Showing posts with label The CW. Show all posts
Showing posts with label The CW. Show all posts

Saturday, May 10, 2014

Prelude to Upfronts: Cancellations and Pick-ups

Before I started this blog, the whole business of “Network Upfronts” was as foreign as the Greek language to me. All I knew is that sometime in May the US networks would announce their new shows and cancel the unsuccessful ones from the previous year, and then the Canadian networks would pick them over to find the “best of the lot” for us, and conveniently forget that half of the shows that they considered the “best of the lot” were either cancelled by the end of the season.

Upfronts used to be the day when a Network President and his (and they were all men for a long time) would stand in front of the assembled masses of advertisers and the ink-stained wretches from the entertainment media and announce which shows have been cancelled and which have been picked up, and what next season’s TV schedule would look like. The advertisers would then – over the next few weeks – decide what shows they’d make their media buys on, and how much they’d be willing to pay. Meanwhile the entertainment media would, wittingly or not, promote the new shows with information even thought they’d basically only seen the few clips provided by the network at the Upfronts. The key point was that the networks announced all of their changes at their Upfront day.

In recent years things have changed. Networks announce their renewals and their cancellations before the Upfronts – days and sometimes even weeks before – and they’ve taken to announcing shows they’ve picked up in advance as well. In the past I’ve held off from reporting or commenting on these announcements, preferring to wait until a network’s upfront day. I’m not sure that that approach is practical anymore. So what I’ve decided to do is to list the cancellations and the pickups before the upfronts, and comment on the percentage of available time that the proposed new shows will be taking up on each network.

ABC
Cancellations: The Assets, Back In The Game, Killer Women, Lucky 7, Mind Games, Once Upon A Time In Wonderland, Mixology, Trophy Wife, Betrayal, The Neighbors, Super Fun Night, Suburgatory,
Status Unknown: The Taste, Black Box
Picked Up: Dramas  American Crime, The Astronauts Wives Club,The Club, Forever, How To Get Away With Murder, Marvel’s Agent Carter, Secrets & Lies, The Whispers
Comedies – Black-ish, Galavant, Manhattan Love Story, Selfie
Update: Two comedies that I missed: Cristela and Fresh Off The Boat  which were announced at the same time as the renewal of Last Man Standing.

Comments: Eight hours of Dramas, four half-hours of Comedies. I was saddened but not surprised by the cancellation of Trophy Wife. The kids, and in particular Burt, were great and it was fun to see Bradley Whitford playing straight man both to the kids and the women in his life. If this show had a better time slot – like between The Middle and Modern Family instead of after another newcomer, The Goldbergs – I think it could have worked.

CBS

Cancellations: How I Met Your Mother, We Are Men, Bad Teacher, The Crazy Ones, Friends With Better Lives, Hostages, Intelligence
Picked Up: Dramas – Battle Creek, CSI: Cyber, Madam Secretary, NCIS: New Orleans, Scorpion, Stalker
Comedies – The McCarthys, The Odd Couple

Comments: Six hours of Dramas, two half-hours of Comedies. Only two survivors of the new shows, Mom and The Millers. I think that the limited series nature of Hostages was a bad choice to go against Castle, and Intelligence was just pretty bad. Disappointed that the cut The Crazy Ones, a series with a stand-out cast that I really enjoyed. Unfortunately stand-out cast equals expensive cast, which was probably as much a cause of the show’s demise as the ratings.

FOX

Cancellations: American Dad (moving to TBS), The Cleveland Show, Raising Hope, The X-Factor, Almost Human, Dads, Enlisted, Surviving Jack, Rake
Picked Up: Dramas – Backstrom, Empire, Gotham, Hieroglyph, Red Band Society
Comedies – Last Man On Earth, Mulaney, Weird Loners

Comments: Five hours of Dramas, three half-hours of Comedies. All of the professional TV critics are mourning the loss of Enlisted but I never saw the show (because the premise sounded dumb to me) so I can’t comment. I really liked Almost Human, the “cop and robot” buddy show set in a not totally dystopian future. It wasn’t great but I liked it better than THe Following. So sue me.

NBC

Cancellations: Ironside, Sean Saves The World, Welcome To The Family, The Michael J. Fox Show, Believe, Community, Crisis, Dracula, Revolution, Growing Up Fisher
Status Unknown: Parenthood
Picked Up: Dramas – Allegiance, Constantine, Emerald City, The Mysteries of Laura, Odyssey, Shades Of Blue, State of Affairs
Comedies – A to Z, Bad Judge, Marry Me, Mission Control, Mr. Robinson, One Big Happy, Unbreakable Kimmy Schmidt

Comments: Seven hours of Dramas, seven half-hours of Comedy. It is a mark of how far NBC has fallen that I can’t think of one show that they cancelled that I am really going to miss. I know the professional critics and a devoted fan base loved Community with a love that burned like the Sun, but I never watched it, being totally turned off by the presence of Chevy Chase. BTW, there apparently hasn't been a decision on Parenthood because of negotiations over the number of episodes stars of the show will appear in. The network weasels want the leads to do nine episodes of the total of thirteen planned, and they're balking at that idea
Update: While the renewal of Parenthood has not been announced officially, the cast have apparently agreed to a deal which would see them each participate in a reduced number of episodes within a 13 episode season, thus allowing the series to have a resolution.

The CW
Cancellations: Nikita, The Carrie Diaries, The Tomorrow People, Star Crossed
Picked Up: The Flash, iZombie, Jane The Virgin, The Messengers

Comments: Four hours of new series, all Dramas. Yawn. The only show I watch on The CW is Arrow. I suppose I’m sort of surprised that a show about 16th century royalty and religious wars (Reign) got renewed, and I suppose that The 100 is the sort of show I generally like but really, I’ve got nothing.

Saturday, May 18, 2013

The CW’s 2013-14 Schedule

the_cwThe CW has its own standards of success that aren’t necessarily the standards of other networks. It explains why shows like Gossip Girl and 90210 lasted as long as they did. What is of interest is that the legitimate successes that The CW has had – shows like Supernatural and Smallville – have had a broader base that transcended the 15-34 female demographic that the network has traditionally aimed for. The network’s most recent success, Arrow (which even Marc Berman has described as a “winner”) has a significant appeal to people who pee standing up. This season’s line-up from The CW looks to continue this trend with it’s new line-up.

Cancelled
90210, Emily Owens M.D., Gossip Girl, Cult

Renewed
Arrow, The Vampire Diaries, America’s Next Top Model

Moved
Hart of Dixie, Beauty And The Beast, Supernatural, The Carrie Diaries 

New Shows
The Originals, The Tomorrow People, Reign

Held Until Mid-Season
Nikita, Star Crossed, The 100, Famous In 12


Complete Schedule (All times Eastern, New Shows in Capitals)


Monday
8:00-9:00 p.m.: Hart of Dixie (New Day)
9:00-10:00 p.m.: Beauty And The Beast (New Day) 

Tuesday
8:00-9:00 p.m.: THE ORIGINALS
9:00-10:00 p.m.: Supernatural (New Day)  

Wednesday
8:00-9:00 p.m.: Arrow
9:00-10:00 p.m.: THE TOMORROW PEOPLE 

Thursday
8:00-9:00 p.m.: The Vampire Diaries
9:00-10:00 p.m.: REIGN
 
Friday
8:00-9:00 p.m.: The Carrie Diaries (New Day)
9:00-10:00 p.m.: America’s Next Top Model

The Originals is a spin-off of The Vampire Diaries. Klaus (Joseph Morgan) is a member of the Original Family of vampires and is the original vampire-werewolf hybrid. He returns to the supernatural melting pot of New Orleans when he hears rumours of a plot against him. In the city he encounters his former protégé Marcel (Charles Michael Davis) who wields control over human and supernatural inhabitants of the city. Determined not to answer to Marcel, Klaus together with his brother Elijah (Daniel Gillies) are determined to reclaim power in the city that their family helped create. Tensions within the supernatural factions of the city are nearing a breaking point, and Klaus and Elijah make an uneasy alliance with witches lead by the powerful Sophie (Daniella Pineda).

According to some The Tomorrow People are mankind’s next evolutionary step: people with paranormal powers. Stephen Jameson (Robbie Amell) was an ordinary teen until a year ago. Then he started developing strange abilities like hearing voices and teleporting in his sleep. Listening to one of the voices, he encounters John (Luke Mitchell), Cara (Peyton List) and Russell (Aaron Yoo), the Tomorrow People. Opposing them is Ultra, a paramilitary group of scientists led by Dt. Jedikah Price (Mark Pellegrino) who see the Tomorrow People as a threat to humanity. Determined not to turn his back on humanity or abandon the world of the Tomorrow People, Stephen is determined to find his own way.

Reign is the (very) fictionalized tale of the teenaged Mary Queen of Scots (Adelaide Kane) and her engagement to Prince Francis of France (Toby Regbo). Arriving in France with four ladies-in-waiting Mary (who had been Queen of Scotland since she was six days old) Mary wants to finalize the strategic alliance between France and Scotland with the arranged marriage between her and Francis (which had been arranged when she was five and he was four). Religion, court intrigue and secret agendas threaten the agreements. Francis is unsure about the Scottish Alliance and has a history with a lady in the French court, and there is Francis’s illegitimate half-brother Bash (Torrance Coombs) who has caught Mary’s eye. And of course there’s Francis’s mother Catherine de Medici (Megan Follows) who has her own agenda.

