Emmy nominations will be announced tomorrow -- and if, as expected by many, Netflix's "House of Cards" and "Arrested Development" garner best actor or best program nominations, "it would be the first time that slots in the most avidly pursued categories went to programs not specifically produced for the medium of television," writes Bill Carter. "To some, this is a moment reminiscent of the days when cable channels like HBO first began to challenge the dominance of broadcast networks like ABC."

Keith Olbermann will return to ESPN, having finalized a two-year deal for a late-night show on ESPN2 that will begin airing later in 2013. "The two-year contract returns the erstwhile SportsCenter anchor to the network where he rose to stardom as an erudite and skilled sports commentator," writes Marisa Guthrie.

We love those posters showing fake reality shows that sound sooo disconcertingly real ("Married To A Mime," with the tagline "She's got plenty to say") but then turn out to be ads for NYC's PBS channel lamenting the state of current TV. So we love the new video promos in the campaign even more.  Our favorite: "Meet The Tanners." Almost as good as that classic "Saturday Night Live" sketch that may be the funniest, most devastating send-up of reality TV ever:  "The Real Housewives of Disney."

News magazines were particularly hard-hit in the first half of the year, with ad page totals suffering a drop of "a combined 18% in the first half of 2013 compared with the same period a year earlier," writes Katerina Matsa, citing figures released by the Association of Magazine Media. Those numbers rank print editions of five major news pubs -- Time, The Economist, The Atlantic, The Week and The New Yorker. Meanwhile, "total consumer magazine ad pages dropped 4.9% compared with the first half of 2012."

Apple's plans for its new TV service would include "a 'premium' version of the service that would allow users to skip ads and would compensate television networks for the lost revenue, according to people briefed on the conversations" between Apple and media execs, writes Jessica Lessin. However, "television-rights owners have been reluctant to embolden Apple’s push into the living room, and compensation for skipped ads seems unlikely to be enough to convince them."

CBS Corp. is selling CBS Outdoor International -- focused mainly on European outdoor advertising, but with a small Asian component -- to private equity firm Platinum Equity for roughly $225 million.  CBS "will continue to own the U.S. and Canadian outdoor businesses, which it has said will be transferred into a real estate investment trust, or REIT, in the future," writes George Szalai.

Gotta love this Fox News report about how more dogs are watching TV these days, "thanks to the prevalence of high resolution flat-screen TVs that can better engage a dog’s eye."  While the post further notes that, according to a BBC report, "a number of TV stations are now programming for dogs," only one station is mentioned by Fox and The BBC:  Dog TV, launched last year to provide day and night programming for canines "designed with the help of pet experts."

When the movie version of TV show "Veronica Mars" comes to the screen in 2014, it will be promoted by a two-novel series written by show creator Rob Thomas, according to a just-completed deal between Vintage Books and Alloy Entertainment. The book series "will pick up where the story of the forthcoming movie ends," writes Andy Lewis.

Last week Syfy Channel's original movie "Sharknado" got big social media buzz -- but was actually a ratings bust, according to this post's citing of a Los Angeles Times article. Still, last week's social flurry was a sign of the ubiquity of the channel's original "B-movie monster machine" which has been turning out such gems "as the 2011 non-hit Mega Python vs. Gatoroid, [in which] 1980s pop star Tiffany was eaten by an enormous alligator as Debbie Gibson watched, scream-crying, from a helicopter that had come to save her," writes Claire Suddath. Starting in 2002, the channel's movie factory has …

Disney and Fox decided to keep Hulu "because the bids were so good" -- between $750 million and $1.4 billion -- and " the quality of the bidders themselves" so high, that the two companies realized anew the value of their asset, writes Sharon Waxman. But ultimately, "It turned out not to be about the money," according to one bidder who spoke anonymously to Waxman.