Mostly it's bad, embarrassing news for Silverman, who was heralded back in 2007 as the coming of a new era. And for a time, he delivered. His departure is being spun as a resignation, but it looks a lot like Silverman was pushed. His two-year contract recently expired and the gig that he has lined up — running something for Barry Diller's IAC — sounds like deal slapped together in a hurry. As Diller vaguely describes it, Silverman will "create a truly integrated and truly interactive new media production entity, a next generation enterprise that bridges the gap between traditional television and the internet."

While at NBC, Silverman had a few successes watching The Office (which his old shingle Reveille sold to the network before he joined) develop into a critical and moderate ratings success.

But everything else? Yeck. None of the big hour-long programs that rolled out under Silverman's watch made much of an impact. Not Heroes (though, admittedly, that was developed before Silverman took over), not Knight Rider, not Southland, not Chuck, not My Own Worst Enemy. Plus the buzzed-about comedy Kath & Kim proved a complete disaster and old warhorses like Law & Order: SVU seemed to be graying around the edges.

Really this is just a story of a daring move—hire the cockeyed optimist kid to shake up creaky network TV—that sadly didn't pan out. It's not HBO, guys. It's TV.

Graden, who gave up his MTV Networks Music Group president title on Monday, in steering the network through its intense changeover from a music-based format to a platform for young adult reality programming, has been one of the major faces of the unscripted TV boom. So we have him to curse for Heidi and Spencer, but to thank for True Life. Graden also shepherded the creation of Logo, the country's first LGBT-themed television station, and was instrumental in helping Trey Parker and Matt Stone get South Park off the ground.

Variety reports that his position will not be filled as Viacom has become "top heavy" with executive positions.

Graden and Van Toffler, who's the president of all MTV Networks, co-wrote the departure memo which is cute and full of fun little pop shout-outs, including Britney Spears, Kanye, and the Jonas Brothers.

Subject: Message from Van and Brian

For more than a dozen years now, Brian and I have been each other's work spouses. That's a longer partnership than most unions, so it's only natural that this comes from both of us. Let me now step aside for a moment and let him go first. Brian….

If you look at the shows we have all created together – especially lately – you can feel a tangible fascination with people on the brink of their next great adventure in life. We have called it aspirational
television – capturing people at the moment of transformation into a bold new iteration of themselves. Well, over the last year, I woke up to the fact that I'm a character in my own personal reality show and
this is my time for that next transformation.

Last year, Trey Parker convinced me I could afford to replace my beat up, 20 year old "rental" piano, and helped me pick out an amazing Yamaha Grand. Last Saturday night in Los Angeles, I played 10 original songs on that piano, while a full cast of actor/singers brought Limbo – a musical I'm writing with friends – to life for 100 guests (I have a big living room).

I know you're shocked: a gay man who loves musicals.

Truth is, I'd never written a song in my life until a few years ago, and now, I'm arranging on Logic Pro almost every night when I should be sleeping. The point isn't that I think I'm the next Diane Warren – I'm not. The point is: no matter what any of us have done in life, there's always some new passion waiting to show us how to keep evolving — if we honor that call when we hear it.

I've had a very unusual ride. Though I've been in one place, MTV Networks, for 12 years, I've been afforded a series of sequential chapters, each completely unique — like getting a new "calling" every couple of years. First serving the TRL generation at MTV. Later loving up the 80's at VH1. Working then with CMT and various international channels, and 4 years ago, a personal triumph, launching LOGO. All of which says a lot about the dynamic nature of MTV Networks and Viacom.

For me, it's time to complement my television ambitions with some new passions already in motion - the writing of two books, making music, creating theater, speaking on subjects that matter to me, raising alpacas…okay, perhaps not all calls will be heeded right away. I have no idea if I possess any of these talents, but my friends who know me well know that these new adventures have been tapping my shoulder for a few years.