When an alien spaceship crash landed a fierce battle erupted. In the course of the fighting a six year old Atrian child named Roman hid in a shed where a six year old human girl named Emery protected him and became his friend. That’s the beginning of Star-Crossed. Despite Emery’s efforts Roman is captured and sent to a heavily guarded camp known as The Sector where the Atrians are imprisoned. Now, ten years after the Atrians arrived on Earth a group of Atrian teenagers will be attending a suburban high school, including the now grown Roman (Matt Lanter). One of the human students at the school is a teenaged Emery (Aimee Teegarden) who thought Roman had been killed by the authorities. Their relationship quickly restarts but can it work in a world where both sides have small minded attitudes?

The 100 is a science fiction series with a youth twist. Following nuclear Armageddon on earth the only survivors of humanity are the 400 people on twelve international space stations in orbit at the time. Bringing the stations together they form The Ark. Now 97 years after the original disaster The Ark is ruled with draconian methods including capital punishment and strict population control. One hundred juvenile prisoners are ordered exiled to Earth’s surface to determine whether or not the planet is now habitable. The exiles include Clarke (Eliza Taylor) the daughter of Abby (Paige Turco), The Ark’s Chief Medical Officer, Wells (Eli Goree) who is the son of The Ark’s Chancellor Jaha (Isaiah Washington), daredevil Finn (Thomas McDonnell), and the illegal siblings Bellamy (Bob Morley) and Octavia (Marie Avgeropoulos). The Earth they find is at once magical and deadly, and they must overcome their differences to forge a new path; the fate of the human race depends on them succeeding.

The only real way for me to describe Famous In 12 is to quote from the CW’s press release. “There is a family in the U.S. that has what it takes to become famous - the question is: Can they pull it off in 12 weeks? That's the challenge in the new unscripted series Famous In 12 , a unique social experiment that tracks the lives of one determined family as they move to the entertainment capital of the world - Los Angeles - and seek fame in a 12-week time frame. Members of the family will all have unique and varied talents, and they will each get a series of challenges to create a public profile fit for a Kardashian. The family will be guided by the TMZ machine, which will create a series of opportunities for them. TMZ and Harvey Levin will help, but it is up to the family to pull it off. When they succeed at their challenges, they will appear on the TMZ TV show and TMZ.com, which will raise their profile. Family members will exploit all forms of social media to wage a campaign of fame. In addition to the challenges, the family will circulate day to day... at the gym, restaurants, bars, parties and other places where celebs hang and opportunities call.”

Comments
Say what you want about The CW, they are going outside of what had been their comfort zone. The network was famous for catering to the young female market is making a sharpish turn towards Genre Programming, albeit with a youthful orientation. The Originals is an extension of a successful brand for The CW, being a spin-off of the popular Vampire Diaries series. This would seem to be a natural success for the network…at least by CW standards. Then again Secret Circle had at least tenuous ties to Vampire Diaries and it was cancelled after one season.

The Tomorrow People is an attempt at a second “comic book” show alongside Arrow, although it is vaguely closer to Smallville in that it deals with people with super powers. Actually the closest comparison – and this has the potential to cause some troubles for the producers and the network – is with The X-Men in which you had a group of teens with mutant abilities called by some “homo superior.” Beware if a leader in a wheelchair comes to the fore. Star-Crossed on the other hand has a very obvious progenitor in the works of a writer whose work is long ago in public domain. The show is so obviously using Shakespeare’s Romeo and Juliet as a starting point that even The CW’s own press release is mentioning it. Then too it uses motifs reminiscent of the the Civil Rights movement of the 1950s and the Little Rock school integration crisis.

The two shows that interest me the most are The 100 and Reign for entirely different reasons. The 100 is an interesting take on a post-apocalyptic society and the reclaiming of a depopulated Earth. Something similar is being done with the new Will and Jaden Smith movie After Earth. This might have potential or it might sink to the depths of a Terra Nova. Much depends on the approach that is taken by the writers and producers. As for Reign, I have to ask why anyone thought that this was a good idea? I mean admittedly it has the elements of a teen romance novel, but I’m betting that the producers are going to gloss over the facts, namely that Mary was married at 16 and widowed at 18, and that Francis was 14 when they married and was sickly, abnormally short, and stuttered (and was probably incapable of fathering children). One needs dashing figures for this sort of historical romance, while the censors would probably turn a dim eye to a story about a 16 year-old girl bedding a 14 year-old boy. By all rights, I think that The 100 should work (at least by CW standards), and Reign should be an abject failure by anybody’s standards.

Saturday, May 19, 2012

The CW’s 2012-13 Season

the_cwOf the broadcast networks doing original English Language programming the one making the most changes is The CW. With the planned end of Gossip Girl in January the “weblet” will have a new show on four out of the five nights that they program. Five of the network’s six returning shows will have a new day or time – only The Vampire Diaries won’t be relocated. For most networks this would be a massive disruption; for The CW it is pretty close to business as usual.

Cancelled: H8R, Ringer, The Secret Circle, One Tree Hill, Remodeled, The L.A. Complex

Moved: 90210 , Gossip Girl, Hart Of Dixie, Supernatural, America’s Next Top Model, Nikita

Renewed: The Vampire Diaries

New: Emily Owens M.D., Arrow, Beauty And The Beast

Held Until Mid-Season: The Carrie Diaries, Cult

Complete Schedule (all times are Eastern; new shows in capitals)

Monday
8:00-9:00 p.m.: 90210 (New Day)
9:00-10:00 p.m.: Gossip Girl (New Time; series will end in January and be replaced by THE CARRIE DIARIES)

Tuesday
8:00-9:00 p.m.: Hart Of Dixie (New Day)
9:00-10:00 p.m.: EMILY OWENS M.D.

Wednesday
8:00-9:00 p.m.: ARROW
9:00-10:00 p.m.: Supernatural (New Day)

Thursday
8:00-9:00 p.m.: Vampire Diaries
9:00-10:00 p.m.: BEAUTY AND THE BEAST

Friday
8:00-9:00 p.m.: America’s Next Top Model (New Day)
9:00-10:00 p.m.: Nikita (New Time)

Mamie Gummer plays the title character in Emily Owens M.D. Emily Owens thinks that she’s left behind the cliquishness of high schools. She’s finished medical school and is now a first year intern at Denver Memorial Hospital, where she’ll have the chance to work with world-class cardiologist Dr. Gina Beckett (Necar Zadegan). It’s also the place where her high school crush, Will Rider (Justin Hartley) is an intern. But as fellow intern Tyra Granger (Kelly McCreary) warns her, a hospital is like high school all over again: the jocks are in orthopedics, the mean girls in plastics, and the rebels in the ER. Emily has her own problems; her high school nemesis the gorgeous Cassandra Koppelson (Aja Naomi King) is also interning at Denver Memorial and their rivals again, not just as surgical interns but for Will’s affections. Emily now finds herself having to deal not just with life and death medical decisions but also the social politics of the hospital which are so like high school, but with the help of Tyra and “nerdy-but-cute resident” Micah (Michael Rady) she might be able to grow into a great doctor.

Arrow is based on the DC Comics character Green Arrow, who was also a major supporting character on Smallville. But this version of the character is not the same one as on Smallville, with different supporting characters and background story. (If you actually follow the comic books this is not entirely out of keeping with the “New 52” reboot – or at least that’s what I keep telling myself.) Oliver Queen (Stephen Amell) was missing and presumed dead for five years after a violent shipwreck. Then he was found on a deserted island. His devoted mother Moira (Suzanna Thompson), beloved sister Thea (Willa Holland) and best friend Tommy (Colin Donnell) all seem to recognize that his five year ordeal has changed him. He’s determined to make amends for his actions as a boy; in particular he’s determined to reconnect with his former girlfriend Laurel Lance (Katie Cassidy). But the changes in Ollie’s life go beyond reconnecting with family and friends. By day he behaves like the “old” Oliver Queen, a carefree, careless philanderer accompanied by his loyal chauffeur and bodyguard John Diggle (David Ramsey). By night he creates the persona of “Arrow,” a vigilante determined to right the wrongs done by his family, fight the ills of society and restore his city to its faded glory. This brings Arrow into conflict with Detective Quentin Lance (Paul Blackthorne), Laurel’s father, who is determined to stop the vigilante operating in his city.

Beauty And The Beast is a remake of the late 1980s cult classic. Catherine Chandler (Kristin Kreuk) is a smart, no-nonsense homicide detective. with a past. Years ago she witnessed the murder of her mother by two gunmen who would have killed her if they weren’t stopped by someone or…something. In the years that followed she has become a strong, confident, capable police officer. Working a case with her equally capable partner Tess (Nina Lisandrello) she discovers a clue that leads her to Vincent Keller (Jay Ryan), a handsome doctor who was supposedly killed in Afghanistan in 2002. In the course of the investigation Catherine discovers that Vincent is still alive and is the one who saved her life all those years ago. Mysterious reasons have forced him to live outside traditional society. Vincent has been guarding a terrible secret for ten years; when enraged he becomes a terrifying beast, unable to control his superhuman strength and heightened senses. Catherine agrees to hide his secret in return for Vincent’s insights on her mother’s murder. Thus begins a complicated relationship between two people who are intensely drawn to each other but at the same time realize that their connection could be dangerous to both of them.

