HBO ANNOUNCES EIGHT BONUS EPISODES OF THE SOPRANOS FOR 2007
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.
HBO's hit drama series stars three-time Emmy(r) winners James Gandolfini as Tony Soprano and Edie Falco as Tony's wife Carmela, plus Lorraine Bracco as therapist Dr. Jennifer Melfi, Michael Imperioli as Tony's nephew Christopher Moltisanti, and Dominic Chianese as Uncle Junior.
In Sept. 2004, the series won four Emmys(r), including Drama Series; Supporting Actor in a Drama Series (Michael Imperioli); Supporting Actress in a Drama Series (Drea de Matteo); and Writing for a Drama Series (Terence Winter, "Long Term Parking").
Thursday, August 11, 2005
Drama series
I wrote some capsules on the drama series Emmy nominees for today's Variety. Let me know what you think:
Deadwood
Network: HBO
Exec producers: David Milch, Gregg Fienberg
Emmy series pedigree: None
Millions of viewers: 5.6 (cumulative over best week)
Why it could win: There would be little arguing that "Deadwood" is the most intelligently written show on TV. The acting is superb (despite the lack of supporting noms) and everything from the set design to wardrobe to language is so authentic, you can practically feel the dust coming through your screen.
Maybe not: Even the most ardent supporters thought the storyline about the annexation got a bit dense and hard to follow.
Quote: "I don't think that Swearengen has any more of an articulate understanding of what moves him than Bullock does; it's just that his compulsions do not invoke a legal framework," says Milch to Salon.com.
Critically speaking: "Deadwood itself is almost a breathing organism -- a muddy, grim landscape of freewheeling brutality, where death comes quickly and pigs literally devour the evidence. Meticulously shot and scored, it's a perfectly realized backdrop to Milch's exploration of the depth to which people will plunge -- or not -- in lawless surroundings," says Brian Lowry, Variety.
Lost
Network: ABC
Exec producers: J.J. Abrams, Damon Lindelof, Bryan Burk, Carlton Cuse, Jack Bender
Emmy series pedigree: None
Millions of viewers: 15.9
Why it could win: In the copycat world of broadcast television, here was something new and imaginative. Abrams, who has managed to delight auds with "Felicity" and "Alias," is building up a reservoir of goodwill at the TV Acad.
Maybe not: Not that it's unprecedented, but winning with a freshman series isn't easy. Voters like shows that have established themselves. Most Emmy-winning dramas of the recent past have a bit more gravitas to them ("The West Wing," "The Sopranos").
Quote: "Basically one of the things that we realized very early on in doing a show about a plane that crashes on an island (was) that we didn't want to do the 'Gilligan's Island' treatment, where every single week somebody else is washing up on shore and it's the theater pro one week and the Russian cosmonauts. So we realized ... we had to populate the island with a very, very large cast because these are the people that we're going to be with," says Lindelof.
Critically speaking: " 'Lost' provides the best sustained mystery since 'Twin Peaks,' and seems more intricately plotted than made up on the fly. Even '24' doesn't seem as planned or as shocking. I have no idea where 'Lost' is going, but, so far, I've loved every step of the journey," says David Bianculli, New York Daily News.
Six Feet Under
Network: HBO
Exec producers: Alan Ball, Robert Greenblatt, David Janollari, Alan Poul, Bruce Eric Kaplan, Rick Cleveland
Emmy series pedigree: Two noms (2002, '03)
Millions of viewers: 6.2 (cumulative over best week)
Why it could win: As the show bows out after this season, an Emmy win would be a nice sendoff. While the show has at times floundered in the past, it's often been a water-cooler skein through good times and bad.
Maybe not: The self-loathing and whining became a little too much at times and some voters might not feel the same passion for the show as when it began in 2001.
Quote: "If you're very, very lucky, when you work on something, if you have all the right elements, the collaborative project will take on its own life. And when that happens, if you're smart, you recognize it and get out of the way. You stand back and allow it to unfold organically. And that's really what happened here," said Ball to About.com.
Critically speaking: "This acclaimed series appeals to our fascination with death but is more deeply rooted in a time-honored television winner: great characters," says Tim Goodman, San Francisco Chronicle.
24
Network: Fox
Exec producers: Brian Grazer, Joel Surnow, Robert Cochran, Howard Gordon, Evan Katz
Emmy series pedigree: Three noms (2002, '03, '04)
Millions of viewers: 11.9
Why it could win: Series refocused on its strengths, ditching Jack Bauer's hapless daughter Kim and going all-out on an action-packed terrorism storyline. The pace and intensity of the show remain unmatched on primetime TV.
Maybe not: The real-time format has gone from high-concept to gimmick rather quickly. Also, repetition and a limited bag of tricks that writers keep dipping into to create weekly cliffhangers might have stretched credulity too far for serious-minded Emmy voters.
Quote: "People felt we had a resurgence since the second half of last season, and I have to tell you we're very surprised. Fans who regularly watch us tell us this is our best season. ... We look for different ways to tell suspense stories. What we do now is what we've always done: Keep fans on the edge of their seats," says Surnow.
Critically speaking: " '24' is not as richly woven as 'The Wire' on HBO, but it is still one of the best shows on television. It is certainly the best secret-agent show," says Alessandra Stanley, New York Times.
The West Wing
Network: NBC
Exec producers: John Wells, Christopher Misiano, Alex Graves
Emmy series pedigree: Four wins (2000-03), nom in '04
Millions of viewers: 11.1
Why it could win: Talk about spending your well-earned political capital: "The West Wing" had a brilliant 2004-05 season, taking the action out of the Beltway and into the heartland. The race for the presidency, from the perspectives of the leading Democratic and Republican candidates, was great drama.
Maybe not: The show has already won four times and seemed to be on its last legs before this season. It'll be tough to win back those viewers who turned away last year.
Quote: "People seemed to be really engaged. ... In dealing with the primaries, it was one of the areas during the first five years of the show that we hadn't explored. One of the things you're constantly doing is look for places in the story you haven't done sometime before," says Wells.
Critically speaking: "For two years the show was in steep decline but this year they told stories you could care about. The campaign episodes took you back to the better times," says Matt Roush, TV Guide.
Deadwood
Network: HBO
Exec producers: David Milch, Gregg Fienberg
Emmy series pedigree: None
Millions of viewers: 5.6 (cumulative over best week)
Why it could win: There would be little arguing that "Deadwood" is the most intelligently written show on TV. The acting is superb (despite the lack of supporting noms) and everything from the set design to wardrobe to language is so authentic, you can practically feel the dust coming through your screen.
Maybe not: Even the most ardent supporters thought the storyline about the annexation got a bit dense and hard to follow.
Quote: "I don't think that Swearengen has any more of an articulate understanding of what moves him than Bullock does; it's just that his compulsions do not invoke a legal framework," says Milch to Salon.com.
Critically speaking: "Deadwood itself is almost a breathing organism -- a muddy, grim landscape of freewheeling brutality, where death comes quickly and pigs literally devour the evidence. Meticulously shot and scored, it's a perfectly realized backdrop to Milch's exploration of the depth to which people will plunge -- or not -- in lawless surroundings," says Brian Lowry, Variety.
Lost
Network: ABC
Exec producers: J.J. Abrams, Damon Lindelof, Bryan Burk, Carlton Cuse, Jack Bender
Emmy series pedigree: None
Millions of viewers: 15.9
Why it could win: In the copycat world of broadcast television, here was something new and imaginative. Abrams, who has managed to delight auds with "Felicity" and "Alias," is building up a reservoir of goodwill at the TV Acad.
Maybe not: Not that it's unprecedented, but winning with a freshman series isn't easy. Voters like shows that have established themselves. Most Emmy-winning dramas of the recent past have a bit more gravitas to them ("The West Wing," "The Sopranos").
Quote: "Basically one of the things that we realized very early on in doing a show about a plane that crashes on an island (was) that we didn't want to do the 'Gilligan's Island' treatment, where every single week somebody else is washing up on shore and it's the theater pro one week and the Russian cosmonauts. So we realized ... we had to populate the island with a very, very large cast because these are the people that we're going to be with," says Lindelof.
Critically speaking: " 'Lost' provides the best sustained mystery since 'Twin Peaks,' and seems more intricately plotted than made up on the fly. Even '24' doesn't seem as planned or as shocking. I have no idea where 'Lost' is going, but, so far, I've loved every step of the journey," says David Bianculli, New York Daily News.