Television however remains my first love, and I'm already deep in conversations with MTV Networks about shaping a situation that would allow me to still play with you guys in new ways for years to come. At MTV, it's necessary to think like a 19 year old girl every day, which wasn't much of a reach for me (yes, I have a favorite Jonas); in my next chapter however, the dream is to pursue a wider array of ideas that intrigue me, borne more from the heart than a need to serve any particular demographic or brand.

Van says I have a somewhat freakish ability to toggle between business and creative, kinda like Parent Trap – only my Haley Mills are internal, and can run networks. As the portfolio of responsibilities broadened and the businesses got more complex, the creative left side of my brain started to feel like Hilary at the democratic convention — left out.

That said, let me be clear: for 12 years this has been the greatest job in the world, and I've loved every minute of it. The good times through the hard times; from Britney mesmerizing in Catholic school
girl uniform through Britney stupefying in her "Gimme More" performance to Britney yet again dominating the 2008 VMA's. Yes, I measure my career in "Britney's", don't we all?

Seriously, it's been a rush to not know where "job" ends and "Real World" begins. Nowhere else in the programming universe is the unexpected quite as routine as it's been here.

I'll spare you further recounting of years gone by, but let's just say: I have worked at a company brave enough to shut down MTV for 17 hours and run the names of hate crime victims; brave enough to launch an LGBT channel when others said it couldn't be done; even brave enough to cross Kanye West… but then smart enough to make up…fast. I know more brave things are ahead, certainly for the rest of this year, and most definitely beyond.

But I won't spare you this admission: I love all of you. Really, genuinely, you've created the most special culture and brands in the world. Fortunately, I won't even be saying farewell for a while, as Judy and Van have asked me to stay through 2009 and help facilitate a great transition, which I'm happy to do — but we felt it was right to let people know now that this next evolution was beginning to occur. Until then I still get to launch a few more shows, watch a few more VMA's get handed out, witness a millennial brand makeover at MTV, and watch Diva's return on VH1.

When I speak to college kids, they often ask me if I had a detailed career plan – as if that's possible in entertainment – but the truth is: I just get up every day and do things that make me happy. I work with people I love, I trust in my heart as much as my head and everything else follows.

My fondest wish is that you're able to do the same in the years to come.

Image via Getty

Departures eluded most Oscar pools. Awards-obsessed street urchin Tom O'Neil, the Los Angeles Times Oscar expert, managed the correct final answer after a tipster told him that The Class wasn't even one of the original nominees—and that Bashir might not have been, either. So how did they make it through?

Outrage over a snub of Romania's 4 Months, 3 Weeks, 2 Days prompted the creation of an oversight committee made up of 20 Academy members last year, with the ability to ram three of their own nominees in, regardless of what all the general votes have indicated. The committee's unpopular picks, as O'Neil divined, were automatically disadvantaged, which helps explain why the idea hasn't seemed to work. So forget the committee approach! There are three bigger problems that need to be addressed—and cleverer solutions to them:

1. The voters: Despite the creation of a blue-ribbon panel to override bad nominations (an idea the Emmys adopted recently, then did away with), the Foreign Language Film category is still set up in a way that encourages bad picks. In order to vote, members must have seen all five films, and they need to have gone to special Academy screenings to have done so. While that seems like a fair rule, it's one that isn't applied to, say, the acting categories (when people can and do vote for performances they haven't seen). Thus the pool of Foreign Language Film voters tends to shrink to elderly, conservative voters with enough time to attend all five theatrical screenings. The Academy provides DVDs for members who miss the Best Song screenings—why not do the same here?

2. The eligibility: Each country can submit only one film, which means that some countries will sacrifice their strongest work for a more conventional choice, as Spain did in 2002 when it notoriously snubbed Pedro Almodóvar's Talk To Her. It's time to reward countries with flourishing film industries by allowing them to submit more films.

3. The new international film climate: Movies nowadays draw their financing from a full range of sources—but if those deep pockets come from different countries, none can have enough say to submit the result as their own. The Motorcycle Diaries was one of 2004's most acclaimed foreign films, but due to its eclectic, globe-spanning financiers, the rules disqualified it for a Foreign Language Film Oscar.