AnnaSophia Robb plays a young Carrie Bradshaw in The Carrie Diaries, a prequel to Sex And The City. The year is 1984 and it isn’t the best of times for 16 year-old Carrie. Her mother had just died, here younger sister Dorritt (Stephania Owen) is more rebellious than ever, and her father Tom (Matt Letscher) is overwhelmed by suddenly having to deal with two teenaged girls on his own. Her friends – sweet geeky Mouse (Ellen Wong), sarcastic, self-assured Maggie (Katie Findlay), and sensitive Walt (Brendon Dooling) – make her life bearable, and the arrival of transfer student Sebastian (Austin Butler) brings some excitement to her world, but it’s not enough. So when Tom offers her the opportunity to intern at a Manhattan law firm she jumps at the chance. The grit and glamour of the city excite her, and when she meets Larissa (Freema Agyeman), the style editor of Interview Magazine she’s inspired by the club culture and unique individuals who make up Larissa’s world. Carrie has encountered the great love of her life – Manhattan.

The disappearance of investigative journalist Jeff Sefton’s (Matt Davis) brother Nate is the starting point for mid-season series Cult. Nate had had a string of obsessions, the most recent of which was the assertion that the popular TV show “Cult” was out to hurt him. It was something Jeff could laugh off until Nate disappeared. His investigations lead him to Skye (Jessica Lucas) a research assistant at the show who has become suspicious of “dark happenings” surrounding the show. The fictional show “Cult” focuses on the cat-and-mouse game between charismatic cult leader Billy Grimm (Robert Knepper) and LAPD detective Kelley Collins (Alona Tal). It has developed an obsessed fan base, some of whom take their fixation to deadly extremes. As Jeff and Skye dig deeper into the show’s most obsessed fans they discover that the gruesome plot twists of the show are much more than fantasy for some very unfortunate people.

Comments
There’s something vaguely sad about The CW. This is a network that occasionally has some very good concepts – I love the idea behind Cult for example – but they’ve never seemed to get that one show that breaks though into mainstream consciousness and success that’s even a fraction of what one of the “Big Four” have achieved. Between moves and new shows they’ve managed to revamp their line-up for the season but while it’s not quite “rearranging deck chairs on the Titanic,” none of the changes will really make the network break through into some sort of mainstream success.

This year’s new offerings pander to The CW’s two big constituencies: Teen and Early 20s women and comic book geek/genre fans. Look at the network’s history and you’ll see what I’m talking about. For the female fans you have The Carrie Diaries about a 16 year-old falling in love with New York and laying the foundation of what Carrie Bradshaw will be by the time Sex And The City starts (but probably not smoking); Emily Owens M.D., the show that informs us that the “real world” (in this case a major hospital) is just like the social side of high school; and the remake of Beauty & The Beast. (Confession time: when the show originally aired with Linda Hamilton and Ron Perlman I really enjoyed it, mostly because of Linda Hamilton but not entirely. Over the years since the show left the air it has come to bother me that the male romantic lead, Vincent, was arguably a serial killer, even though most of the killings were at least semi-justified.) For the comic book geeks/genre fans, joining Supernatural and (arguably) Nikita are the DC Comics based series Arrow and the mid-season series Cult. It’s an odd and interesting mix, but there’s nothing that will gain the “weblet” mainstream attention.

The CW isn’t going to be the top network this year, and probably not any time soon. Their programming strategy is unlikely to produce a hit show, unless the definition of a hit is one set by the network itself. The CW has set its schedule in an aggressive manner, relocating shows in a manner that groups shows by some common thread and will presumably attract a common audience. It’s an idea that a larger more established network probably wouldn’t attempt, at least not so openly. I rather like what they’ve done with their schedule. The problem is that no matter how good the schedule is I doubt that any CW show this season will rise higher than fourth in the nightly ratings, no matter how good it is.

Monday, September 12, 2011

Show Debuts - September 12-18

The summer is finally over. For most of us Labour (Labor) Day marks the end of summer and the beginning of Fall – although based on the weather around here last week you couldn’t tell; we had the hottest days of the year last Wednesday, Thursday and Friday. For TV the beginning of the Fall season is supposed to be right after the Emmy Awards on Spetember 18th. However, some shows will be debuting from four of the five US networks. The only one not to debut new shows is FOX (although ABC’s debut is a bit of a cheat; 20/20).

So here is what’s coming this week (all times are Eastern):

Tuesday, September 13th
8-9 p.m.: Season Debut of 90210 on The CW
9-10 p.m.: Series Debut of Ringers on The CW
10-11 p.m.: Season Debut of Parenthood on NBC

Wednesday, September 14th
8-9:30 p.m.: Season Debut of Survivor on CBS (originally scheduled for one hour but extended to 90 minutes)
8-9 p.m.: Series Debut of H8R on The CW
9-10 p.m.: Season Debut of America’s Next Top Model on The CW
10-10:30 p.m.: Series Debut of Up All Night on NBC
10:30-11 p.m.: Series Debut of Free Agents on NBC

Thursday, September 15th
8-9 p.m.: Season Debut of The Vampire Diaries on The CW
9-10 p.m.: Series Debut of The Secret Circle on The CW

Friday, September 16th
10-11 p.m.: Season Debut of 20/20 on ABC

New series synopses:

Ringers is the much anticipated return of Sarah Michelle Gellar to network TV. She plays estranged twin sisters, Bridget and Siobhan. Bridget a recovering addict who is a key witness in a murder trial goes to visit her estranged twin sister Siobhan. Siobhan is married and wealthy, but her perfect life isn’t perfect, as Bridget discovers when she assumes her sister’s identity after Siobhan apparently dies at sea.

H8R is a new reality series from The CW hosted by Mario Lopez in which celebrities confront their biggest haters and try to make them realize that their animosity is misguided. featured celebrities include Snooki, Kim Kardashian and Jake Pavelka, while others booked for the series include Kat Von D, Eva Longoria, and Barry Bonds.

Up All Night from NBC stars Christina Applegate and Will Arnett in a comedy about a couple trying to cope with parenthood in the modern world. In this case that means a career woman mom with a vulnerable and needy boss played my Maya Rudolph, and a stay at home dad.

Free Agents is NBC’s remake of a British comedy. This version stars Hank Azaria as Alex, a newly divorced man and Kathryn Hahn as a woman whose fiance recently died. They have a drunken one night stand and the series deals with the awkwardness between the two of them which is magnified since they work together at an advertising agency run by Stephen (played by Anthony Stewart Head, the only hold-over from the original British cast).

The Secret Circle follows The Vampire Diaries on The CW, which is only fitting since both are based on the novels of L.J. Smith. The story focuses on Cassie Blake, who moves to live with her grandmother in Chance Harbor Washington. There she discovers that not only is she the latest in a long line of witches, but she’s the last member needed to complete a coven of teenaged witches known as “The Secret Circle.”

Friday, May 20, 2011

The CW’s 2011-12 Season

cw_logoThe CW, the network that some has described as “the cable of broadcast television,” has announced its 2011-12 line-up. Four new hour long series will be debuting in the Fall with two new series and one returning series debuting at mid-season. In addition three series will be changing either their time or their night.

Cancelled: Hellcats, Shedding For The Wedding, Life Unexpected, Smallville (planned ending).

Moved: Gossip Girl, 90210, Nikita.

Renewed: America’s Next Top Model, Vampire Diaries, Supernatural

New Series: Dramas – Hart of Dixie, Ringer, Secret Circle
Reality – H8R

The CW also has two reality series – Remodeled and The Frame – for mid-season. As well returning series One Tree Hill will be returning at mid-season for thirteen episodes to bring the show to its conclusion.

Complete Schedule (All times Eastern, new shows in Capitals)

Monday
8:00-9:00 p.m.  Gossip Girl (New Time)
9:00-10:00 p.m.  HART OF DIXIE

Tuesday
8:00-9:00 p.m.  90210 (New Day)
9:00-10:00 p.m.  RINGERS

Wednesday
8:00-9:00 p.m.  H8R
9:00-10:00 p.m.  America’s Next Top Model

Thursday
8:00-9:00 p.m.  Vampire Diaries
9:00-10:00 p.m.  SECRET CIRCLE

Friday
8:00-9:00 p.m.  Supernatural
9:00-10:00 p.m.  Nikita (New Day)

In Hart of Dixie, Rachel Bilson plays Dr. Zoe Hart, a new doctor who expects to follow in her father’s footsteps as a cardio-thoracic surgeon. That is she does until her dreams fall apart and she receives an offer from a stranger, Dr. Harley Wilkes to work in his rural Alabama practice. When she gets to the Gulf Coast town of Bluebell Alabama to join the practice she discovers that Dr. Wilkes has died and left the practice to her. The problem is that at least some of the locals aren’t displaying the legendary Southern hospitality, notably Dr. Brick Brick Breeland the other doctor in town, and his daughter Lemon (Jaime King) on the other hand she does have a few allies: the towns may Lavon Hayes (Cress Williams), her bad-boy neighbour Wade Kinsella (Wilson Bethel), and lawyer George Tucker (Scott Porter) who just happens to be Lemon’s fiancee. While Rachel’s initial instinct is to go back to New York, a visit from her snobby mother leads Rachel to change her mind and discover both small town life and a side of herself she never knew existed.

H8TR is a new reality show hsted by Mario Lopez that brings celebrities face to face with the ordinary peple who hate them, in an attempt to win them over.