Six Feet Under
Network: HBO
Exec producers: Alan Ball, Robert Greenblatt, David Janollari, Alan Poul, Bruce Eric Kaplan, Rick Cleveland
Emmy series pedigree: Two noms (2002, '03)
Millions of viewers: 6.2 (cumulative over best week)
Why it could win: As the show bows out after this season, an Emmy win would be a nice sendoff. While the show has at times floundered in the past, it's often been a water-cooler skein through good times and bad.
Maybe not: The self-loathing and whining became a little too much at times and some voters might not feel the same passion for the show as when it began in 2001.
Quote: "If you're very, very lucky, when you work on something, if you have all the right elements, the collaborative project will take on its own life. And when that happens, if you're smart, you recognize it and get out of the way. You stand back and allow it to unfold organically. And that's really what happened here," said Ball to About.com.
Critically speaking: "This acclaimed series appeals to our fascination with death but is more deeply rooted in a time-honored television winner: great characters," says Tim Goodman, San Francisco Chronicle.
24
Network: Fox
Exec producers: Brian Grazer, Joel Surnow, Robert Cochran, Howard Gordon, Evan Katz
Emmy series pedigree: Three noms (2002, '03, '04)
Millions of viewers: 11.9
Why it could win: Series refocused on its strengths, ditching Jack Bauer's hapless daughter Kim and going all-out on an action-packed terrorism storyline. The pace and intensity of the show remain unmatched on primetime TV.
Maybe not: The real-time format has gone from high-concept to gimmick rather quickly. Also, repetition and a limited bag of tricks that writers keep dipping into to create weekly cliffhangers might have stretched credulity too far for serious-minded Emmy voters.
Quote: "People felt we had a resurgence since the second half of last season, and I have to tell you we're very surprised. Fans who regularly watch us tell us this is our best season. ... We look for different ways to tell suspense stories. What we do now is what we've always done: Keep fans on the edge of their seats," says Surnow.
Critically speaking: " '24' is not as richly woven as 'The Wire' on HBO, but it is still one of the best shows on television. It is certainly the best secret-agent show," says Alessandra Stanley, New York Times.
The West Wing
Network: NBC
Exec producers: John Wells, Christopher Misiano, Alex Graves
Emmy series pedigree: Four wins (2000-03), nom in '04
Millions of viewers: 11.1
Why it could win: Talk about spending your well-earned political capital: "The West Wing" had a brilliant 2004-05 season, taking the action out of the Beltway and into the heartland. The race for the presidency, from the perspectives of the leading Democratic and Republican candidates, was great drama.
Maybe not: The show has already won four times and seemed to be on its last legs before this season. It'll be tough to win back those viewers who turned away last year.
Quote: "People seemed to be really engaged. ... In dealing with the primaries, it was one of the areas during the first five years of the show that we hadn't explored. One of the things you're constantly doing is look for places in the story you haven't done sometime before," says Wells.
Critically speaking: "For two years the show was in steep decline but this year they told stories you could care about. The campaign episodes took you back to the better times," says Matt Roush, TV Guide.
Wednesday, August 10, 2005
Dodgers dilemma
For the first time in 26 summers, I haven't been to a Dodgers game. Not on purpose but just haven't gotten around to buying tickets -- or nobody's given me any at the last minute, which also often happens -- and weekends have been fairly crazy.
Weekdays are mostly spent going to movies, an event for work or just heading home and spending time with the family. Plus, the joy of paying $10 for parking, and $10 for a hot dog and Coke hasn't overwhelmed me either.
So now the question is should I try to go out to the Ravine and catch at least one game as to not break the streak or do I boycott the season as I think owner Frank McCourt is a money-grubbing selfish jerk.
Your call???
Weekdays are mostly spent going to movies, an event for work or just heading home and spending time with the family. Plus, the joy of paying $10 for parking, and $10 for a hot dog and Coke hasn't overwhelmed me either.
So now the question is should I try to go out to the Ravine and catch at least one game as to not break the streak or do I boycott the season as I think owner Frank McCourt is a money-grubbing selfish jerk.
Your call???
Agony of de-feet
Since going to New York in March and walking a ton, I've had constant foot problems.
Just a short note alerting you to not take your feet for granted. They get you where you need to go and hardly ever complain.
Now back to our regularly scheduled programming....
Just a short note alerting you to not take your feet for granted. They get you where you need to go and hardly ever complain.
Now back to our regularly scheduled programming....
Thursday, July 28, 2005
ABC party
The ABC bash last night at the Abbey in West Hollywood was a swarm of TV writers and celebrities.
As soon as I walked in, I practically crashed into Patrick Dempsey (aka Dr. McDreamy) from "Grey's Anatomy." After sitting down with three other journalists for dinner, I wandered the room and passed by Eva Longoria, Felicity Huffman and Marcia Cross of "Desperate Housewives," plus newest "Housewive" Alfre Woodard; William Shatner of "Boston Legal," Jorge Garcia of "Lost," and from the new shows: Kyle Secor of "Commander in Chief" (and of one my faves of all time, "Homicide"), William Fichtner of "Invasion" and the beautiful Heather Graham of mid-season entry "Emily's Reasons Why Not." I'm sure there are others I'm forgetting.
These network-sponsored parties give out-of-town journalists -- and those in town too if they choose -- an opportunity to interview the stars of these shows in an informal manner, just shooting the breeze.
The problem is that the party gets so loud, it's almost impossible to hear anyone. But that's a minor quibble. It's a fun night out of celebrity oogling.
As soon as I walked in, I practically crashed into Patrick Dempsey (aka Dr. McDreamy) from "Grey's Anatomy." After sitting down with three other journalists for dinner, I wandered the room and passed by Eva Longoria, Felicity Huffman and Marcia Cross of "Desperate Housewives," plus newest "Housewive" Alfre Woodard; William Shatner of "Boston Legal," Jorge Garcia of "Lost," and from the new shows: Kyle Secor of "Commander in Chief" (and of one my faves of all time, "Homicide"), William Fichtner of "Invasion" and the beautiful Heather Graham of mid-season entry "Emily's Reasons Why Not." I'm sure there are others I'm forgetting.
These network-sponsored parties give out-of-town journalists -- and those in town too if they choose -- an opportunity to interview the stars of these shows in an informal manner, just shooting the breeze.
The problem is that the party gets so loud, it's almost impossible to hear anyone. But that's a minor quibble. It's a fun night out of celebrity oogling.
Monday, July 25, 2005
One From Keith
Here's one of the one-liners from my friend Keith's presentation at last week's TCA presentation:
"We here at the WB are happy to see that Tom Cruise is dating one of our alumni, Katie Holmes from our hit show 'Dawson's Creek.'
"Of course, we always thought if he ended up dating someone from Dawson's, it would've been James Van Der Beek, but we're happy nonetheless."
"We here at the WB are happy to see that Tom Cruise is dating one of our alumni, Katie Holmes from our hit show 'Dawson's Creek.'
"Of course, we always thought if he ended up dating someone from Dawson's, it would've been James Van Der Beek, but we're happy nonetheless."
Friday, July 22, 2005
WB holds court
The WB, home to one of my favorite shows of all time, "Felicity," took center stage at today's Television Critics tour. Like all the other nets, they were touting their new shows this fall — Don Johnson returns to TV in a Jerry Bruckheimer lawyer drama, "Just Legal" — but the highlight of the event was the first WB exec on the dais, my good friend Keith Marder.
Keith, whom I worked with at the Los Angeles Daily News many years ago when he was the paper's TV critic, has been at the WB for about 6 years now as corporate communications guru. For the past several TCA's Keith leads off the presentation with jokes about the TV industry that make even the most cynical critics laugh.
As he always does, Keith's material went over well and was top notch. The jokes are a bit too industry-inside for anyone to appreciate here but huzzahs to Keith and may he be the next Jerry Seinfeld in another life.
Next up for me at TCA, ABC on Tuesday.
Keith, whom I worked with at the Los Angeles Daily News many years ago when he was the paper's TV critic, has been at the WB for about 6 years now as corporate communications guru. For the past several TCA's Keith leads off the presentation with jokes about the TV industry that make even the most cynical critics laugh.
As he always does, Keith's material went over well and was top notch. The jokes are a bit too industry-inside for anyone to appreciate here but huzzahs to Keith and may he be the next Jerry Seinfeld in another life.
Next up for me at TCA, ABC on Tuesday.
Tuesday, July 19, 2005
Tiger on the loose
With his win Sunday in the British Open, Tiger now has 10 Grand Slam wins and is only 8 behind Jack Nicklaus. In what was once thought of as impossible, it now seems that Tiger has an excellent chance to break the record.
