be a lot more likely to watch a playoff game on TV if it wasn't a horrible mismatch.

Last night I watched three episodes of the new comedy "Starved" and another three of "It's Always Sunny in Philadelphia." (My review of the shows will be in Thursday's Beacon Journal.) Last week I watched five episodes of "Weeds."  Before that, I saw three episodes of "Over There" before reviewing it, and three of "Wanted."

There are still plenty of times when I end up reviewing a new series based on a single episode. But we TV writers have come to more often expect at least a couple of episodes of significant programs on which to base our reviews. At the recent TV critics' press tour, a common refrain was, "I want to see another episode" — to see if the quality of the pilot held up, or if the problems in the pilot might be overcome in a second telecast.

And, when I get more than one episode of a show, I try to watch the extra ones, since it may change how I perceive the show. "Wanted," for example, took what looked like an interesting turn in its third episode. "Over There," in several critics' view, was much better in its second and third episodes than it was in the first. I probably liked "Starved" a little better after seeing three than I did after one. And with "Weeds" and "Philadelphia," I at least knew there was a disappointing consistency in the show's quality.

But there's a glitch in that all extra viewing which involves you, the people I write about television for. Some shows just on paper are not going to appeal to you, and you're not going to watch even once. And, if you do watch once, chances are you will make up your mind on that single viewing and not bother to come back if you're not impressed by what you have seen. So with something like "Over There," a relatively weak first episode may keep you from coming back for more — even if what's down the road is good.

Still, I do try to point out in reviews how much of a show I have seen — and what you can expect beyond the first episode — since it explains why my view of it may differ from what you see at first glance.

This gets into one of the challenges facing any TV series. It's not just about making a great episode and then stopping. It has to keep going, week after week. And conscientious viewers have to check in from time to time to see how things are going. And we're going to all need to do more of that in the fall. The success of "Lost" has led to a host of new shows where you'll be asking questions at the end of the first episode, and the third, and the tenth. Assuming, that is, that the show lasts that long.