Ringer marks the return of Sarah Michelle Gellar to series television in a dual role. Gellar plays Bridget Cafferty and her identical twin sister Siobhan Marx. After recovering addict Bridget witnesses a professional hit. Despite the assurances of her FBI protection agent Victor Machado (Nestor Carbonell) she decides to flee New York and go to her sister. Bridget and her sister Siobhan have been estranged for some time to the point where no one in Siobhan’s wealthy and pampered life knows of Bridgett’s existence, including her husband Andrew Marx (Ioan Gruffedd), The sisters seem to be on the road to mending their relationship when Siobhan suddenly disappears. Bridgett decides to take on her identity. As Siobhan she discovers shocking secrets about her sister'’s life and marriage and about Siobhan’s best friend Gemma (Tara Summers) and her husband Henry (Kristopher Polaha).

Secret Circle is the new series from the creators of The Vampire Diaries. After Cassie Blake (Britt Robertson) loses her mother in a seemingly accidental fire the teenage girl goes to live with her Grandmother Jane (Ashley Crow) in Chance Harbor Washington. As Cassie gets to know her new classmates –  sweet-natured Diana (Shelley Hennig), her boyfriend Adam (Thomas Dekker), brooding loner Nick (Louis Hunter), mean girl Faye (Phoebe Tonkin) and her sidekick Melissa (Jessica Parker Kennedy) – strange things start to happen. Cassie doesn’t believe them when they inform her that they are descendants of powerful witches, and that they have been waiting for her to join them to complete a new generation of the Secret Circle. However when she finds a a message from her mother in an old book of spells in her mother’s childhood bedroom she comes to understand her true and dangerous destiny. None of the teens are aware of the darker powers at play in the town that may be linked to the adults in town, including Diana’s father (Gale Harold) and Faye’s mother (Natasha Henstridge).

In mid-season reality series Re-Modeled modelling industry veteran Paul Fisher attempts to bring together small modelling agencies from around the country into a single organization known s The Network. The objective of the Network is to keep the small town agencies rom getting screwed and to empower models to take control of their careers and lead healthier lives.

The Frame is a concept that I’m not sure I can do justice to because I don’t fully understand it myself so I’ll leave it to the network press release about the show: “Ten teams of two, chosen for their dynamic personalities and their existing deep-rooted relationships, are selected to compete in this wild social experiment. These teams will each live in one Frame - a stripped down version of their home living space - for up to 8 weeks, with the entire world watching their inter-personal soap operas play out atop a highly formatted game. Couples cannot physically see one another, but each "frame" is rigged with plasma screens & communication devices that allow for visual and verbal interaction. The teams will face outrageous challenges, punishments, head-to-head competitions, and eliminations, all while isolated from the outside world. With 24/7 web cams streaming content live, and a bi-weekly television show, audiences will vote for - and have control over - many elements of the show, from rewards to punishments to eliminations. The last couple standing will be America's favorite pair, and walk away with a cash prize.”

Comments

The CW is always a difficult network to evaluate because what defines success and failure for them is usually quite different than it is for other networks. Few CW shows, even the ones that have been on since the network began, have ever earned the sort of ratings that would see the shows from being cancelled after the second episode. The person who called The CW “the cable of broadcast television” isn’t far wrong if you define “cable” in this context as catering to a niche audience. The CW has largely defined its niche as a teen and young adult female audience, hence shows like Gossip Girl, 90210, One Tree Hill, America’s Next Top Model, and Vampire Diaries. Shows that don’t entirely fit into this model do exist – I’m thinking specifically of Supernatural and to a lesser extent Nikita – but they tend to be aberrations. Clearly, of course, I am not a member of the core group that the network is trying to reach, which makes evaluating their shows difficult for me.

Nevertheless there are a couple of things that can talk about. Clearly the big story for the network is Ringer. The show was originally intended for CBS (which owns 50% of The CW Network and is the “C” in CW), but it seems that while programming executives at the network liked the show, they didn’t seem to think it would work on CBS. They did however think that it was an ideal fit for The CW. It is also probably the only CW show that I am likely to make a serious effort to watch. I would certainly have watched it if it had in fact made it into the CBS lineup, or any of the big broadcast networks.

I’ve seen at least one commenter in a forum state that the series summation for Hart Of Dixie made it sound a lot like Everwood and I’m not entirely sure that they’re wrong about that. Admittedly the principal of the show fits the CW’s preferred demographic more than Everwood did – a young single woman doctor rather than a middle-aged widowed male doctor – but so many of the details are the reminiscent of the older show. As to Secret Circle, this show is undoubtedly going to get a good run. It’s a good fit following The Vampire Diaries but quite frankly it is a show that is so far outside my wheelhouse that there’s not much I can say about it.

Turning briefly to the network’s reality shows, I can’t wrap my admittedly aged (by CW standards, and even by network demographics standards) brain cells around why any network would want to touch H8R with a ten foot pole, and Re-Modelled just sounds boring. The one reality series that the network has that sounds even borderline interesting is The Frame. I don’t entirely get it, but I get the impression that it’s a lot like Big Brother the way the British do it… so of course my impression will be entirely wrong. Given the “success” of The CW’s attempts at reality shows (including the apparent decline in ratings for America’s Nest Top Model) maybe The CW should abandon that type of programming the way they dropped sitcoms.

I think that, while I cannot claim to totally understand some of the decisions the executives at The CW have made, this is a relatively good schedule for them. It isn’t going to set the world on fire, but how often has anything that has come from The CW really set the world on fire. When I’m able to say that there is one show that I am likely to watch more than one episode of on the network it’s a good thing. I haven’t honestly been able to say that about any show that has debuted on The CW – most of the shows that I have watched on that network were brought over from the old WB. It’s not a standard that I’d hold other networks to, but for me, having that one show that I want to see more than once means that the network’s new schedule is a success.

Friday, May 21, 2010

The CW’s 2010-11 Schedule

The CW has made some minimal changes in the shows they are airing but like CBS has made significant shifts in the days that shows air.

Cancelled:
The Beautiful Life, Blonde Charity Mafia (announced, never aired), Fly Girls, High Society, Hitched Or Ditched, Melrose Place.

Retained:
America's Next Top Model, Gossip Girl, Vampire Diaries

Moved:
90210, Life Unexpected, One Tree Hill

New:
Hellcats, Nikita

For midseason the network is holding reality series Shedding For The Wedding.

Complete Schedule: (New shows in Capitals)
Monday
8:00-9:00 p.m.: 90210 (new day)
9:00-10:00 p.m.: Gossip Girl

Tuesday
8:00-9:00 p.m.: One Tree Hill (new day)
9:00-10:00 p.m.: Life Unexpected (new day)

Wednesday
8:00-9:00 p.m.: America's Next Top Model
9:00-10:00 p.m.: HELLCATS


Thursday
8:00-9:00 p.m.: Vampire Diaries
9:00-10:00 p.m.: NIKITA

Friday
8:00-9:00 p.m.: Smallville
9:00-10:00 p.m.: Supernatural (new day)

Smallville star Tom Welling is one of the executive producers of Hellcats, the CW's new comedy-drama about the cutthroat world of college cheerleading. Aly Michalka plays Marti Perkins, a pre-law student at Lancer University. After her mother (played by Gail O'Grady) forgets to send in her scholarship application the highly intelligent Marti is forced to return to cheerleading as the only way she can stay in school. The decision to join the cheerleading team brings Marti a new roommate in team captain Savannah Moore (Ashley Tisdale) who initially clashes with Marti but warms to her when it becomes apparent that they need her to win the championship. Not everyone does. Also starring are Robbie Jones, Matt Barr, Jeremy Wong, Heather Hemmens, Elena Esovolova, Sharon Leel and Ben Browder.

Nikita, based on the French movie Nikita and several subsequent versions including the syndicated TV series starring Peta Wilson. Maggie Q plays the woman known as Nikita. As a teenager she was rescued from Death Row by a mysterious government agency known as The Division and given a new chance to serve her country. What she didn't know is that she would be serving her country as a spy and assassin. Betrayed by the only people she thought she could trust she has remained in hiding for three years. Now she's back and determined to expose The Division and seek retribution on those who betrayed her. Meanwhile The Division continues to seek out an train young people to become assassins. On of them, a young woman named Alex (Lyndsy Fonseca) is beginning to understand why the legendary Nikita chose to run. Also stars Shane West, Aaron Stanford, Ashton Holmes, Tiffany Hines, Melinda Clark and Xander Berkeley.

Shedding For The Wedding combines two of the most stressful things in life – planning a wedding and losing weight. Over a three month period ten overweight engaged couples will compete for the various elements of their dream wedding. Each week the couples will face a major physical challenge that will allow them to win an element such as invitations. They also have to eat right and exercise, helped by leading nutritionists and trainers. At the end of each episode the couples will step on the scales and the couple which has lost the least weight over the week will be eliminated. The last couple standing will win their dream wedding – on TV.

Comments:

The CW appears to have taken a leaf out of the book of their corporate "half-parent" CBS with a schedule that revitalises itself by moving shows around rather than inserting a raft of new shows. Of course in The CW's case it's probably less a case of having an embarrassment of riches in terms of programming than it is a question of cost. There seems to be a pattern in the way that the network has placed its shows: Monday is schools, Tuesday is family drama, Wednesday is "beautiful people" Thursday adventure, and Friday is boys night. I think both of the new shows have an excellent chance of succeeding and not just because the network can't afford to replace them. Hellcats has elements of the movie Bring It On combined with Glee and if played right has the potential to be a fun romp. Nikita on the other hand should work with both female and male audiences as an adventure tale which just happens to feature an attractive but empowered woman. Certainly it would seem to be as good a fit out of Vampire Diaries as Supernatural, and Supernatural work better with Smallville (officially in its final season) than a rerun of America's Next Top Model ever did. The big misfire in this whole schedule is undoubtedly Shedding For The Wedding. On any other network – including many of the cable networks – I wouldn't expect this to get picked up except as a summer series and if it did I would be amazed if it ran the full three months that The CW has announced that it will run. I honestly can't imagine people watching this... but then again I couldn't have imagined that people would willingly watch Biggest Loser either.