It doesn't matter how many oversight committees are put in place—until the whole voting system receives a radical overhaul, too many worthy films will never get a chance at nabbing the award given to such notable luminaries as Roberto Benigni, Renee Zellweger, and Crash. This injustice cannot stand!

“Elisabeth feels she can’t win at The View, but she’s been told by friends at FOX News that they’d find a spot for her without hesitation.”

“Elisabeth is just as tired of the ladies at The View as they are of her! She feels she constantly has to defend herself,” a show insider revealed to The National Enquirer this week.

“Besides that, when she gets passionate about her opinions, the others make her look like she’s hysterical. But when she doesn’t talk enough, she’s accused of ‘pouting.'”

Cheer if you must, Hasselbeck haters, but if she leaves The View, are you ready for Patricia Heaton to take her place? We'll take our chances with the devil we know, at least until Barbara Walters suspends her "no hugs" rule to throttle the ex-Survivor contestant in a faux-maternal bear hug gone asphyxiatingly wrong.

[Photo Credit: AP]

• Elisabeth Hasselbeck Leaving “The View” For FOX News Anchor Seat [PopCrunch]

As one source explained to me, the only future for UA was if "Paula calls it a day, or the company implodes on its own, or a gun is put to Wagner's head by financiers and she greenlights things and then trusts in luck..."

UA under Wagner was way behind on the timetable dictated by its financing, I'm told. "Paula wasn't greenlighting movies, so she was about to lose a lot of the money. Her camp is trying to say MGM screwed up. We didn't, she did. Now MGM can get UA moving on at least 2 movies, and make sure they're released by a certain date, to keep the financing intact."

That said, I hear Wagner wants to go back to producing movies, but this time around she'll do it on her own.

Sure, she could do that, but this seems a perfect opportunity to return to her first love: acting. That is, after all, how she got her start, before her frustrated agent sat her down and told her what she really had was the soul of a baby-gobbling negotiator. Perhaps pacing outside a fluorescent-lit casting office, nervously running through her Big Bang Theory audition dialogue for Woman At Starbucks #2, is exactly what she needs to rediscover what she loved about this unforgiving business in the first place.

• Tom Cruise's Movie Studio Imploding: Paula Wagner Is DOA At United Artists; But Was It Suicide or Murder By MGM? [Deadline Hollywood Daily]

It goes without saying that we are all very concerned for Artie's well-being at the moment. His recent appearances on Conan O'Brien and the Donny Deutsch Show were clear indications that all is not well in Artie's world, particularly on the substance abuse front. And with the show going on a scheduled weeklong hiatus, it's safe to say that the guys over at Artie Lange Deathwatch will be constantly monitoring Lange's behavior for the next 10 or so days. Here's hoping that Artie is able to hold it together and refrain from going on the kind of bender that felled the likes of Belushi and Farley. We're pulling for you Artie.

Here's the audio of this morning's meltdown Sorry, the original audio we posted here was removed. But thanks to commenter cockfightbarmitzvah, you can now listen to the audio below in the comment section.

• Listen: Artie Lange Quits Howard Stern Audio [Popcrunch]

Everyone's favorite actor/producer/restaurateur Ashton Kutcher has announced he is leaving Endeavor, the agency he's been with for a decade, and for the cozier confines of the CAA Death Star. Known for their ability to revive careers, CAA may have an uphill battle with an actor whose only successful role was also his first (as lovable dimwit Michael Kelso on That '70s Show).

Luckily for the agency, they stand to take a percentage of the TV shows Kutcher will develop as a producer with his company Katalyst (which have so far included some surprisingly good series, like Punk'd, Beauty and the Geek, Miss Guided and Pop Fiction). Unfortunately, his new agents at CAA will not get a cut from the ridonkulously popular clubs and restaurants Ashton holds a stake in with the Dolce Group. Nor will they get to have sex with Demi Moore.

• Ashton Kutcher Signs With CAA [Variety]