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Posts tagged as “Fringe”

NBC sans Silverman (TCA edition)

In important TV news today was the NBC panel over at the TCA press tour.

What a hilariously sad presentation by Angela Bromstad that was!
A few highlights:

To start us off, Bromstad blames the lack of any real summer shows on the fact that they’re not “on brand”. In case you’re wondering what the hell is NBC’s brand, apparently it’s a mix of 30 Rock and Heroes.
And I’m serious. Case in point with this quote:
Heroes is on brand, Office, 30 Rock, SVU… those live up to the legacy of what NBC has always stood for.

What especially got a big laugh in the crowd was her comment on Ben Silverman:

I think this has always been Ben’s plan. It’s always been Ben’s plan to transition back to his entrepreneurial roots. He brought Paul and I in, and I think that was part of putting everything in place.

About Leno, Bromstad defines the show’s future success as depending on “a lot of things”. Are they going to declare victory whatever the ratings?
Clearly, the exec didn’t want to give straight-forward answers regarding Leno, Conan, or any of the shows. 
But supposedly, they’ll take into account the whole 52-week ratings for the show.
I’m assuming now that Leno is going to be on during the whole year 5 days a week.
This is utterly crazy.

Regarding the rest of the shows:
Friday Night Lights didn’t have the ratings “to justify [it’s presence] on the fall schedule,” so it’s premiering during the summer. But didn’t you just say that summer shows are not really “on brand”?

Explaining why Kings got canned, she said:

In a really crowded marketplace, people want to know what something is about.

She also described the show as too “difficult” and “high-brow”.
The show can’t be sold in 30-second spots so it gets canceled.
How can you sell Lost in 30 seconds?
Or…The Wire?

Be wary of Southland‘s new season. Apparently, some “creative adjustments” were made. Also, the show is on Friday nights so probably no third season.

Speaking of, Chuck will most likely also get a summer ending. NBC knows that the fans are now ready to follow the show wherever it is like good lil’ puppies… Or so Bromstad implies:

We have talked about ‘Is Chuck something that we allow to run over into summer and be part of our summer programming?’ […] It is something we can move around.

Nice touch there.
The show not being a replacement of Parenthood instead of Mercy really show the Peacock’s confidence.

Oh, and Heroes is supposedly “is doing exceptionally well creatively” without Bryan Fuller.

And last but not least, don’t except a second season for the future-event show Day One that premiers around the Olympic Winter Games next year.
Says Angela Bromstad:

We’ve always looked at ‘Day One’ as a big event for us and not necessarily a show that would be a returning for a second season. The serialized nature [of genre shows become] tougher to sustain on broadcast.

Did I forget to point out that Jesse Alexander says Day One is such a serialized show that he compares it more to Fringe, X-Files and even China Beach than, say, Lost or Alias?
And, indeed, the pilot really tends to imply that the show will be more “crisis of the week” à la Jericho (first half of Season One) than huge mythological cliffhangers.

NBC without Silverman seems all too familiar…

Better Off Ted: Better Living Through Comedy

Hello, Blog Nation. My name is Lordofnoyze, alias Lordy, and I have the honor to be the first guest blogger of TV Calling, so I hope to be up to the task. Either that, or I’m off answering calls in a Madagascar-based hotline company. And nobody wants that, especially not the fellow employees there.

I’m a French (former?) student about to embark in a career of journalism. But as a side hobby, ever since my teenage years, I’ve developed an unhealthy addiction for all things TV and TV shows. Soon, the voices in my…..er, I’ve been compelled to write about the good, the bad and the ugly in the now-defunct website “Ligue des Téléspectateurs Extraordinaires”, where I was getting a kick out at reviewing shows like “Boston Public”, “X-Files” or “American Dreams”. But college life, and the aforementioned closure of the site, got in the way, and after a (mostly) failed attempt at starting my own personal blog, I went on hiatus. Until today.

Also, I love pop and hip-hop music, so if you see a few “clever” musical references in some of the blogs, it’s not by pure randomness. And I love inserting them, especially when Lex is not looking. So, without further ado, here’s my first, show-and-prove blog.

For my first guest blog, I thought it would be a good idea to talk about an underrated, and below-the-radar comedy of this year. It just happens to close its season on July 28, burning off the 5 last episodes in summer. A usual move for shows that are cancelled (hello, Pushing Daisies! Dirty Sexy Money! Eli Stone!) , but not when the show is being renewed. I’m talking about “Better Off Ted”, one of the many ABC’s midseason entries (remember In The Motherhood? Yeah, me neither.)

A show that premiered somewhere in March, with little fanfare, and was paired with “Scrubs” on Wednesdays, just before “Lost”. Of course, it attracted under 5 million viewers, and 7 episodes were aired during the “normal” season. The show was as good as dead, but Steve McPherson and his army of drones considered there was “something” there and decided to save the show until Midseason 2010, where it will be paired with the new, almost-JD-less “Scrubs: TNG”, a.k.a. “Scrubs: the Yung, Hip, Med School Years”.

So what was that “something”? Did McPherson lose his mind?

Well, as all network presidents, he’s already genetically insane. But he’s right to keep the show on the air. Here’s why:

Set in the headquarters of a fictional multinational company called Veridian Dynamics, “Better Off Ted” is barely hilarious. No, it’s not the second coming of “Arrested Development”, even if it features a top-notch, pitch-perfect performance of Portia De Rossi as the cutthroat boss, Veronica. But it slowly unveils a sense of absurdity and delicate lunacy that is welcomed.