Coming soon – a night by night analysis of the new schedule.

Monday, May 25, 2009

The CW’s 2009 Upfronts

Here's what The CW is planning for the coming season.

Cancelled: 4 Real, Easy Money, In Harms Way, Valentine, Privileged, 13: Fear Is Real, Stylista, The Game, Everybody Hates Chris, Reaper.

Renewed: 90210, America's Next Top Model, Gossip Girl, One Tree Hill, Supernatural.

Moved: Smallville

New Shows: Vampire Diaries, Melrose Place, Beautiful Life

Not Yet Scheduled: Parental Discretion Advised.

Complete Schedule

Monday
8:00-9:00 p.m. Gossip Girl

9:00-10:00 p.m. One Tree Hill

Tuesday
8:00-9:00 p.m. 90210

9:00-10:00 p.m. MELROSE PLACE

Wednesday
8:00-9:00 p.m. America's Next Top Model

9:00-10:00 p.m. THE BEAUTIFUL LIFE

Thursday
8:00-9:00 p.m. VAMPIRE DIARIES
9:00-10:00 p.m. Supernatural

Friday
8:00-9:00 p.m. Smallville
9:00-10:00 p.m. America's Next Top Model Encore

Melrose Place is, like the show preceding it, a remake of the classic Aaron Spelling night-time soap of the 1990s, with at least some people from the original series making a comeback. Well at least temporarily because a character from the original series (who was previously thought to be dead) is murdered in a plot thread that will reportedly carry through the entire season. Stars Laura Leighton and Thomas Calabro from the original series, and Shaun Sipos, Katie Cassidy, Colin Egglesfield, Stephanie Jacobsen, Michael Rady, Jessica Lucas, and Ashlee Simpson-Wentz.

The Beautiful Life is a typical CW show with a young cast and a vaguely soap opera-ish plot line. This time around the subject is the modelling industry. Raina Collins (Sara Paxton) and Chris Andrews (Benjamin Hollingsworth) are two young models just breaking into the industry, Raina at the top and Chris at the bottom. The cast includes Mischa Barton as Raina's friend and sometimes rival Sonja, Elle Macpherson as Claudia Foster who owns the agency that represents Chris. Other cast members include Dusan Dukic, Ashley Madekwe, Jordan Woolley, Corbin Bleu, and Nico Tortorella. Ashton Kutcher, Jason Goldberg, Karey Burke, Mike Kelley, and Carol Barbee are executive producers.

Like Gossip Girl, Vampire Diaries is based on a series of young adult novels. Elena (Nona Dobrev) is a popular high school student who has recently suffered a personal tragedy. In the wake of this she becomes infatuated with Stefan (Paul Wesley), a mysterious new guy at school. Very soon she discovers that Stefan is in fact a vampire. Soon she encounters Damon (Ian Somerhalder) – Stefan's charming but evil older brother. The two brothers find themselves competing for Elena's soul and those of her friends.

In Parental Discretion Advised Britt Robertson plays Lux, a teenager who has spent her entire life bouncing from one foster family to another. Trying to become an "emancipated child" she is forced to track down her biological father "Baze" Bazile (Kristoffer Polaha), a guy in his thirties who owns a bar and has a couple of slacker roommates. He in turn leads her to her mother Cate Cassidy (Shiri Appleby), who hosts the local "Morning Madness" radio show with her off-air boyfriend Ryan (Kerr Smith). Cate is saddened that her daughter has been in the foster system since birth. When Lux's effort to be emancipated fails, the judge grants temporary custody to Baze and Cate who have to overcome their discomfort for the sake of their daughter.

Comments:

Despite the fact that The CW is only programming five nights a week as compared to six nights from the other networks, they will have as many hours of scripted programming in the Fall of 2009 as NBC will, thanks to that network's decision to air The Jay Leno Show each week night. While The CW's eight hours of scripted programs are likely to be far less popular in terms of pure viewership than those on NBC, it is likely that the network will be relatively pleased with the results. The CW is pursuing a different sort of programming model than any of the other four networks. In effect they are narrowcasting, focussing most of their programming at a specific audience – 13-34 year-old women. While it is true that there are a couple of shows that attract an audience outside of that group – Supernatural and Smallville – most of the network's focus is on this particular niche.

Perhaps the most interesting move made by The CW isn't a new show but rather the decision to move an established show; Smallville. Probably the most popular scripted show on the network, The CW reportedly spent a great deal of money to sign Tom Welling for a ninth season. So it would seem strange to move the series from its established timeslot on Thursday – a night that has some of the highest advertising revenues in the week thanks to movie advertising – to the supposed ratings ghetto of Fridays. However there is probably an argument to be made for the move. All of the networks are starting to make a tentative effort to program scripted material on Fridays. I suspect that The CW programmers believe that Smallville has a chance to thrive on Fridays, while at the same time establishing a theme for the network's Thursday night line-up other than "guys' night." The real weakness isn't running Smallville on Fridays but rather following it with an encore of America's Next Top Model rather than a scripted show which would make better use of the show's ratings strength. The problem is finding a show that would mesh with Smallville – the mid-season replacement Parental Discretion Advised really doens't work in that
way.

Themes do seem to be a major feature of The CW's programming. Putting Melrose Place on after 90210 seems to be a bit of simple logic – two Aaron Spelling shows which theoretically at least will not only appeal to the network's core audience but also to those with a nostalgic attachment to the original series. Similarly, the placement of The Beautiful Life, a series about the modelling industry, following the reality series America's Next Top Model is a very logical connection, creating a "fashion industry" block. The one area where this might fall down is with the placement of Vampire Diaries preceding Supernatural. While both series have an "otherworldly" theme (to avoid using the word which is also the title of one of the series), from what little I can discover from a synopsis and a few clips the handling of the theme in Vampire Diaries is hardly similar to the approach being taken on the older series. The other reasoning for placing this show in this time slot is obvious when you realise that the alternative was most likely to place the show on Friday nights without adequate support.

All in all, while no one would mistake The CW's fall line-up with that of CBS or even NBC, I'm inclined to think that it shows at least a bit of an understanding of the market they're trying to reach. There's nothing in the shows that's surprising or stands out glaringly, but the shows that The CW is putting on the air at least betrays an understanding of the audience they're hoping to reach, which is way more than can be said for some (well one) networks.

Thursday, January 08, 2009

The Fear Is NOT Real

Every so often there is a show that you feel you have to see just because of the people involved. You want it to be good of course, and you believe it could be good, but that's entirely because of the people involved – the people that are the reason you feel you have to see the show. 13 – Fear Is Real was one of those shows for me. The people in this case are Executive Producers Sam Raimi and Rob Tappert. You remember Raimi and Tappert right? If the only things they gave us were Hercules: The Legendary Journeys and Xena: Warrior Princess that would be enough. But of course that aren't the only things they've given us. Raimi gave us the Evil Dead movies, the Grudge movies, and of course the Spiderman series (not to mention having Bruce Campbell as a friend since childhood). Rob Tappert has worked with Raimi since they were college roommates and has either co-written or co-directed most of the movies that Raimi has made (not to mention that he's married to Lucy Lawless). If there's one thing these two guys know it's horror movies. So yeah, I was looking forward to seeing what they'd do with a horror based reality show. So how'd they do?

Well I have to say that I was a bit disappointed, but before I get into reasons I should present a bit of a synopsis of the show. It began with a group of people being driven out into the wilderness in a converted school bus. Brief glimpses of the outside, mainly of graveyards, set the scene as New Orleans and the Louisiana bayous. As they drive along we meet some of the cast including Leah, a bartender who is afraid of just about everything but particularly the dark; Lauren, a model who claims that in the movies it's always the ditzy girl who gets killed first; Kelly, an events planner who talks about being a Christian and claims that she believes in the Devil and in his works; and Cody, a self proclaimed "ghost hunter" with multiple piercings and a huge Mohawk who claims not to be afraid of anything. As the bus penetrates deeper and deeper down a dirt road it becomes darker and darker. Suddenly the bus stops, its path blocked by some logs. The driver tells his passengers that this is where they get off. They keep walking down the road, apparently because they aren't allowed to stay with the bus. So they trek further down the road in the dark with all the weird foresty noises, which always sound scary at night, and finally find a deserted shack. And suddenly we're in every scary teen flick of the '80s and '90s, except that the shack is loaded with closed circuit cameras all feeding to "The Mastermind."