I've said it before... and will say it again... the best sporting event every year is any of the four major golf tournaments -- Masters, US Open, British Open, PGA Championship -- in which Tiger is in contention.
I've said it before... and will say it again... the best sporting event every year is any of the four major golf tournaments -- Masters, US Open, British Open, PGA Championship -- in which Tiger is in contention.
It's not TV. It's HBO
I attended HBO's state of their network address Friday at the Television Critics Tour at the Beverly Hilton. Twice a year, all the broadcast and cable networks come to L.A. to tout their new shows and talk about about how their networks are doing better than ever.
"Entourage" has been renewed for a third season and the way HBO chairman Chris Albrecht was talking, it'll probably be around a lot longer than that. This season, from my point of view, has been great. I'm rooting for Jeremy Piven to take home the Emmy.
March 2006 marks the new-season premiere of "The Sopranos." While series creator David Chase has often said this would mark the end of "Sopranos," he may be softening his stance a little. He's contemplating another season after this one, which is currently filming back in New York.
And for all you Larry David fans out there, "Curb Your Enthusiasm" debuts at the end of September.
As for "Rome," which I covered the nighttime party for Variety, this series is the network's next big thing. It took me a little while to understand who was who in first episode (which premieres Aug. 28) but the prognosis is good. Curious to see what everyone thinks about it.
"Entourage" has been renewed for a third season and the way HBO chairman Chris Albrecht was talking, it'll probably be around a lot longer than that. This season, from my point of view, has been great. I'm rooting for Jeremy Piven to take home the Emmy.
March 2006 marks the new-season premiere of "The Sopranos." While series creator David Chase has often said this would mark the end of "Sopranos," he may be softening his stance a little. He's contemplating another season after this one, which is currently filming back in New York.
And for all you Larry David fans out there, "Curb Your Enthusiasm" debuts at the end of September.
As for "Rome," which I covered the nighttime party for Variety, this series is the network's next big thing. It took me a little while to understand who was who in first episode (which premieres Aug. 28) but the prognosis is good. Curious to see what everyone thinks about it.
Tuesday, July 12, 2005
Movies 2005: Halfway home
Now that we're just past the halfway point of 2005, why not take a look back at the best movies over the last six months. While it may be tough to put a list of 10 together -- it's been a fairly uneventful season so far -- I'll give it my best shot.
And, as always, this is just a list of films that I've personally seen, which doesn't include the well-reviewed "Batman Begins" and highly regarded documentaries such as "Mad Hot Ballroom" and "Murderball," among many others.
Anyway, if you've missed any or all of these and are looking for a night at the cinema (or available on DVD), you shouldn't be disappointed.
In alphabetical order, not preference:
Charlie and the Chocolate Factory: A dessert for the senses, Depp and Burton once again team up for an unorthodox winner.
Cinderella Man: Russell Crowe, as usual, was rock solid as Depression-era fighter Jim Braddock. His underdog story was noteworthy but director Ron Howard failed to deliver a knockout punch.
Crash: Well-intentioned and thoughtful look at the racial and class structure of Los Angeles. It has its faults but "Million Dollar Baby" playright Paul Haggis is on his way to an impressive directorial career.
Fever Pitch: I hate the Red Sox but still was enamored with this tale of a Boston fan who can't decide between his two passions: baseball or Barrymore.
Hitch: Who knew Kevin James could be this funny? Nothing lasting about it but at least its original and has the gorgeous Eva Mendes too.
Hostage: Bruce Willis, in one of his best roles, in a taut action thriller about a family under seige by a group of moral-less teens.
Sisterhood of the Traveling Pants: Based on the popular teen book, this could've gone all wrong but somehow manages to charm anyway.
Star Wars: Revenge of the Sith: Uber-geek George Lucas closes out his "Star Wars" legacy -- finally -- with an effort that made everyone happy.
War of the Worlds: Sure, nobody's thrilled with the ending and enough with Tom Cruise already. But Spielberg's special effects wizardry overcame it all.
The Wedding Crashers: Probably the funniest film of the past couple of years. Buy stock in Vince Vaughn now.
So what did I miss? Am I totally off base?
And, as always, this is just a list of films that I've personally seen, which doesn't include the well-reviewed "Batman Begins" and highly regarded documentaries such as "Mad Hot Ballroom" and "Murderball," among many others.
Anyway, if you've missed any or all of these and are looking for a night at the cinema (or available on DVD), you shouldn't be disappointed.
In alphabetical order, not preference:
Charlie and the Chocolate Factory: A dessert for the senses, Depp and Burton once again team up for an unorthodox winner.
Cinderella Man: Russell Crowe, as usual, was rock solid as Depression-era fighter Jim Braddock. His underdog story was noteworthy but director Ron Howard failed to deliver a knockout punch.
Crash: Well-intentioned and thoughtful look at the racial and class structure of Los Angeles. It has its faults but "Million Dollar Baby" playright Paul Haggis is on his way to an impressive directorial career.
Fever Pitch: I hate the Red Sox but still was enamored with this tale of a Boston fan who can't decide between his two passions: baseball or Barrymore.
Hitch: Who knew Kevin James could be this funny? Nothing lasting about it but at least its original and has the gorgeous Eva Mendes too.
Hostage: Bruce Willis, in one of his best roles, in a taut action thriller about a family under seige by a group of moral-less teens.
Sisterhood of the Traveling Pants: Based on the popular teen book, this could've gone all wrong but somehow manages to charm anyway.
Star Wars: Revenge of the Sith: Uber-geek George Lucas closes out his "Star Wars" legacy -- finally -- with an effort that made everyone happy.
War of the Worlds: Sure, nobody's thrilled with the ending and enough with Tom Cruise already. But Spielberg's special effects wizardry overcame it all.
The Wedding Crashers: Probably the funniest film of the past couple of years. Buy stock in Vince Vaughn now.
So what did I miss? Am I totally off base?
Thursday, June 30, 2005
Best burgers
In this month's GQ magazine, they list the best burgers, fries and shakes/malts around the country. Our local joint, The Counter in Santa Monica, was ranked No. 14 in all of the country for their burgers -- which are delicious, I might add -- and the their malts ranked an astonishing No. 2!!!
If you're in the neighborhood of Santa Monica/West LA, check it out. It's on Ocean Park Blvd., just west of Centinela on the north side of the street next to a Starbucks. Yummmm!
If you're in the neighborhood of Santa Monica/West LA, check it out. It's on Ocean Park Blvd., just west of Centinela on the north side of the street next to a Starbucks. Yummmm!
Star sighting
Had a good one this morning. On my way to the post office, I spotted Jerry Seinfeld and his wife browsing through magazines on the newsstand on Beverly, between Wilshire and Olympic... if that means anything to you.
Thursday, June 16, 2005
Drama's golden age
Folks:
Wrote this in today's Daily Variety and thought I'd share. I'd love to know your thoughts.
BY STUART LEVINE
No matter where you flip the dial these days, you're bound to land on a great drama.
There's been no shortage of compelling dramas throughout TV's seven-decade history -- be it about cops, docs, lawyers or crooks -- but one could make the case that there's no time like today. While the 1950s may be referred to as the Golden Age of drama, the gold standard is back in a big way.
"One thing you can look at is that one (program) sometimes inspires another," says HBO entertainment topper Carolyn Strauss. "It shows you what's possible."
Broadcast and cable are carrying the banner with equal aplomb.
Procedurals -- those self-contained stories that wrap everything up in a nice, tidy bow at the end of 60 minutes and make a mint for the studios in syndication -- have caught on like wildfire and are, generally, well executed. "CSI" has been the most-watched show on television for the past few years: Its producer, procedurals guru Jerry Bruckheimer, will have an astonishing nine such shows on the air next season, plus one comedy.
NBC, though in tough times now, still offers up solid "The West Wing" and has made a killing with the venerable "Law & Order" franchise since 1990. ABC got back in the game last season with "Lost," "Grey's Anatomy" and dramedy "Desperate Housewives" (though that skein is being submitted for Emmy consideration as a comedy). Fox's real-time "24" has managed to remain compelling over four seasons.
Then there's the wired world, where HBO set the stan-dard high with what some might consider a game changer in "The Sopranos." Since launching in 1999, it became the ultimate water-cooler show and speculation from creator David Chase that the mobster saga might go on to a seventh season -- one beyond what many believed would be its last -- made for front-page news a few weeks ago.
