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Posts tagged as “Lost”

TV Fall '09: The Complete Review – What is up with the networks

Last year, we took a look at how all the major networks were trying to invest into cross-platform products and Internet-based entertainment (without much success).

This time around, we’re going to check if said major networks have any pulse left with their crazy fall slate changes and schedule moves.

The Network Effect: Between Déjà Vu and Madness


Changing cloned horses in midstream.

CBS’ “new” slate isn’t really all that new. They have about 15 returning shows (including the just-acquired Medium), 11 of which are at their fifth season or more. The least we can say is that the network likes to work with the old (including its main demographic, wink wink), and clearly doesn’t want to invest in original content. Out of the four new series premiering this fall on CBS, we have one spin-off, one medical drama, and a classic sitcom. It’s as if they are scared of fresh ideas.


Going where no network (with half a brain) has gone before.

The biggest ratings everyone is anxiously awaiting to see this year are the ones from Leno’s new 10PM show. We’ve already discussed in length last year (when it was announced) what the various implications such move had and will have on the television industry. There was also Silverman leaving his cushy NBC job last month. That was interesting.
Consequently, the peacock doesn’t have many fresh series this fall, barely three (including two medical shows). Community is probably the funniest new comedy this season, and surprisingly enough, in my mind, well promoted. We’ll see how it fairs under pressure as it will be against Survivor, FlashForward and Bones. This is tough competition to say the least.
And Heroes will probably fail yet again.


Congratulations, you’ve just found the F5 key.

Contrary to all the other networks, ABC brings in this fall an almost massive amount of new shows (count them, eight). Add to that those other three programs for mid-season and you’ve got yourself a pretty hefty slate.
What is interesting to see is that half of those shows are comedies. The Alphabet network is indeed launching this season their own little comedy night full of fresh series. It’s certainly a gamble, especially when you consider the competition: to name a few, So You Think You Can Dance, Glee, Criminal Minds, ands CSI: NY. At least half the sitcoms will probably get the axe, but I do think however that some of them might get better scores than the CBS comedies on at the same time.
We can also notice with this accumulation of series a trend opposite to last year’s. Indeed, with, at the time, literally a single fresh (now canceled) drama, ABC didn’t want to look towards the future and instead buried its head in the sand.
Last season I was talking about how:

ABC [is relying too much] on those 3 hits, [Lost, Desperate Housewives, Grey’s Anatomy], and I think that around 2010-2011, if they don’t have any new hit series, the network will be in a lot of troubles when said hits won’t be around anymore. The only fresh program this fall on ABC is Life on Mars, how original.

This year however, everything has changed. Eastwick is trying to get the Grey’s Anatomy and Desperate Housewives appeal while FlashForward has already been branded as the new Lost. V will probably struggle in the ratings when it takes the Shark Tank’s place in front of NCIS, The Biggest Loser and Hell’s Kitchen. Even if it’s a reliable alternative to all three shows, with a 3-part arc it’s as if even the creators know where the future is heading.
One thing we can say about ABC though is that, for once, it’s trying to relaunch itself.


Where laughter goes to die.

It’s a somewhat-surprising slate for FOX. For one it renewed Dollhouse. Who saw that one coming? That said, this season will be the last. Especially when you consider when the series is being broadcast (behind Brothers and ‘Til Death, on a Friday night, come on).
The network also seems to have a CBS vibe to it now with nine returning shows, and over half of them being in their fifth season (or more). As for their new programs, we have a third Seth MacFarlane production, as well as Brothers. That last one is so awful, it’s almost indescribable. Think of a multi-camera sitcom with all the funny sucked out of it. What’s even sadder is that the show has a more than decent cast, including the great CCH Pounder.
Anyways, unlike ABC they don’t have dying series on their hands (except 24), most of them can basically continue on forever (take a look at The Simpsons). So their risk factor is taken out of the equation.
To be continued (or canceled)…


Good ratings: They shall not pass!

With a few exceptions, The CW is basically keeping every show it has and giving them a maximum lifespan. They’re almost better at this than CBS with 80% of their series being over their fourth season.
The CW is also trying to bank on already-established genre/brands like 90210, Gossip Girl, and now both Melrose Place and The Vampire Diaries. Smallville on the other hand is almost dying of old age with its ninth season rearing its ugly head.
In short, the network is trying to repair their atrocious ratings by producing more of the same. That’s called a foolproof plan.


Because we blew all our money on TV pilots.