Despite several people in the groups saying "don't open the door," they open the door. The one room shack, which is to say without a toilet (big surprise), is "tastefully" decorated in blood spatters, voodoo doll, a pentagrams and the words "Don't Trust" both in blood, and if I recall correctly a ram's skull. As the group starts to settle in they hear a thump on one of the walls. It's an axe with a note holding a note onto the wall. The note says "Answer the phone." And of course, despite people saying "don't answer the phone" they end up answering the phone. Or at least they do after they find it, since it was hidden under the floorboards of the shack. On the phone is The Mastermind and he has instructions for them. First, one of them has to agree to stay at the cabin and therefore not participate in the "game" that The Mastermind has for them. Surprisingly it is great big fearless ghost hunter Cody, his mohawk looking more than a little deflated by the Louisiana humidity, who decides to stay put. The remaining twelve people pair up into twos. One member of each pair then has to walk down the road to ... an uncertain fate. Next the other six are told to walk down the same road. What we know (and they don't) is that their partners have been blindfolded, gagged and tied to chairs in the woods. As the others walk down the road they come to what they, and initially we since we're in on at least this much of what The Mastermind plans, think is one of their number bound to a chair. It is in fact a dummy. There are more instructions from The Mastermind. They have to search through the woods to find and release only their own partner. Once they do that they have to get back to the dummy as fast as they can. The last pair to get back to the dummy have to face the Execution Ceremony. They also have to take video cameras with them to film their rescue, leading to some very "Blair Witch-y" footage of them stumbling through the woods. Eventually, it is the only all female pair, Kelly and Lauren who have to face the execution challenge. During the night Leah, the one who is basically afraid of everything leaves the cabin – presumably to use or at least find the outhouse – and somehow panics. She screams (of course) and the others (of course) go out to find and comfort her. Nothing really comes of it but everyone associated with this production has to be overjoyed that they cast this scaredy cat for the show since she gets frightened even when there's nothing to be frightened about.

The next morning everything seems nice and normal with all the scares of the night before gone. Then Nassir, a concierge who claims to be a rapper, discovers a tape recorder sitting on top of a cage inside of which is locked a wooden box. The tape tells him to gather up the group before going any further, which he dutifully does. The box locked in the cage is the "Death Box." A player who has the Death Box and reads the instructions inside can kill three of his fellow competitors, but if they are caught with the box they are automatically put up for execution. Steffinnie, a young woman of Laotian descent who says she believes in spirits because she's seen spirit activity in her own life, quickly works out the combination for the lock (which oddly isn't 666 – that's the first number she tries) takes the box out but doesn't open it and hides it in the underbrush. When the others discover that the Death Box is out of its cage there is considerable discussion of who could have it and how it was probably a premature action. There's a lot of paranoia floating about and Steffinnie cracks. She goes back, and with some difficulty finds the box and puts it back in the cage. Crisis, seemingly, averted.

Night falls again and the phone rings. Kelly and Lauren are told to each use a video camera to record their last words to the group (and to us of course) and then walk down the road where The Mastermind's minions – yes he actually calls them minions and has done from the first time he spoke to the victims/contestants – will take charge of them. The minions are dressed all in black and along the road they grab Kelly and Lauren and blindfold them. They also apparently blindfold the camera because for the next minute or so all we see is a sliver of light on a mostly black screen. Finally we all arrive at the site of the execution challenge. There are two slightly larger than people sized wooden boxes; Kelly and Lauren are to be buried alive! They get into their crude wooden coffins, which are of course wire for sound and have closed circuit TV cameras, and the minions begin securing the coffins with nails and wire, lower them into the waiting graves and then shovel on the dirt. While Kelly prays, Lauren fidgets because of the dirt dropping down onto her. Once the burying is finished The Mastermind tells the girls (remember the coffins are wired for sound) that the first one to escape from her coffin will survive and return to the group. The other one will die. Truth be known the result is relatively anticlimactic. It doesn't take too long for Kelly to figure out that she can kick out the end of her coffin with her feet and then she can – amazingly – get out through that end. She's out of the box before Kelly even finishes pushing on the tops and sides. Kelly goes back to the group with Laurens video and I swear someone says "don't watch the video." And on most shows that would be the end but not on this one; the next day dawns and the group goes out to check the cage. The Death Box is gone!!

I have from time to time said that if a reality show is going to be imitative it should have some original aspect to it that will differentiate from the run of the mill. Why is it that after a seemingly endless string of Apprentice imitators came and went only Hell's Kitchen survived and prospered. The answer is that the Gordon Ramsay show had differences – Ramsay's perpetual presence as a hands on leader being the biggest – that made it seem different, or at least different enough, from the original model that it started from that people either overlook or don't care about the similarities. 13 – Fear Is Real is taking from the Survivor model – not surprising since the third executive producers is Jay Bienstock who has been with Mark Burnett's show since Australia – but in a very real way, rather than improving on the model the show is so pale an imitation that it might be called corpse-like. On Survivor there always seems to be something going on, whether it's gathering food or getting water or even lying in their shelters talking smack about other players and plotting alliances. In the wake of the first challenge where the victims have to find their partners the most exciting thing to occur until the Death Box was found by Nassir was a stimulating game of throw the stick into the holes in the concrete blocks. And that made it sound more exciting than it was. Watching Cody's mohawk deflate would have been more fun, but by that afternoon it had almost converted itself into a flat-top.

There is a further major problem with this show and that concerns the subject matter. The classic horror movies of the '70s, '80s and '90s had a common thread of unpredictability. You never knew when something was going to happen and it built up the dramatic tension to considerable heights. And of course none of the people in those movies knew that they were in a horror movie; well except maybe for Neve Campbell and her friends in the Scream series. The net result is that they went to the secluded cabin in the woods with little more on their skeevy little minds but partying, drinking, and getting laid. In those movies then it comes as a shock to all around her that the girl who just had sex ended up as the victim of a hideous murder. The horror aspects of 13 Fear Is Real are stage managed, and worse they seem to be on a schedule. While they may not have known that the first "selection challenge" (or whatever you want to call it) would take place the night they arrived, they knew that the next night either Kelly or Lauren would be "killed" and so there wouldn't be another selection challenge and they could basically relax. That doesn't really inspire fear in well... just about anybody. You can't schedule terror. Plus they're all aware that they're on a reality show dealing with fear and terror, so in light of that awareness how much fear can be inspired within them. The victims might put on a show but it lacks the believability that you might have if, instead of knowing they're on a show called 13 – Fear Is Real, they believe they're on something called True Beauty (to use the name of the week's other new reality debut as an example) and the situation they find themselves in seems like a horrible U-turn from what things are supposed to be. But of course you couldn't do that without fear of lawsuits, now could you.

13 – Fear Is Real is a major disappointment given the quality of the people involved in the show. The fear on the part of the audience has very little to do with what is going on on-screen. We have little or no involvement with the victims and thus their demise and their interactions don't interest us. There is no surprise or shock here and that undermines our sense of fear. And when you take the horror away from a TV series based around horror movie clichés, you aren't left with much at all. 13 – Fear Is Real gets good marks in terms of concept but the majority of the grade is based on execution (you should pardon the expression) and in that the show gets a big fat goose egg. It may not be the worst show of the year or even the month, but when it comes to everything else, it fails to live up to its potential, and it fails to scare us. In short it fails dismally as a show.

Thursday, November 13, 2008

Who Does The PTC Hate THIS Week – November 13, 2008

What I thought was going to be a short one this time around for a couple of reasons. First, I spent Friday and Saturday getting my brother mostly moved out of my house and into his new (to him) home. And in typical Greg fashion, this meant loading and unloading a trailer late into the evening (the last load on Friday went out of here at 10 at night – you try loading a trailer from a garage with no lights into a trailer which obviously had no internal lights at that time of night). And also typically, in Greg's view I am totally incapable of doing even the simplest chores correctly. Oh well, at least I can reclaim the use of the HDTV and the PVR on a more regular basis than I could when he was around and watching what he wanted – usually whatever sports were in season.

The second reason why this is short – well okay, shorter – is because there seems to be something wrong with the links at the PTC's website, which affects one article and the video clips. Clicking on the link to the article CBS Breaks Its Decency Pledge: Part 2 of 2 gets an error message: "Microsoft VBScript compilation error '800a0409'." Clicking on the video links in the articles on Gossip Girl and Skins gets this message: "Directory Listing Denied This Virtual Directory does not allow contents to be listed." Clearly someone at the PTC isn't doing their coding properly. Now admittedly I think I can probably guess why the PTC thinks that CBS has broken its "Decency Pledge" – the words "F-word" on Big Brother, "fleeting penis" on Survivor, "lap dance" on Two And A Half Men, "consent decree" and probably "Supreme Court" will be prominent – but not actually being able to see this article to be able to ridicule it is probably the biggest loss in this. The video clips are a lesser loss – particularly the Gossip Girl clip, since this is American broadcast network TV after all – but at least in the case of Skins I'd like to see just how much there is that anyone outside the PTC would object to. Oh well, as the song says, "We'll have to muddle through somehow." Meanwhile, to the unpaid PTC intern who reads blogs for mentions of the organization a message: will you please tell your IT guys to be more careful in coding from now on!

Taking a slightly different approach than I have in most of these PTC posts I'm going to start with the Worst Broadcast Show Of The Week. It's Gossip Girl again, and for a reason that I inevitably find a bit perplexing. They start off by looking at the show's self-promotion as a risqué (or is it risky) show: "In its advertising for the program, the network has proudly flaunted legitimate criticism of the show, placing phrases like 'Very Bad for You,' 'Every Parent's Nightmare' and (the PTC's contribution) 'Mind-blowingly Inappropriate' on websites, magazine pages, buses and billboards everywhere." Of course the only quote that the PTC is willing to give a source for is their own, so we aren't even sure where those phrases come from. It could be organizations like the PTC, it could be a TV critic, or it could be The CW's own publicity machine. We don't know.