Also at HBO there's "Six Feet Under," current critical fave "Deadwood" and little-seen but highly regarded "The Wire."
On the basic cable side, FX broke the mold in 2002 with "The Shield," which earned Michael Chiklis a win for lead actor. The net also has done well with "Nip/Tuck" and "Rescue Me."
Strauss and FX's new prexy-G.M., John Landgraf, agree that there's no winning formula that works every time in gestating a hit show.
"As I say to a lot of people who pitch, it's having all the stars aligned," Strauss explains, "the way an idea is presented, how it's put together, how it's shot. One misstep is all it takes to derail. The cast is wrong or there's a missed tone in the pilot."
"It's the freedom encouraged by creators and writers to take risks, to make shows as good as they are," says Landgraf, who took over the net after Peter Liguori moved to Fox. "The standards are very high right now."
Strauss' comments about the importance of casting are well taken. While it's impossible to say whether "Sopranos" would've worked without James Gandolfini, or "Deadwood" without Ian McShane or "NYPD Blue" without Dennis Franz, those actors have become the faces of their series in a way that allows auds to connect in a passionate way.
"Casting is crucial," Strauss elaborates. "Look at 'The Sopranos.' There were no second choices."
While cable has the ability to stretch the parameters of drama to include nudity, language and violence -- though that might be up for discussion now as the Federal Communications Commission has signaled it might be willing to reconsider whether cable fare is under the same strict guidelines as its over-the-air counterpart -- broadcast has managed to enliven the genre, even with major constraints.
Broadcast nets don't have the luxury of launching only one or two dramas a year, and having its marketing departments put their efforts into just those series. Toppers such as CBS' Les Moonves and NBC's Jeff Zucker order dozens of pilots, only to whittle the number down to a few for the fall sked.
Landgraf, who was VP of primetime series at NBC from 1994-99, realizes the pressure network execs are under to satisfy critics and Madison Avenue. While they strive for quality, demos are a higher priority.
"Networks are factories that produce a product called television," he says. "When you're doing that many episodes to appeal to that big of an audience, you have to round corners and edges. And you can say that about furniture. When you look at a little network like ours, it's more like handcrafted programming."
Where the networks have taken the lead over their cable counterparts is with procedurals. CBS is the leader in this category, be it with the "CSI" franchise or Thursday night stalwart "Without a Trace."
Says Laverne McKinnon, the Eye's top drama exec, the key to quality dramas in these days of fragmented audiences is a willingness to listen to those outside TV's traditional training ground.
"The quality of storytelling has improved. From a drama perspective, I think we've been able to tap into a larger talent pool of writers: features, theater, book authors and essayists. There's no longer the stigma from five to 10 years ago about crossing over mediums."
Everyone knows that TV is a cyclical game -- just ask the folks over at ABC -- and the current comedy famine/drama feast could turn at a moment's notice. That being said, upcoming dramas from cable and broadcast indicate the change may not be coming all that soon.
HBO has high hopes for "Rome," which is costing the net a lot of coin (though it's a co-production with the BBC) and begins in September. On July 27, FX launches Steven Bochco's Iraq War series, "Over There."
Fox is generating buzz for "Prison Break," which stars Wentworth Miller as a desperate man who breaks into jail in order to help his death-row brother break out; ABC has Geena Davis starring in Rod Lurie's "Commander-in-Chief"; and NBC is hoping Bruckheimer's magic rubs off on "E-Ring," about life at the Pentagon.
And, as always in TV, the pressure's on. Sure, the networks might have a handful of drama superstars in their current lineups but if the genre's going to continue to thrive, it's all about finding the next big hit.
"These shows are representing us," says HBO's Strauss. "We have to get them right."
Wrote this in today's Daily Variety and thought I'd share. I'd love to know your thoughts.
BY STUART LEVINE
No matter where you flip the dial these days, you're bound to land on a great drama.
There's been no shortage of compelling dramas throughout TV's seven-decade history -- be it about cops, docs, lawyers or crooks -- but one could make the case that there's no time like today. While the 1950s may be referred to as the Golden Age of drama, the gold standard is back in a big way.
"One thing you can look at is that one (program) sometimes inspires another," says HBO entertainment topper Carolyn Strauss. "It shows you what's possible."
Broadcast and cable are carrying the banner with equal aplomb.
Procedurals -- those self-contained stories that wrap everything up in a nice, tidy bow at the end of 60 minutes and make a mint for the studios in syndication -- have caught on like wildfire and are, generally, well executed. "CSI" has been the most-watched show on television for the past few years: Its producer, procedurals guru Jerry Bruckheimer, will have an astonishing nine such shows on the air next season, plus one comedy.
NBC, though in tough times now, still offers up solid "The West Wing" and has made a killing with the venerable "Law & Order" franchise since 1990. ABC got back in the game last season with "Lost," "Grey's Anatomy" and dramedy "Desperate Housewives" (though that skein is being submitted for Emmy consideration as a comedy). Fox's real-time "24" has managed to remain compelling over four seasons.
Then there's the wired world, where HBO set the stan-dard high with what some might consider a game changer in "The Sopranos." Since launching in 1999, it became the ultimate water-cooler show and speculation from creator David Chase that the mobster saga might go on to a seventh season -- one beyond what many believed would be its last -- made for front-page news a few weeks ago.
Also at HBO there's "Six Feet Under," current critical fave "Deadwood" and little-seen but highly regarded "The Wire."
On the basic cable side, FX broke the mold in 2002 with "The Shield," which earned Michael Chiklis a win for lead actor. The net also has done well with "Nip/Tuck" and "Rescue Me."
Strauss and FX's new prexy-G.M., John Landgraf, agree that there's no winning formula that works every time in gestating a hit show.
"As I say to a lot of people who pitch, it's having all the stars aligned," Strauss explains, "the way an idea is presented, how it's put together, how it's shot. One misstep is all it takes to derail. The cast is wrong or there's a missed tone in the pilot."
"It's the freedom encouraged by creators and writers to take risks, to make shows as good as they are," says Landgraf, who took over the net after Peter Liguori moved to Fox. "The standards are very high right now."
Strauss' comments about the importance of casting are well taken. While it's impossible to say whether "Sopranos" would've worked without James Gandolfini, or "Deadwood" without Ian McShane or "NYPD Blue" without Dennis Franz, those actors have become the faces of their series in a way that allows auds to connect in a passionate way.
"Casting is crucial," Strauss elaborates. "Look at 'The Sopranos.' There were no second choices."
While cable has the ability to stretch the parameters of drama to include nudity, language and violence -- though that might be up for discussion now as the Federal Communications Commission has signaled it might be willing to reconsider whether cable fare is under the same strict guidelines as its over-the-air counterpart -- broadcast has managed to enliven the genre, even with major constraints.
Broadcast nets don't have the luxury of launching only one or two dramas a year, and having its marketing departments put their efforts into just those series. Toppers such as CBS' Les Moonves and NBC's Jeff Zucker order dozens of pilots, only to whittle the number down to a few for the fall sked.
Landgraf, who was VP of primetime series at NBC from 1994-99, realizes the pressure network execs are under to satisfy critics and Madison Avenue. While they strive for quality, demos are a higher priority.
"Networks are factories that produce a product called television," he says. "When you're doing that many episodes to appeal to that big of an audience, you have to round corners and edges. And you can say that about furniture. When you look at a little network like ours, it's more like handcrafted programming."
Where the networks have taken the lead over their cable counterparts is with procedurals. CBS is the leader in this category, be it with the "CSI" franchise or Thursday night stalwart "Without a Trace."
Says Laverne McKinnon, the Eye's top drama exec, the key to quality dramas in these days of fragmented audiences is a willingness to listen to those outside TV's traditional training ground.
"The quality of storytelling has improved. From a drama perspective, I think we've been able to tap into a larger talent pool of writers: features, theater, book authors and essayists. There's no longer the stigma from five to 10 years ago about crossing over mediums."
Everyone knows that TV is a cyclical game -- just ask the folks over at ABC -- and the current comedy famine/drama feast could turn at a moment's notice. That being said, upcoming dramas from cable and broadcast indicate the change may not be coming all that soon.
HBO has high hopes for "Rome," which is costing the net a lot of coin (though it's a co-production with the BBC) and begins in September. On July 27, FX launches Steven Bochco's Iraq War series, "Over There."