With about a gazillion upcoming projects, FX is trying to reinvigorate itself with fresh programming. Case in point this fall with two new comedies, Archer and the League, which will accompany Philadelphia’s fifth season. FX is kind of the HBO to AMC’s Showtime. A network with fading critical hits in desperate need of renewal.
We saw last month how FX doesn’t want to let its show die either. Nip/Tuck, despite a finished shoot, won’t have its series finale broadcast until mid-2011. Rescue Me will as well film its two final seasons back-to-back for a 9/11 homage broadcast during the 10th anniversary of the September 11 attacks. By 2011, FX will only have a few shows left, such as Sons of Anarchy, and perhaps new series it’s creating at the moment.


It got so high; it just had to fall back down.

Not a lot of fresh content this fall given that most of its series have now changed to being Summer-based (Entourage premiered last year in early September for instance). I’m hoping Bored to Death does well as it both deserves it and is basically the only HBO show with fresh episodes (excluding Curb Your Enthusiasm). Another comedy, The Life and Times of Tim, has yet to return (hopefully before Christmas). Meanwhile, In Treatment and The N°1 Ladies’ Detective Agency are both on the bubble.
Like FX, HBO has a lot of projects on stand-by, including the long-awaited Game of Throne adaptation. Basically most of its fresh batch of episodes is scheduled to air only around mid-season, which almost allows Showtime free reign
over cable networks.


Pay close attention for we are about to be foolish.

Incidentally, Showtime itself should try looking into new series. Weeds will next year go into its sixth season, and Dexter is almost in its fifth. By all logic, one should be looking for fresh and exciting new programs.
However, earlier this year, Sho passed on four pilots with great potential (including a Matthew Perry/Peter Tolan comedy and a Tim Robbins drama). Pretty surprising choices to say the least. They’ll soon come a time when the cable network will have to reevaluate its slate of shows. It’s all a cycle.

Overall, it looks like most of networks do not want to change much, trying to rely on proven formulas as long as they hold.
The nets are either banking on the same types of shows they’ve been making for a decade, or doing very stupid decisions (I’m looking at you NBC).
Live and learn…

Unknown White Male (Script) – Review

Unknown White Male (Script) – Review

Here comes another script review for you guys this week with Unknown White Male.
This thriller will star Liam Neeson. It’s supposed to be his next project once he completes The A-Team and Clash of the Titans.

The script was written by Oliver Butcher & Stephen Cornwell (the guys behind Guy Ritchie’s next movie, The Gamekeeper), with some revisions by Dead Like Me‘s Karl Gajdusek. The story is based on Didier Van Cauwelaert’s French novel Hors de moi (published under the title Out of My Head in the US). Unlike in the book, the movie isn’t set in Paris but in Berlin (money, money, money).

What’s it about? Well, it centers on Dr. Martin Harris, a botanist who arrives in Berlin with his wife Liz for a conference (he has been invited to speak at the “World Biotechnology Forum”). After forgetting something at the airport, he takes a taxi back to get it. His plans are cut short however when the car crashes into a river. His life is saved by the mysterious taxi driver, Gina. Martin wakes up in a hospital; three days have passed while he was in a coma. He discovers that another man (Martin B) has taken his identity and has replaced him in every way. Even Liz, the wife, doesn’t seem to recognize her husband.
Lost in a foreign country with no papers, a small amount of cash, and no way back, the “real” Martin tries to uncover the truth behind the most extreme case of identity theft ever. He also seem to have some killers going after him for some reason.
Has our hero gone completely off the rails (is he who he thinks he is), or is there really a giant conspiracy trying to replace him?

At first glance this looks like an interesting thriller with some paranoiac elements echoing The Game. We’re also quickly thrown into the action with the crash already happening around page five.
That said, this is no Taken. In Unknown White Male, I wouldn’t say Neeson kicks lots of asses, as we’re talking more of a deadly cat-and-mouse game throughout Berlin (involving at one point a train colliding with a Land Rover, “pushing the mangled wreck along the tracks into a tunnel [in] a tail of sparks”). The motto here is more “run and hide from the bad guys” than “go hunt them”.
It takes also a lot of time to get decent answers to some of the stuff going on. For the most part it feels like a long chase with no end in sight.
In a way, it looked like a cross between UPN’s 1995 Bruce Greenwood series, Nowhere Man (virtually the same basic premise), and especially a “reverse” Jason Bourne (mainly the first one). It’s kind of a giant mash-up between those two stories only set in Berlin.
Martin even has his own foreign female side-kick that later becomes a love interest and helps him uncover the truth. Whereas in Jason Bourne it was Franka Potente’s Marie, here it’s the character of Gina. Not much originality unfortunately.