But then that's not the point of the PTC's piece, it is the November 3rd episode, which the organization claims, "lived down to its billing." In the episode Blair, a high school senior with ambitions of going to Yale is serving as a chaperone for fifteen year-old Emma who is the daughter of "an elite Yale donor." Emma wants to lose her virginity – that night! It seems that Emma is as competitive with a girl named Muffy as Blair is with Serena (?) and Muffy has arranged to lose her virginity the same night, to the captain of her school's lacrosse team: "'They call him the De-Virginator!' Emma squeals." The article quotes Emma as saying, "I want Bacardi and a boy. This body's open for business!" It's cheesy dialogue but what I find difficult to swallow is the Council's interpretation of Blair's response: "Emma attempts to enlist Blair's help, but Blair is rightly concerned – about her own future: 'She determined to become a woman on my watch. And if I don't help pimp her out, she's going to character assassinate me to the dean.'" So in other words for Blair to be able to have Emma on her side, all she has to do is find a guy for Emma to have sex with, and make sure that no one finds out. This doesn't seem to me to be too difficult a thing to accomplish. And yet as the PTC points out, Blair doesn't help Emma lose her virginity but manages to persuade the younger girl that the "first time" needs to be about more than just being in a competition with Muffy: "Having sex for the first time shouldn't be part of a competition to beat Muffy the Lacrosstitute."

One would think that the PTC would be happy about this – a character on the show talks someone else out of having casual sex, a victory for chastity or at least some version of virtue. Ah, but that would blunt the PTC's righteous indignation over this show – not to mention their efforts to promote a Rand Corporation study on the effects of "frequent exposure to TV sexual content." Instead, the PTC describes Blair's efforts to keep Emma a virgin as "the rankest hypocrisy on the part of the program"! Why? Because "Blair herself, though only a high school senior, has been shown to have had sex with multiple men in past episodes." Setting aside the fact that as a high school senior Blair is above the age of consent in most of the United States (17 is the age of consent in New York where the series is set – there are only about twelve states where the age of consent is 18, while in thirty states and Canada the age of consent is 16), the PTC is saying that Blair's admonitions to Emma about giving up her virginity is invalid because Blair herself is deemed by the PTC to be promiscuous. Of course, we don't know the circumstances of Blair's first sexual encounter; whether her admonitions were because her first time was a "special" romantic event (to her if not for the boy), or because she was in the equivalent of "a competition to beat Muffy the Lacrosstitute" and she has come to regret it since. No, Blair is a slut, and therefore using this character to warn Emma away from a too young first sexual experience (while at the same time protecting her potential entry to Yale) is "the rankest hypocrisy on the part of the program." And I for one find that attitude on the part of the PTC to be the rankest hypocrisy – it's not enough to offer a message against sexual activity at the age of 15, that message has to come from someone that the PTC deems to be "worthy."

When it comes to the Cable Worst Of The Week – another dip into BBC America's Skins – I suppose that the PTC has slightly more to be upset with. Now remember I haven't seen this series. In fact it airs on one of the premium movie channels (Super Channel) up here that I don't subscribe to. The episode in question, the fourth of the second season, deals with the relationship between Tony and Michelle. Tony was hit by a bus at the end of the first season while he was trying to regain his cell phone signal – he was talking to Michelle and trying to tell her he loved her. In this episode Michelle is trying to reignite the sexual part of their relationship, although Tony's memory has been hampered by the accident and he has developed erectile dysfunction. She also has to deal with Scarlett, her new step-sister, to whom she takes an immediate dislike. On a camping trip (onto which Scarlett has invited herself), Michelle has sex with Sid, Tony's best friend who has had a secret crush on her. They have sex which leads to an orgasm for Michelle – her first with a partner – in part because he's both grieving for Tony and has broken up with his long time girlfriend Cassie, who is in Scotland now (or so he thinks).

This is all pretty mature stuff of course, and the show is rated by BBC America as TV-MA, which means that parents who use the V-Chip shouldn't have any difficulty keeping their kids away from it while those who don't should at least know that with that rating it isn't something that their teenagers should be watching. The 10 p.m. Eastern time slot should also be a clue that this show isn't intended for most teenagers. Ah, but none of this matters to the PTC. To them the logical steps seem to be: TV show is about teenagers therefore the target audience must be made up entirely of teenagers. Thus they make sure to paint, in the most horrified of clarity – even if they have to make up some of the motives for the actions of the characters entirely out of their own filthy minds (and since they see the worst in every action on TV those minds are obviously filthy) – the depravity of the characters, and the writers and directors responsible for them. Thus we have this description of Michelle's desire to have sex with Tony: "Tony has recently been hit by a bus and suffered a head injury which affected his memory and bodily responses; but rather than being sympathetic and helpful, teenager Michelle's greatest concern is Tony's inability to have sex with her." They then go into some of the dialog, making sure to titillate by inserting the words that were covered up by the people at BBC America:

Michelle: "You used to say one (muted t**) was bigger than the other. Look at me, for (muted f***'s) sake!"

The topless Michelle straddles Tony, reaching inside his underwear. Her hand is seen moving about inside his shorts as she fondles him. Tony is unable to have an erection, causing Michelle to erupt in rage and slap him:

Michelle: "It's all (muted f*****) up forever… You bastard! What the (muted f***) were you doing in the road? You idiot! You (muted f******) idiot!"

One obvious interpretation of how this scene is written is that Michelle's "rage" at Tony has less to do with Tony's inability to perform than it does with Michelle's own inability to cope with Tony's sudden disability (and the fact that he is not able to act in the one area where their relationship seems to function best) and the unfairness of it all. Onto which is added her mother's new marriage and Michelle's new step-sister Scarlet. The PTC has something to say about this of course: "Michelle is graphically presented with evidence of her mother's sex life, as a workman drops a box containing her mother's vibrators and other sex toys (including a mechanical hand which "walks" about on its fingers). Michelle also watches as her new step-father gropes his own daughter Scarlet's rear, then gets into a hot tub with her, both of them naked." The latter description is probably the most genuinely shocking part of this as it implies an incestuous relationship between Scarlet and her father that apparently isn't dealt with in much more depth. Michelle having sex with Sid is dealt with by the PTC in a typical fashion: "Ultimately, Michelle does manage to quench her desires, though it is with Tony's best friend Sid: Michelle: 'Wasn't that the best night ever?...You made me come, Sid. Nobody's ever done that before!'" The PTC's interpretation of Michelle is that that she is obsessed with sex and is using Sid to satisfy her selfish desires. A different interpretation is that Sid and Michelle – the two people in the group closest to Tony – enter into this event emotionally overwrought by the changes in their friend, and their inability to cope with the changes that the accident has brought. But of course that's too deep for the PTC, or maybe just not tawdry enough.

Here is the PTC's conclusion on Skins. After again citing the Rand Corporation study on the effects of "frequent exposure to TV sexual content" they bring this up: "Skins is aimed directly at teen viewers; and BBC America is doing everything it can to promote the sex-filled program: 'Forget all the predictable controversy of Gossip Girl -- the cool kids have moved onto Skins!' blares one of the network's ads for the show. Given the scientifically documented influence that such programming has on teens, BBC America's continued enthusiasm for the program moves from economic self-interest into willful [sic] negligence." The claim that the show is "is aimed directly at teen viewers" would seem to be contradicted by the network's decision to give it a TV-MA rating which, as Wikipedia notes, means that "This program is not intended for children and therefore may not be suitable for children under the age of 17.... The program may contain extreme graphic violence, strong profanity, overt explicit sexual dialogue, nudity and/or strong sexual content." As for the ad for the show, it is troubling to an extent if it is indeed marketing the show to the teenage viewer. However, what isn't clear (at least not to me, since the only reference I have is to what the PTC says the ad says, and not to the visual imagery) is exactly who "the cool kids" refers to; is it – as the PTC claims – the teenaged viewing audience, or are they the characters on the show?

Since the PTC is making so much of it, it might be appropriate to look at the Rand Corporation study. Or rather what we're able to find out about the study. It was done for journal Pediatrics and published in the November 2008 edition. According to the study's fact sheet (which is where the link above goes to) the study used "data from a national longitudinal sample of youth 12–17 years old at initial sampling. The youth were interviewed first in the spring of 2001 and then reinterviewed one year and three years later. Researchers focused on 23 popular programs that were widely available on broadcast and cable television and contained high levels of sexual content (both depictions of sex as well as dialogue or discussion about sex). The shows included drama, comedy, reality, and animated programs." It was also stated that the study adjusted for other contributing factors, "including living in a single-parent household and engaging in problem behaviors such as skipping school." The researchers claimed that, "the proportion of teens who are likely to become pregnant or be responsible for a pregnancy in their teen years is two times greater among those who view high levels of televised sexual content (those in the 90th percentile) than among those who view low levels (those in the 10th percentile)." A graph provided with the fact sheet showed that the percentage of teens expected to become pregnant or be responsible for a pregnancy at the time of the final interview at age 16 was 5% at the low level and approximately 12% at the high levels. At age 20 at the time of the final interview the percentage for the low percentile group was 10% and for the high percentile group 25%. For the medium exposure group (the 50th percentile) the figures were 7.5% at age 16 up to approximately 15% at age 20. One interesting aspect of the study is that the percentages for each group listed were roughly parallel throughout the age groups.

The study offered four recommendations:

  • TV industry leaders should examine how programming can include messages to teens about the consequences of sexual activity.
  • Media literacy instruction in middle and high schools can help teens think more critically about the relative absence of negative consequences of sex in TV portrayals and encourage thinking about alternative outcomes to those seen on TV.
  • Training for pediatricians should include intensified efforts to teach about the effects of media exposure on children's health.
  • Parents need to monitor their teens' TV viewing and provide education about the consequences of sex. Tools that can help them review television content may be helpful.