Fox is generating buzz for "Prison Break," which stars Wentworth Miller as a desperate man who breaks into jail in order to help his death-row brother break out; ABC has Geena Davis starring in Rod Lurie's "Commander-in-Chief"; and NBC is hoping Bruckheimer's magic rubs off on "E-Ring," about life at the Pentagon.
And, as always in TV, the pressure's on. Sure, the networks might have a handful of drama superstars in their current lineups but if the genre's going to continue to thrive, it's all about finding the next big hit.
"These shows are representing us," says HBO's Strauss. "We have to get them right."
Wednesday, June 15, 2005
The worst job
Here in Hollywood, that would be as an assistant to an executive or actor. Here's the latest story from the trenches:
I used to work for a C-list actor who wasn’t a screamer really, he was worse. He had bizarre brain synapses and he was obsessed with vegetables.
He was working on a now-cancelled FBI show. We were shooting in Santa Monica and he had a hankering for Koo Koo Roo:
Actor: I want the turkey dinner
Me: okay.
Actor: The turkey dinner. With the carrots and gravy
Me: (tuning him out. I know what’s in the turkey dinner.) Right.
Actor: And get whatever you want.
So, I went to the Kook in Venice. Ordered the turkey dinner, and a BBQ chicken salad without peppers for me. I returned to the trailer, and put his turkey dinner in the fridge. I was happily munching away on my salad, slightly peeved that they’d forgotten to take out the peppers, when Actor returned from set.
Actor: Where’s my turkey dinner?
Me: In the fridge.
Actor: Why is it in the fridge?
Me: Because you were still shooting.
Actor: (accusatory) It’s really hot outside.
Me: (??) I know. That’s why I put it in the fridge.
He fetches his damn turkey dinner, and I return to my salad and my To Do list. Munch munch munch…suddenly, I hear:
Actor: Green beans.
Me: What?
Actor: Green beans.
Me: (??)
Actor: (getting agitated) Green beans, green beans green beans.Me: (??)
Actor: I asked for GREEN BEANS with my turkey dinner.
Me: (He did? Oh shit.)
I looked him straight in the eye. Then down at my salad. Then back at him. I waved my fork towards my lunch:
Me: And I asked for no peppers in my salad. (Too bad, buddy. Life’s not fair. Sometimes you don’t get what you asked for.)
Actor: (glaring silence.)
He fired me the next day. Now whenever I hear “green beans” I cringe and then chuckle.
I used to work for a C-list actor who wasn’t a screamer really, he was worse. He had bizarre brain synapses and he was obsessed with vegetables.
He was working on a now-cancelled FBI show. We were shooting in Santa Monica and he had a hankering for Koo Koo Roo:
Actor: I want the turkey dinner
Me: okay.
Actor: The turkey dinner. With the carrots and gravy
Me: (tuning him out. I know what’s in the turkey dinner.) Right.
Actor: And get whatever you want.
So, I went to the Kook in Venice. Ordered the turkey dinner, and a BBQ chicken salad without peppers for me. I returned to the trailer, and put his turkey dinner in the fridge. I was happily munching away on my salad, slightly peeved that they’d forgotten to take out the peppers, when Actor returned from set.
Actor: Where’s my turkey dinner?
Me: In the fridge.
Actor: Why is it in the fridge?
Me: Because you were still shooting.
Actor: (accusatory) It’s really hot outside.
Me: (??) I know. That’s why I put it in the fridge.
He fetches his damn turkey dinner, and I return to my salad and my To Do list. Munch munch munch…suddenly, I hear:
Actor: Green beans.
Me: What?
Actor: Green beans.
Me: (??)
Actor: (getting agitated) Green beans, green beans green beans.Me: (??)
Actor: I asked for GREEN BEANS with my turkey dinner.
Me: (He did? Oh shit.)
I looked him straight in the eye. Then down at my salad. Then back at him. I waved my fork towards my lunch:
Me: And I asked for no peppers in my salad. (Too bad, buddy. Life’s not fair. Sometimes you don’t get what you asked for.)
Actor: (glaring silence.)
He fired me the next day. Now whenever I hear “green beans” I cringe and then chuckle.
Thursday, June 09, 2005
Name of the day
In Variety, we run a column of notable births in the industry. Think this child will be the next SuperGirl??
Emily and Penn Jillette, a girl, Moxie CrimeFighter Jillette, June 3, Los Vegas. Mother is non-pro; father is comic/magician and half of the performing duo Penn & Teller.
Emily and Penn Jillette, a girl, Moxie CrimeFighter Jillette, June 3, Los Vegas. Mother is non-pro; father is comic/magician and half of the performing duo Penn & Teller.
Friday, June 03, 2005
TV's best
San Francisco Chronicle TV critic offers up some thoughts on the best TV shows on the air now. This is his top 10 list of best shows on the air, in order of greatness.
-- "Deadwood"
-- "The Wire"
-- "The Sopranos" (returns next spring)
-- "Arrested Development"
-- "The Shield"
-- "Rescue Me"
-- "Lost"
-- "Desperate Housewives"
-- "24"
-- "MI-5"
If you've been reading this blog at all since its launch several months ago, you know my feelings on Deadwood. But here's what Goodman says too... so you know it's just not me:
Call it Monday mourning. "Deadwood" ended last night and the only thing one can blurt out at a moment like this is all too obvious to anyone who has seen the show:
"You -- suckers! Why only 12 episodes?"
Television's most profane -- and easily one of its most magnificent -- offerings is over, and what a satisfying, orgiastic little run it was. Twelve episodes, three months and thousands upon thousands of f-bombs, or so it seemed. Only "Deadwood" could drag you through the mud of evil men, bad women and offensive language and make you feel glad about paying for the pleasure.
And just now, right in this instant of having the magnitude of this Shakespearean effort wash over us, who's to deny that "Deadwood" is the best show on television, bar none? (If you're keeping track, by the way, that puts three dramas and one comedy from HBO in the top 10 - at least.) Who's prepared to walk away from the table without voting David Milch's astonishing Western the best thing ever? The acting is, across the board, fall-down-on-the-ground great. From Ian McShane's Emmy-deserving turn as Al Swearengen to W. Earl Brown's layered bear of man that is Dan Dority to Paula Malcomson's angry, tart, devoted and dangerous hooker, Trixie. Not just those three -- all of them. Cameo performances on this show have the sheen of magnificence and that's damned hard to do.
Is "Deadwood" the best show on television?
Who knows. You can get weary parsing out that stuff. "Deadwood" -- despite that nagging, beautifully corrupt sense of Shakespeare -- is utterly original, like nothing else on TV. This is a television series playing in its own stratosphere, defined by genius all around it. Number it as you will, just bring it back as soon as possible.
-- "Deadwood"
-- "The Wire"
-- "The Sopranos" (returns next spring)
-- "Arrested Development"
-- "The Shield"
-- "Rescue Me"
-- "Lost"
-- "Desperate Housewives"
-- "24"
-- "MI-5"
If you've been reading this blog at all since its launch several months ago, you know my feelings on Deadwood. But here's what Goodman says too... so you know it's just not me:
Call it Monday mourning. "Deadwood" ended last night and the only thing one can blurt out at a moment like this is all too obvious to anyone who has seen the show:
"You -- suckers! Why only 12 episodes?"
Television's most profane -- and easily one of its most magnificent -- offerings is over, and what a satisfying, orgiastic little run it was. Twelve episodes, three months and thousands upon thousands of f-bombs, or so it seemed. Only "Deadwood" could drag you through the mud of evil men, bad women and offensive language and make you feel glad about paying for the pleasure.
And just now, right in this instant of having the magnitude of this Shakespearean effort wash over us, who's to deny that "Deadwood" is the best show on television, bar none? (If you're keeping track, by the way, that puts three dramas and one comedy from HBO in the top 10 - at least.) Who's prepared to walk away from the table without voting David Milch's astonishing Western the best thing ever? The acting is, across the board, fall-down-on-the-ground great. From Ian McShane's Emmy-deserving turn as Al Swearengen to W. Earl Brown's layered bear of man that is Dan Dority to Paula Malcomson's angry, tart, devoted and dangerous hooker, Trixie. Not just those three -- all of them. Cameo performances on this show have the sheen of magnificence and that's damned hard to do.
Is "Deadwood" the best show on television?
Who knows. You can get weary parsing out that stuff. "Deadwood" -- despite that nagging, beautifully corrupt sense of Shakespeare -- is utterly original, like nothing else on TV. This is a television series playing in its own stratosphere, defined by genius all around it. Number it as you will, just bring it back as soon as possible.