The 7 first episodes are really solid, mainly thanks to a really good pace in editing and directing (CRUCIAL in comedy), and a very promising cast. The lead, Jay Harrington, is hardly recognizable, but he’s been seen in the promising thriller “The Inside” opposite Rachel Nichols, and with Tim Minear as his boss. That doesn’t tell us much about his comedy chops. But he was really good as the unlucky reporter in “Back To You”, the FOX comedy that never really delivered on its great potential. As things stand, his character, Ted, is a handsome everyman that has to handle daily crises alongside Veronica. He also has to deal with the sexual tension with Linda (comedy journeywoman Andrea Anders), and the everlasting disputes and ramblings of Phil and Lem, the scene-stealing tandem of the show.

Of course, it already seems like the comedy version of “Fringe”, with mad science aplenty. But the show works primarily because of the interaction and cracks between his characters, and the evil and outright absurdity that is Veridian Dynamics is kept in the second plan. Unless you wanna count the hilarious commercials, that illustrate the “theme” of each episode.

Plenty of credit goes to Victor Fresco, creator of “Andy Richter Controls the Universe”, another underrated gem that recently was released in DVD in the USA. But it feels like the show has yet to really deliver and free itself of the conventions, since it already has a universe of its own. For example, the lab rats that are partners of Phil and Lem, or Ted’s daughter, were barely used during the season, but are strong nevertheless.

So, if you want to check those out, the final episodes are being aired on ABC over the next few weeks. Definitely more worthy of your time than, say, the umpteenth season of “Entourage”.

Looking forward

A few new interesting tidbits, including some from Sci Fi Wire who had a bunch of major Q&A these last few days.

Terminator‘s James Middleton first discussed what the future might have hold for the Sarah Connor Chronicles, explaining what would have been if the show hadn’t been canceled:

One theory about the ending is that by leaping to the future, John Connor never grew up to become the leader of the human resistance. That would free him of the burden of saving humanity.

“I think that that’s the right interpretation, because in the actual footage of the show, we see that Derek doesn’t recognize him,” Middleton said. “So, by jumping into this future, he has erased his existence in a certain way, and we see that. We see that nobody recognizes him.”

Middleton added that leaping to the future changes John Connor’s fate. “We would have to have explored that if we did get a third season,” he said. “If we had gotten a third season, I should say, we definitely would have explored what it all meant, but I think there’s a great moment where we see Allison [Summer Glau], and John’s look to her is very meaningful. I think that also would have been a great thing in terms of dramatic potential. Like I said, the show has ended, and it would all be speculation, and I really don’t want to raise anybody’s expectations.”

Another very interesting Q&A they had is one with Marc Guggenheim, executive producer on Flash Forward.
Here’s an extract:

Viewers will undoubtedly be happy to hear that you’ll be answering questions in the first season, because one thing viewers have grown to hate—partly as a result of Lost—is the feeling that the writers are vamping to keep it going, with an indeterminate end in the future.

Guggenheim: Well, I am very sensitive to that, actually, as a fan and as a writer. I actually understand that feeling, and I’m very, very sensitive about it. And towards that end, I can actually tell you a couple of things to make those fans who are concerned feel better. The first is, we don’t have a choice. We can’t vamp. We say in the pilot that the characters are going to see … a vision of their future [on] April 29, 2010. Which means we’ve got six months. There ain’t no vamping to be done.
We plant a very specific flag, so even if we wanted to vamp, we no longer have the option. That’s point number one. Point number two is, there are things laid into the pilot that don’t pay off until the very end of the series. So David and Brannon, in writing and directing the pilot, have also planted flags right there in the pilot that … you’ll be able to look back on and go, “Oh, they really did know what they were doing.” So my point always is, we are not only telling you that we have a plan, there are several reasons why you don’t have to just take our word for it.

Last but not least, Sci Fi Wire had another interesting Q&A with Pushing Daisies/Heroes‘ Bryan Fuller about the show and…Star Trek:

“I’m hoping that by the time they’re ready to do a television series that I am available and can participate, because, I mean, even if it’s J.J. Abrams’ team, I would love to join that team for a new Star Trek series. I think it would be a ball,” Fuller said.

Looks like he agrees with me that it’s Bad Robot’s way or the highway for everything Star Trek-related from now on.

And with all that, following ABC’s lead, FOX announced today its Fall premiere dates:

Wednesday, Sept. 16
9:00-10:00 PM ET/PT “GLEE” (Series Premiere)

Thursday, Sept. 17
8:00-9:00 PM ET/PT “BONES” (Season Premiere)
9:00-10:00 PM ET/PT “FRINGE” (Season Premiere)

Friday, Sept. 18
8:00-8:30 PM ET/PT “BROTHERS” (Series Premiere)
8:30-9:00 PM ET/PT “‘TIL DEATH” (Season Premiere)
9:00-10:00 PM ET/PT “DOLLHOUSE” (Season Premiere)

Monday, Sept. 21
8:00-10:00 PM ET/PT “HOUSE” (2-Hour Season Premiere)

Sunday, Sept. 27
8:00-8:30 PM ET/PT “THE SIMPSONS” (Season Premiere)
8:30-9:00 PM ET/PT “THE CLEVELAND SHOW” (Series Premiere)
9:00-9:30 PM ET/PT “FAMILY GUY” (Season Premiere)
9:30-10:00 PM ET/PT “AMERICAN DAD” (Season Premiere)

Monday, Sept. 28
8:00-9:00 PM ET/PT “HOUSE” (All-New Episode)
9:00-10:00 PM ET/PT “LIE TO ME” (Season Premiere)

I can’t wait for this new season to begin.