I can't imagine the PTC being overly enthusiastic about any of these recommendations, particularly the first, which seems to indicate that there is a way to present content that deals with sex and sexuality that goes beyond banning such programming regardless of when the show airs. Certainly they aren't particularly sympathetic to the existing tools that can help parents review and monitor teens TV viewing (the V-Chip being the prominent one), and one can scarcely expect them to embrace the idea of "media literacy instruction in middle and high schools" as a way to get teens to think critically about the depictions of sex in TV portrayals.

While there are aspects of this study that I would like to see more information on – specifically regarding sample size, socio-economic groupings (since teen pregnancy seems to be more common in poorer economic groups), availability or willingness to use contraceptives, and most notably the identities of the programs defined by the study as having high levels of sexual content – there seems to be some validity to the study, particularly when you consider a 2004 study by the Rand Corporation entitled Does Watching Sex on Television Influence Teens' Sexual Activity?
According to that study, there was a correlation between teens watching a lot of shows that contained sexual content – both depictions of sexual activity and sexual talk – and whether they have their first sexual activity in the next year. However there was also evidence of a correlation between shows that offered information about the risks of sexual activity. The study was based on the reactions of teenage viewers to an episode of Friends in which the efficacy of condoms is discussed (the episode is The One Where Rachel Tells...). The researchers drew an interesting conclusion: "The study did not find dramatic changes in teens' sexual knowledge or belief. However, it looked at only a single episode of television, and one that included the somewhat complicated message that condoms almost always work, but sometimes fail, and with huge consequences. The researchers concluded that entertainment shows that include portrayals of sexual risks and consequences can potentially have two beneficial effects on teen sexual awareness: They can teach accurate messages about sexual risks, and they can stimulate a conversation with adults that can reinforce those messages." Needless to say, it is likely that the PTC would condemn this episode of Friends for discussing sex at all.

Moving from sex to language, the PTC has released a new study that claims that the broadcast networks are airing an increasing amount of "harsh profanity." They certainly make this study sound scientific. According to the press release, "This Parents Television Council analysis of foul language on television is based on a comprehensive and exhaustive look at all primetime entertainment programming (sports and news programs excluded) on the major broadcast networks (ABC, CBS, Fox, NBC, CW, MyNetworkTV, UPN and WB) between 1998 and 2007. Every instance of unbleeped or partially-bleeped foul language selected for this analysis was recorded in and retrieved from the PTC's custom-designed Entertainment Tracking System (ETS) database and sorted by word, year, network and timeslot." It certainly sounds impressive and scientific, and the results sound shocking:

  • In total, nearly 11,000 expletives (hell, damn, ass, piss, screw, bitch, bastard, suck, crap, shit, and fuck) were aired during primetime on broadcast TV in 2007 – nearly twice as many as in 1998.
  • Milder expletives like hell, damn, crap, etc., are starting to take a back seat to harsher words. In 1998, 92% of the foul language on TV was comprised of milder expletives. In 2007, 74% of the foul language could be categorized as mild, however, more than a quarter of the expletives a child will hear on TV today will be some form of the f-word, s-word, or the b-word.
  • The f-word aired only one time on primetime broadcast TV in all of 1998 – yet it appeared 1,147 times on primetime broadcast TV in 2007 on 184 different programs.
  • The s-word, which appeared only two times in 1998, aired 364 times in 2007 on 133 different programs.
  • Usage of the b-word on primetime television has increased 196% from 1998 to 2007 (431 to 1277). The number of programs using the b-word likewise increased from 103 in 1998 to 685 in 2007.
  • The f-word first aired on a UPN show in 1998 at 8:00 p.m. In 1999, the number of times the f-word aired on broadcast television during primetime increased to 11.
  • In 2007, 52% of the programs that contained the f-word and 55% of the programs that contained the s-word aired during the 8:00 p.m. Family Hour.
  • In 2007, the f-word aired in 96 shows during the 8:00 p.m. hour. CBS and Fox accounted for almost 60% of all shows airing this expletive.
  • In 1998, no shows on broadcast television aired the s-word at 8:00 p.m. or 9:00 p.m. By 2007, the s-word appeared in 73 shows at 8:00 p.m. and 52 shows at 9:00 p.m. Fox and ABC accounted for 77% of the shows airing the word during the 9:00 p.m. hour (46% and 31% respectively).
  • Nearly a quarter (24%) of the programs that aired the f-word and 25% of the programs that aired the s-word in 2007 did not carry the L-descriptor, which would have triggered the mechanism in the V-chip to allow families who do not wish to be exposed to such content to block the programs from coming into their homes.
  • In 2007, 29% of programs aired the b-word without an L-descriptor, which was more frequent than the f-word and s-word. This may indicate a growing comfort with the word in the networks' standards and practices departments and their failure to even recognize the word as offensive.

Okay what to say about this one. I mean besides "what the H-E-Double Hockey Sticks is the 'B-word?" Okay, how about this one; the PTC is full of 'S-word" on this one. For the most part we aren't hearing these words thanks in no small part to the actions of the networks and their standards and practices divisions in bleeping the most offensive words. Which they've been doing since even before the PTC was a gleam in Brent Bozell's eye by the way. But here's the big thing. The PTC notes an increase in the use of the "f-word" and the "s-word" between 1998 and 2007. Now what has happened in this time period? Well of course it's the rise of the reality shows. The degree to which these shows are "reality" is and has been debated from the time that Richard Hatch hit the beach in Pulau for that first episode of Survivor but the one thing that is obvious is that the people's words are their own, expletives and all. Given that these are real people the stark truth would seem to be that this is how people actually talk. And with one notable exception – which I'm certain was a result of the muffled nature of the word – those words are bleeped. With rare exceptions, such as Dr. Mark Greene saying "shit" on an episode of ER (at a time when that word is probably the only appropriate response – the man realises that he's going to die very soon), scripted programming doesn't even try to use the "harsh profanity" like the "s-word" and the "f-word" (not to mention the two "c-words") – I don't know about the "b-word."

But here's the big thing: the PTC complains that "nearly a quarter (24%) of the programs that aired the f-word and 25% of the programs that aired the s-word in 2007 did not carry the L-descriptor, which would have triggered the mechanism in the V-chip to allow families who do not wish to be exposed to such content to block the programs from coming into their homes." But remember that we still aren't actually hearing the words in question. We're hearing a bleep, or nothing at all as the word is edited out. Often we aren't even able to read the lips of person saying the words because their mouths have been blurred or pixellated. So why should there be an L-descriptor added to a show where the offensive words can't be heard or seen but only inferred? To my mind the broadcast networks – while they are increasingly airing shows that include profanities of various strengths including some like "crap" and "suck" that I don't consider to be expletives – are acting responsibly in this matter. The people who aren't acting responsibly are the PTC. This particular press release is designed to inflame their base with a mixture of scare tactics and misinformation.

And just to prove that people on live TV occasionally let a word slip out that they don't intend to, I present this clip from MSNBC's Morning Joe in which Joe Scarborough says "fuck you" and doesn't seem to realise that he has said it even though the other people in the interview react. This particular incident is of some importance because Scarborough has been a strong and vocal advocate of the FCC fines following the Janet Jackson incident, increased FCC fines for indecency, and just about any use of "the f-word." Indeed Glenn Greenwald of Salon.com goes into great detail about Scarborough's activism on this issue, concluding (erroneously as it turns out since MSNBC is a cable network and not subject to FCC fines) with the following: "Using Scarborough's outraged crusades from the past, one would have to conclude that it insufficient that he merely apologize for what he said, and instead, MSNBC must be severely fined for what Scarborough said – especially since it was heard during the morning when many of America's children could be watching. After all – as he so eloquently put it – 'what does it say about our FCC that we've come this far or you could say gone this far backward that somebody could say the "F" word on TV and get the federal government's approval?'" (In fact, although under no legal obligation to do so, MSNBC has imposed a seven second delay on the Morning Joe show.)



Update: The PTC reacted predictably to Scarborough's misstep, subsequent apology and the most importantly MSNBC's decision to put Morning Joe on a seven second delay. In a press release dated November 11 - but which didn't actually appear on the organization's website until November 13, Tim Winter of the PTC writes, "We applaud MSNBC for taking the necessary steps to prevent other mishaps like this in the future. Although this is a cable network that is not subject to the same decency standards as broadcast networks, millions of families are grateful for MSNBC’s decision to try to prevent inappropriate language from airing. Scarborough’s outburst apparently caught him by surprise as much as it did viewers and his co-hosts, as he offered a profuse and sincere apology as soon as he realized what he had done. He set a great example by immediately taking responsibility for his actions, and we applaud him for that. His example is rare. And that is what is so concerning: His example is so rare." And then the added a demand - sorry, a "call" for all networks to institue a several second delay on all their live programming: "If a several second tape delay is good enough for MSNBC, then NBC should follow suit with the Today show and its other live programming. In addition, we call on every cable and broadcast network to follow MSNBC’s example. Inappropriate and offensive language is wholly unnecessary and has no place on these programs. We are thankful that MSNBC is going to lead by example." Personally, I was both unimpressed and unsurprised by MSNBC's unforced decision to put Morning Joe on a seven second delay. I think that this sets a dangerous precedent that the PTC has already decided to exploit. Coming as it does while the Supreme Court is deliberating FOX v. FCC, it sends a dangerous message to those who would hand out fines for every occurance of the f-word, s-word or b-word (whatever that may be) and anything else that these pressure groups is "indecent" or "inappropriate and offensive" and that message is that we're willing to surrender our standards to placate you.