Thursday, June 02, 2005
Emmy season
No, really, it is.
We're cranking up our Emmy stories now that the voting period has begun. I'll post a few of my efforts here over the next week or two if you'd like to check them out.
By STUART LEVINE,
Tue., May 31, 2005, 10:00pm PT
With the Bartlet administration on the way out, there were some industry observers who believed at the beginning of last season that "The West Wing" was nearing its end as well.
The handoff from show creator Aaron Sorkin to John Wells in 2003 made many hardcore viewers nervous. That's no knock on Wells, who has been a writer and exec producer on such series as "ER" and "China Beach," but Sorkin's shoes would be tough to fill.
"We thought we were done after Aaron left," says two-time Emmy nom Janel Moloney, who plays Donna Moss. "It takes time for a show to deal with a big change like that. We knew the shows would have a different tone."
Also making the transition difficult was that ratings were dipping and "Wing" is an expensive show to produce. With NBC paying Warner Bros. approximately $6 million per episode (before recent negotiations knocked that number down to about $3 million), the series seemed ripe for cancellation.
Then came the election: no, not Bush-Kerry, but the race between Rep. Matthew Santos (D-Texas) and Sen. Arnold Vinick (R-Calif.). The storyline, which took the action out of the White House and into the frozen fields of Iowa and New Hampshire, revitalized the show.
The Democratic and Republican primaries, at which Santos and Vinick (Jimmy Smits and Alan Alda, respectively) won their parties' nominations, were embraced by longtime viewers. While ratings were still down, the numbers were bright spots for the Peacock, whose viewership tumbled this season.
"For two years the show was in steep decline but this year they told stories you could care about," says TV Guide critic Matt Roush. "The campaign episodes took you back to the better times. It's back on track, though still not what it used to be."
Says Wells: "People seemed to be really engaged. ... In dealing with the primaries, it was one of the areas during the first five years of the show that we hadn't explored. One of the things you're constantly doing is look for places in the story you haven't done sometime before."
Equally intrigued by the storyline was Smits, who met with Wells about playing Santos. "John's idea was to give insight about what goes into particular points of the campaign," the thesp says. "We talked about the power of the media and show how great it would be to have young people aspire to be in politics."
Wells was quick to realize that it was important in casting Vinick, a likable Republican centrist. "I sat down with Alan before the season and talked about a political campaign," recalls Wells. "It was clear that, for the Republican candidate, we would need people that had the same stature as Martin (Sheen)."
It wasn't just "West Wing" that critics say enjoyed a comeback season. Other rebounding skeins include "Gilmore Girls" and "24."
"Gilmore Girls," which just wrapped season No. 5, was rejuvenated when it's two leads -- Lorelai (Lauren Graham) and Rory (Alexis Bledel) -- parted ways. Lorelai, busy with a new relationship, and Rory, off to college, had new challenges to confront.
And the ratings went up. "Gilmore" improved in most key demos for the young-skewing WB, and the series saw a hefty 30% jump in women 18-49.
" 'Gilmore Girls' came back," opines Roush. "If there was ever a show to break into the comedy category, it would be this. They figured out how to tell stories with Rory at college. This show's in good shape."
Series creator Amy Sherman-Palladino says she knows why the show took off this year.
"Apparently America has just been waiting to see Rory whore it up," she jokes. "I guess that the storylines that we chose this year really clicked with people. It was more of a romantic comedy year than we've done before, and people really seem to enjoy that, especially the Luke/Lorelai situation."
Over on "24," Kiefer Sutherland is trying to save the world from annihilation ... again. After the much-buzzed-about first season, some viewers thought "24" was losing its steam. Those same people believe this season (No. 4) the skein recovered its mojo.
"People felt we had a resurgence since the second half of last season and I have to tell you we're very surprised," says exec producer Joel Surnow. "Fans who regularly watch us tell us this is our best season. ... We look for different ways to tell suspense stories. What we do now is what we've always done: keep fans on the edge of their seats."
We're cranking up our Emmy stories now that the voting period has begun. I'll post a few of my efforts here over the next week or two if you'd like to check them out.
By STUART LEVINE,
Tue., May 31, 2005, 10:00pm PT
With the Bartlet administration on the way out, there were some industry observers who believed at the beginning of last season that "The West Wing" was nearing its end as well.
The handoff from show creator Aaron Sorkin to John Wells in 2003 made many hardcore viewers nervous. That's no knock on Wells, who has been a writer and exec producer on such series as "ER" and "China Beach," but Sorkin's shoes would be tough to fill.
"We thought we were done after Aaron left," says two-time Emmy nom Janel Moloney, who plays Donna Moss. "It takes time for a show to deal with a big change like that. We knew the shows would have a different tone."
Also making the transition difficult was that ratings were dipping and "Wing" is an expensive show to produce. With NBC paying Warner Bros. approximately $6 million per episode (before recent negotiations knocked that number down to about $3 million), the series seemed ripe for cancellation.
Then came the election: no, not Bush-Kerry, but the race between Rep. Matthew Santos (D-Texas) and Sen. Arnold Vinick (R-Calif.). The storyline, which took the action out of the White House and into the frozen fields of Iowa and New Hampshire, revitalized the show.
The Democratic and Republican primaries, at which Santos and Vinick (Jimmy Smits and Alan Alda, respectively) won their parties' nominations, were embraced by longtime viewers. While ratings were still down, the numbers were bright spots for the Peacock, whose viewership tumbled this season.
"For two years the show was in steep decline but this year they told stories you could care about," says TV Guide critic Matt Roush. "The campaign episodes took you back to the better times. It's back on track, though still not what it used to be."
Says Wells: "People seemed to be really engaged. ... In dealing with the primaries, it was one of the areas during the first five years of the show that we hadn't explored. One of the things you're constantly doing is look for places in the story you haven't done sometime before."
Equally intrigued by the storyline was Smits, who met with Wells about playing Santos. "John's idea was to give insight about what goes into particular points of the campaign," the thesp says. "We talked about the power of the media and show how great it would be to have young people aspire to be in politics."
Wells was quick to realize that it was important in casting Vinick, a likable Republican centrist. "I sat down with Alan before the season and talked about a political campaign," recalls Wells. "It was clear that, for the Republican candidate, we would need people that had the same stature as Martin (Sheen)."
It wasn't just "West Wing" that critics say enjoyed a comeback season. Other rebounding skeins include "Gilmore Girls" and "24."
"Gilmore Girls," which just wrapped season No. 5, was rejuvenated when it's two leads -- Lorelai (Lauren Graham) and Rory (Alexis Bledel) -- parted ways. Lorelai, busy with a new relationship, and Rory, off to college, had new challenges to confront.
And the ratings went up. "Gilmore" improved in most key demos for the young-skewing WB, and the series saw a hefty 30% jump in women 18-49.
" 'Gilmore Girls' came back," opines Roush. "If there was ever a show to break into the comedy category, it would be this. They figured out how to tell stories with Rory at college. This show's in good shape."
Series creator Amy Sherman-Palladino says she knows why the show took off this year.
"Apparently America has just been waiting to see Rory whore it up," she jokes. "I guess that the storylines that we chose this year really clicked with people. It was more of a romantic comedy year than we've done before, and people really seem to enjoy that, especially the Luke/Lorelai situation."
Over on "24," Kiefer Sutherland is trying to save the world from annihilation ... again. After the much-buzzed-about first season, some viewers thought "24" was losing its steam. Those same people believe this season (No. 4) the skein recovered its mojo.
"People felt we had a resurgence since the second half of last season and I have to tell you we're very surprised," says exec producer Joel Surnow. "Fans who regularly watch us tell us this is our best season. ... We look for different ways to tell suspense stories. What we do now is what we've always done: keep fans on the edge of their seats."
Tuesday, May 31, 2005
The lone wolf
Priscilla and Zoe were back east for the Memorial Day weekend, so I bachelored up and did all the guy things that would barely past muster if the girls were around.
Friday night was spent at Hollywood Park with my friend Jay, who's a writer with the Daily Racing Form. You would think he'd be able to select some winners but no. Nice expert, eh?
Saturday night was poker and, after all was said and done, I pocketed a hefty $8. Got to know when to hold and fold em, my friends.
Sunday and Monday was spent catching up on Tivo, riding my bike to the beach, going to the gym and, some might say in a shocking development, cleaning up around the house and doing laundry.
After nearly 15 years of marriage -- our anniversary is this week -- I'm well trained.