And this brings me to two of the main points I want to make about the film.
First, about half-way through the story, the movie shifts tone into a more spy-based thriller. The “real” Martin seems to be hunted by a unit (named Section 15) described by one of the characters as:

Freelance, deniable. They’d work for whoever would pay – public sector, private sector. Second-to-none in their planning and efficiency. They never failed. What’s more, they were invisible. They’d strike, and nobody would even know there had been foul play.

To be clear, we’re talking about an elite assassin squad known for its secrecy. Yet, in the film, we’re witnesses to dozens of murders, crashes, and explosions. So what gives? I mean that’s what I’d call a hell of a mess to clean.
Also, there is this whole deal about the Biotech conference that is never really explained. Even though it is hinted around the end that one of the character’s research was around the “development of a new strain of corn to be made available worldwide without patent or copyright costs,” it still does not justify some of the actions made by a few of the main characters (going back to that “mess” thing).
Now, the second comment concerns a major twist that occurs about two-third into the movie.
I won’t say what it is exactly because it’s pretty major in the storyline, but like The Game’s final twist, this is a revelation that makes you reevaluate the whole shebang. The surprise is so big that it might be hard to swallow for some.
It even stretches this “reverse” Jason Bourne comparison to the max as you’ll see (when the film comes out, you cheat). And if you really, really, want to know the twist, go read the book’s last pages.

Overall, this was a decent read, but the finished product might look like a poor man’s Jason Bourne.
Shooting for Unknown White Male is slated to start around January in Berlin. As said above, Liam Neeson is set to star as the “real” Martin Harris. No clue as of now on who will play Martin B, Liz, or Gina. Joel Silver’s Dark Castle is producing the pic with a release date around 2011.

Identity Crisis

What is going on with all those brand renaming themselves?
Gatorade changes to G, Pizza Hutt to The Hutt, RadioShack to The Shack, and now Cartoon Network, who freshly announced a slate of non-cartoon shows, is also considering a name change?

There are even whispers inside the channel’s Burbank animation studios that the network might drop “Cartoon” from its name.
[…]Rob Sorcher, a veteran cable programming executive who joined Cartoon Network last year after a stint at AMC, where he spearheaded that network’s push toward original dramas and was involved in the development of “Mad Men” and “Breaking Bad.”
[…]Although they are committed to their approach, they disagree on the fate of Cartoon Network’s name. [Sorcher] said he expects “we will have to deal with this down the line.”

Please don’t do this.

Side-note with some movie stuff:
Remember Outland, the SF/western 1981 movie with Sean Connery?
Well, it’s getting a remake with Shoot ‘Em Up‘s Michael Davis set to helm the project.
Who’s the guy writing the script? That would be Chad St. John.
You might recall that John also wrote SOTW6‘s The Days Before (notice how FlashForward is also on there, kinda funny considering the two scripts’ stories).
Anyway, I loved the Days Before script so I’m wondering what Chad will be able to pull for this Outland remake.
Incidentally, the current issue of Script Magazine has a piece on Chad St. John.

There’s also this other Dirty Dancing remake currently planned by Lionsgate.
What is interesting is that this time the writer is Julia Dahl. If you don’t know her, she was The West Wing‘s executive story editor from 2001 to 2002, and wrote two of the show’s 3rd season episodes.

Moving back to TV territory…
The Academy of Television Arts & Sciences lost its longtime PR agency, the Lippin Group, due to the recent debacles surrounding this year’s Emmycast.

ABC is moving on a haunted-hotel series entitled Clive Barker’s Hotel from two original Saw writers, Marcus Dunstan and Patrick Melton. I’m not here talking about the original movie, rather the latest four instalments (Saw IV throguh Saw VII).
Charlie’s Angels/Terminator Salvation’s McG might also be set to direct the pilot if the project comes to fruition.

And finally, some more great news for Caprica (remember, the Battlestar Galactica spin-off).
James Marsters is joining the cast for a “seizable arc” in at least three episodes of the show’s first season.
He will play “a dangerous terrorist leader by the name of Barnabus Greeley. Driven by desires both moralistic and carnal, Barnabus is as lethal as he is unpredictable.”

There’s also this new FlashForward poster that I just find plain awful.
The faux-embossed character pictures are kitschy, the “flash-forward” ball is badly done and made out of basically the same fifteen pictures used over and over again, and the sea reminds me of some 1990 photography background.
See for yourselves:


My eyes are bleeding…