Friday night was spent at Hollywood Park with my friend Jay, who's a writer with the Daily Racing Form. You would think he'd be able to select some winners but no. Nice expert, eh?
Saturday night was poker and, after all was said and done, I pocketed a hefty $8. Got to know when to hold and fold em, my friends.
Sunday and Monday was spent catching up on Tivo, riding my bike to the beach, going to the gym and, some might say in a shocking development, cleaning up around the house and doing laundry.
After nearly 15 years of marriage -- our anniversary is this week -- I'm well trained.
Thursday, May 26, 2005
It's Carrie!
So, as Zoe predicted all along, it was Carrie who took home the crown last night as this year's American Idol. After Bo's beautiful solo number last week, I thought Carrie was toast but the Oklahoma girl came through. Way to go Carrie!!!
Thursday, May 19, 2005
Fox
FOX PRIMETIME SCHEDULE: FALL 2005(All Times ET/PT)
MONDAY
8:00-8:30 PM ARRESTED DEVELOPMENT
8:30-9:00 PM KITCHEN CONFIDENTIAL
9:00-10:00 PM PRISON BREAK
TUESDAY
8:00-9:00 PM BONES
9:00-10:00 PM HOUSE
WEDNESDAY
8:00-8:30 PM THAT '70s SHOW
8:30-9:00 PM STACKED
9:00-10:00 PM HEAD CASES
THURSDAY
8:00-9:00 PM THE O.C.
9:00-10:00 PM REUNION
FRIDAY
8:00-8:30 PM THE BERNIE MAC SHOW
8:30-9:00 PM MALCOLM IN THE MIDDLE
9:00-10:00 THE GATE (working title)
SATURDAY
8:00-8:30 PM COPS
8:30-9:00 PM COPS
9:00-10:00 PM AMERICA'S MOST WANTED
11:00 PM-MIDNIGHT MADtv
SUNDAY
7:00-7:30 PM Animated Encores
7:30-8:00 PM KING OF THE HILL
8:00-8:30 PM THE SIMPSONS
8:30-9:00 PM THE WAR AT HOME
9:00-9:30 PM FAMILY GUY
9:30-10:00 PM AMERICAN DAD
The following new dramas will premiere on FOX this fall:
PRISON BREAK (Monday, 9:00-10:00 PM ET/PT)
MICHAEL SCOFIELD (Wentworth Miller, "The Human Stain") is a desperate man in a desperate situation. His brother, LINCOLN BURROWS (Dominic Purcell, "John Doe," "Blade: Trinity"), is on death row and scheduled to die in a few months for a murder Michael is convinced Lincoln did not commit. With no other options and time winding down, Michael holds up a bank to get himself incarcerated alongside his brother in Fox River State Penitentiary. Once he's inside, we learn that Michael – a structural engineer with the blueprints for the prison – has hatched an elaborate plan to break Lincoln out and prove his innocence. Senior correctional officer BELLICK (Wade Williams, "Collateral") offers some prison wisdom as Michael arrives. Then, with the help of his cellmate, SUCRE (Amaury Nolasco, "Mr. 3000"), Michael begins to align himself with a disparate group of prisoners, including former mob boss JOHN ABRUZZI (Peter Stormare, "Fargo," "Minority Report") and CHARLES WESTMORELAND (Muse Watson, "I Know What You Did Last Summer"), a man some believe to be the infamous skyjacker D.B. Cooper. On the outside Michael has only one ally, his defense attorney and longtime friend, VERONICA DONOVAN (Robin Tunney, "The Craft," "End of Days") – who is Lincoln's former girlfriend. Meanwhile, Lincoln's 15-year-old son, LJ (Marshall Allman), is now adrift without his Uncle Michael's positive influence. Rounding out the cast are Sarah Wayne Callies ("The Celestine Prophesy") as prison doctor SARA TANCREDI, whom Michael ends up visiting more often than he should, and Stacy Keach ("Titus," "Mike Hammer") as the powerful WARDEN POPE, who forges a close, almost father-son relationship with the new convict. This intriguing new series promises to reveal additional pieces of the puzzle each week as Michael carries out his daring plan to mastermind the ultimate PRISON BREAK – and solve the far-reaching national-scale conspiracy that landed him there in the first place.
PRODUCTION COMPANIES: 20th Century Fox Television, Adelstein-Parouse Productions, Original Television
EXECUTIVE PRODUCERS: Paul Scheuring, Dawn Parouse, Marty Adelstein, Neal Moritz, Brett Ratner
WRITER: Paul Scheuring
DIRECTOR: Brett Ratner
CAST: Wentworth Miller as Michael, Dominic Purcell as Lincoln, Robin Tunney as Veronica, Sarah Wayne Callies as Dr. Tancredi, Peter Stormare as Abruzzi, Amaury Nolasco as Sucre, Wade Williams as Bellick, Marshall Allman as LJ
BONES (Tuesday, 8:00-9:00 PM ET/PT)
From executive producers Barry Josephson ("Hide and Seek," "Like Mike") and Hart Hanson ("Joan of Arcadia," "Judging Amy") comes the darkly amusing drama BONES, inspired by real-life forensic anthropologist and novelist Kathy Reichs. Forensic anthropologist DR. TEMPERANCE BRENNAN (Emily Deschanel, "Boogeyman"), who works at the Jeffersonian Institution and writes novels as a sideline, has an uncanny ability to read clues left behind in a victim's bones. Consequently, law enforcement calls her in to assist with murder investigations when the remains are so badly decomposed, burned or destroyed that the standard identification methods are useless. Brennan's equally brilliant colleagues at the Jeffersonian's Medico-Legal Lab include earthy and bawdy ANGELA MONTENEGRO (Michaela Conlin, "The D.A."), who's created a unique way to render an original crime scene in a three-dimensional computer image; Brennan's assistant, ZACK ADDY (Eric Millegan), a young prodigy whose genius IQ actually gets in the way of his finishing the several doctorates he has begun; "the bug guy," DR. JACK HODGINS (TJ Thyne, "How the Grinch Stole Christmas"), who's an expert on insects, spores and minerals, but conspiracy is his hobby; and Brennan's boss, imposing lab director DR. DANIEL GOODMAN (Jonathan Adams, "American Dreams"). Brennan often finds herself teamed with Special Agent SEELEY BOOTH (David Boreanaz, "Angel"), a former Army sniper who mistrusts science and scientists when it comes to solving crimes. Brennan and Booth clash both professionally and personally, but so far the chemistry between them has only played out in a fictionalized account in Brennan's latest mystery novel.
PRODUCTION COMPANY: 20th Century Fox Television
EXECUTIVE PRODUCERS: Barry Josephson, Hart Hanson
WRITER: Hart Hanson
DIRECTOR: Greg Yaitanes
CAST: Emily Deschanel as Brennan, David Boreanaz as Booth, Eric Millegan as Zack, TJ Thyne as Dr. Hodgins, Michaela Conlin as Angela, Jonathan Adams as Dr. Goodman
HEAD CASES (Wednesday, 9:00-10:00 PM ET/PT)
Bill Chais ("The Practice," "Family Law") created this comedic drama starring Chris O'Donnell ("Scent of a Woman") as attorney JASON PAYNE, whose superstar career at a prestigious Los Angeles law firm backfired when his wife, LAURIE (Krista Allen, "Unscripted"), kicked him out of the house and, to make a bad day even worse, he had a nervous breakdown. After three months at a "wellness center," Jason found himself with no job, no place to live and no support system. Enter SHULTZ (Adam Goldberg, "A Beautiful Mind," "Saving Private Ryan"), an unkempt, unpredictable sufferer of explosive disorder, assigned to be outpatient "buddies" with Jason by their mutual therapist, DR. ROBINSON (Rockmond Dunbar, "Soul Food"). A low-rent lawyer who usually represents deviants and petty criminals, Shultz eagerly latches onto a very reluctant Jason, inserting himself in all aspects of Jason's personal and professional life. The intrusion is the last thing Jason needs, preoccupied as he is with trying to re-establish a relationship with his 8-year-old son, RYAN (Jake Cherry, "Miracle Run"), reach some kind of accord with Laurie, and lend emotional support to KATE (Rachel Leigh Cook, "She's All That"), a troubled young woman he met at the wellness center. For Jason and Shultz, what begins as a bumpy alliance gradually turns amicable as each helps steer the other toward against-all-odds legal victories. Ultimately, they hang up their shingle together and set out to take on underdog clients while attempting to keep each other "sane."
PRODUCTION COMPANY: 20th Century Fox Television
EXECUTIVE PRODUCERS: Bill Chais, Jeff Rake, Barry Josephson
WRITER: Bill Chais
DIRECTOR: Andy Fleming
CAST: Chris O'Donnell as Jason, Adam Goldberg as Shultz, Krista Allen as Laurie, Jake Cherry as Ryan, Rachel Leigh Cook as Kate, Rockmond Dunbar as Dr. Robinson
REUNION (Thursday, 9:00-10:00 PM ET/PT)
Part character drama and part mystery, REUNION marks a groundbreaking concept in series television as it chronicles the lives of a group of six friends over the course of 20 years – all in just one season. From the hopes and dreams of 18-year-olds to the realities that irrevocably mark those lives two decades later, REUNION's stories are of love and loss, marriage and death, triumph and scandal. WILL (Will Estes, "U-571," "American Dreams") longs to leave his small town behind. Aided by an athletic scholarship, he will be the first in his family to go to college. CRAIG (Sean Faris, "Life As We Know It"), handsome and privileged, looks forward to the Ivy League with his girlfriend, SAMANTHA (Alexa Davalos, "The Chronicles of Riddick"), whose ambition is surpassed only by her looks and intelligence. The beautiful and sensual JENNA (Amanda Righetti, THE O.C.) dreams of becoming an actress; behind his cynicism, AARON (Dave Annable, "Little Black Book") dreams that his relationship with Jenna will go beyond friendship. CARLA (Chyler Leigh, "Not Another Teen Movie"), innocent and quirky, must choose between loyalty to her father and staying near her best friends. REUNION opens in 2005 at the funeral of one of the friends, whose death is being investigated by DETECTIVE MARJORINO (Mathew St. Patrick, "Six Feet Under"). Before the identity of the deceased is revealed, we're transported back to 1986, as the group is celebrating their high school graduation. The pilot episode follows all six through the summer of 1986, and we witness the formative events that alter their dreams and desires forever. Episode two finds the group a full year later, in 1987; episode three tells the story of a seminal event in 1988, and so on – culminating in the season finale at the friends' 20th high school reunion. REUNION also will build toward answering two important questions raised in episode one: Which of the friends is dead? And how did that death occur?
PRODUCTION COMPANIES: Warner Bros. Television, Class IV Productions
EXECUTIVE PRODUCERS: Jon Harmon Feldman, Steve Pearlman, Andrew Plotkin
WRITER: Jon Harmon Feldman
DIRECTOR: Jon Amiel
CAST: Will Estes as Will, Sean Faris as Craig, Dave Annable as Aaron, Alexa Davalos as Samantha, Amanda Righetti as Jenna, Chyler Leigh as Carla, Mathew St. Patrick as Detective Marjorino
THE GATE (working title) (Friday,, 9:00-10:00 PM ET/PT): Created by Josh Berman ("CSI: Crime Scene Investigation"), THE GATE (working title) tells the chilling stories of bizarre crimes committed by San Francisco's most aberrant criminals. The series centers on Detective GRAHAM HALE (Johnny Messner, THE O.C.) of the San Francisco Police Department's Deviant Crime Unit. Intense and private, Hale is haunted by personal demons, and he chose this assignment after going AWOL for a year following his partner's death in the line of duty. Hale's new partner is rookie Detective AVA LYFORD (Marguerite Moreau, "Life As We Know It," THE O.C.), whose no-nonsense demeanor and by-the-book tenacity hide both her insecurities and her secrets. Unbeknownst to Hale, she has a hidden agenda – and it might lead to his downfall. In the course of investigating his cases, Hale works closely with his boss, the likable Lieutenant MATT CAVANAUGH (Chi McBride, "Boston Public," "The Terminal"), and with DR. FRANCINE KLEPP, a forensic pathologist in the Coroner's lab and the former roommate of Hale's late partner, Meg. Exploring the idea that "behind every monster there's a mystery," the stories of THE GATE remind us that the "monsters" are everyday people, hidden in plain sight – and that, in each of us, a monster may lurk just beneath the surface.
PRODUCTION COMPANY: Regency Television
EXECUTIVE PRODUCERS: Russel Friend, Garrett Lerner
WRITER: Josh Berman
DIRECTOR: Rob Lieberman
CAST: Johnny Messner as Det. Graham Hale, Marguerite Moreau as Det. Ava Lyford, Chi McBride as Lt. Matt Cavanaugh
Comedies
THE WAR AT HOME (Sunday, 8:30-9:00 PM ET/PT)
When DAVE (Michael Rapaport, "Hitch," "Small Time Crooks," "Boston Public") and VICKY (Anita Barone, "Daddio," "The Jeff Foxworthy Show") were growing up, their parents had it easy. Back then, there were no "time-outs," no one had any "boundaries" and "parenting" wasn't even a word. Parents also had no idea what their kids were really up to; ignorance truly was bliss. Now Dave and Vicky have teenagers of their own, and anything their kids might even think about doing, Dave and Vicky have already done … at least twice. But knowledge isn't power – it's a giant pain! Every day is a battle to keep the kids in line. Fifteen-year-old LARRY (Kyle Sullivan, MALCOLM IN THE MIDDLE) isn't exactly a frequent diner at the cool kids' table in the cafeteria, while 16-year-old HILLARY (Kaylee Defer, QUINTUPLETS, "Listen Up") knows it all and is just emerging onto the dating scene. Meanwhile, at 13, MIKE (Dean Collins, "Jack & Bobby") is all hormones and video games. Dave and Vicky figure if they can send these three off to college without a police record or kids of their own, they've done their job. This witty, irreverent show from Rob Lotterstein ("Will & Grace," "Ellen," "Dream On") goes inside the heads of a modern family through the use of a confessional space where the characters reveal everything they could never actually say to one another – as they do their best to win THE WAR AT HOME.
PRODUCTION COMPANIES: ACME Productions, Warner Bros. Television
EXECUTIVE PRODUCERS: Michael Hanel, Mindy Schultheis
WRITER/EXECUTIVE PRODUCER: Rob Lotterstein
DIRECTOR: Andy Cadiff
CAST: Michael Rapaport as Dave, Anita Barone as Vicky, Dean Collins as Mike, Kaylee Defer as Hillary, Kyle Sullivan as Larry
KITCHEN CONFIDENTIAL (Monday, 8:30-9:00 PM ET/PT)
Based on renowned chef Anthony Bourdain's best-selling autobiography, KITCHEN CONFIDENTIAL explores the deliciously crazy world of upscale restaurants. Chef JACK BOURDAIN (Bradley Cooper, "Alias," "I Want to Marry Ryan Banks") found enormous success at a young age, but his culinary genius also led to a lifestyle of boozing, womanizing and drugs. After hitting rock bottom and deciding to sober up, the only job he could get was slopping soggy pasta for the masses at a tacky opera-themed restaurant. Out of the blue, Jack is offered an opportunity to get back in the game as head chef at a top New York restaurant. There's just one problem: the owner gives Jack a mere 48 hours to fully staff his kitchen and prepare to dazzle over 300 customers – including the food critic for the New York Times (who also happens to be a jilted ex). Jack hastily assembles a renegade crew of colleagues from his past, including chefs STEVEN DAEDALUS (Owain Yeoman, "Troy"), SETH KLEIN (Nicholas Brendon, "Buffy the Vampire Slayer") and TEDDY WONG (John Cho, "Harold & Kumar"). Also along for the ride are TANYA (Jaime King, "White Chicks," "Pearl Harbor") the hostess, a rookie pastry chef named JIM (John F. Daley, "Freaks and Geeks"), and the owner's daughter, the gorgeous MIMI (Bonnie Somerville, "NYPD Blue"), who can't wait for Jack to fail. In KITCHEN CONFIDENTIAL, executive producers Darren Star ("Sex and the City") and David Hemingson ("Just Shoot Me," AMERICAN DAD) expose the secrets of the restaurant business through the delectable story of a talented chef who's determined to climb back to the top of the food game.
PRODUCTION COMPANIES: 20th Century Fox Television, New Line Productions, Inc., Darren Star Productions, Inc.
EXECUTIVE PRODUCERS: Darren Star, Jim Rosenthal, David Knoller
WRITER/EXECUTIVE PRODUCER: David Hemingson
DIRECTOR: Darren Star
CAST: Bradley Cooper as Jack, Bonnie Somerville as Mimi, Owain Yeoman as Steven, Nicholas Brendon as Seth, John Cho as Teddy, Jaime King as Tanya, John F. Daley as Jim
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