Changing Gears and URLs

Phew! Alright, I went on a bit of an archiving rampage there, but there's new stuff coming. These are all of the posts I made on my other blog account, but I hope to keep both up and running.

This blog is dedicated to all genres of television shows. The only caveat is that the entertainment discussed both exhibits and requires some semblance of intelligent thought. That said, I know there are so many shows out there that I have yet to fully enjoy. That's what the lovely summer is for, I suppose. Time to catch up!

Below is my current wishlist. Some shows are still standing for next season, and some may sadly be cut short. If anyone can think of other forms of intelligent entertainment to put on the ol' TiVo, please let me know!

1. The Office
2. Dexter
3. Lost (yep, I'm gonna brave that monster in one summer)
4. Bones
5. Gossip Girl
6. Breaking Bad
7. This American Life
8. How I Met Your Mother
9. Samantha Who?
10. Eli Stone

Blog Archive 11 - 30 Rock Is Still Underrated

Last week's episode of 30 Rock has got to be a classic, if only because Tina Fey did what few people are willing to do so brazenly on a sitcom: Tackle racism in a way that makes you laugh.

NBC's Emmy-winning 30 Rock, starring Tina Fey and Scott Adsit, may be too zany and witty for the average viewer, but it still packs a punch with critics each week. Photo © Broadway Video/NBC Universal Television.

Though the fear of terrorism has decreased somewhat on a national level, it's easy to see why so many native New Yorkers will never be the same. The psychological effects of 9/11 and the Anthrax scares that followed will no doubt leave New York residents cautious and careful for years to come.

Unfortunately, even though New York City is incredibly diverse, the events of 9/11 still leave people wary of the potential terrorist around the corner. And, of course, the Patriot Act makes it a lot easier for the government to track down alleged would-be terrorists.

With such a serious topic on hand, one would think it'd be difficult to make it laugh-worthy. No so with Tina Fey's 30 Rock, as her neurotic character, Liz Lemon, is suddenly bombarded with fears of a terrorist attack -- most specifically by her suspicious-looking Middle Eastern neighbor, Ahmad, down the hall. He doesn't make eye contact easily, he seems rather shady, and he won't shake her hand. Her roommate and best friend Pete (Scott Adsit) questions Liz's fears as racist and even hangs out with Ahmad, but she can't seem to shake them.

At work, Liz's uber-neo-con boss, Jack Donaghy (Alec Baldwin) tells her to "be an American - call it in," and promptly gives her the phone number of one of his contacts. Check out the clip here!

Alec Baldwin (left), pictured with comedy guru Jerry Seinfeld in the second season premiere, has received both a Golden Globe and an Emmy nomination for his portrayal of oddball NBC/GE executive, Jack Donaghy. Photo © Broadway Video/NBC Universal Television.

It was interesting to see how Fey wrote Liz as initially concerned about discussing the situation in front of Jack's assistant, Jonathan (Maulik Pancholy), who happens to be of Middle Eastern descent. His assistant is, as Liz expected, both shocked and appalled that she would stereotype, and Jack puts on a good show of being equally upset -- until Jonathan leaves that is.

It's a great illustration of how, no matter how much some people try to be politically correct, their honest feelings will eventually come out when they feel like they're in safe company.

Still, Liz fights her fears and resists calling the authorities, until she catches Ahmad doing what appears to be some serious basic training in the park with his brother. Between the mysterious package that was accidentally sent to her door, the shifty eyes, and the the new exercises, Liz is finally convinced to call.

They work fast, and before Liz knows it, Ahmad is gone. His door is taped up after what could only be described as a possible raid. Not long after, she receives a package. Cautiously, she opens it up, sticks the enclosed tape in her VCR... and finds Ahmah's audition tape for The Amazing Race. He and his brother love America, and were innocent all along. Liz is understandably floored by the mistake she made, but it's the darkly hilarious reveal that makes it worthwhile.

Finally, Ahmad is returned, limped. He explains to Liz in the hall, after a chance and awkward encounter, that he was tortured. His last words are, "I just have so much anger inside now, that I want to do something... spectacular with it."

Again, this is a serious topic that's established in an oddly funny way. I believe the bulk of the message has to do with Americans and our fear of people who are different - specifically those who are of Middle Eastern descent. Racial profiling is an issue that affects many innocent American citizens every day, and by tackling the issue in an outlandish way, I believe Fey was making a statement, not only about her own fears of terrorism and of her prejudices, but also about the fears and prejudices of Americans. The execution worked perfectly, because it married comedy and truth, without preaching or lecturing the audience.

Here's TV Guide's Matt Roush's take on last week's episode, as he discusses the B-story of the episode, featuring Alec Baldwin and guest-starring The Soprano's star, Edie Falco.

This was intelligent entertainment at its finest, as it addressed a real-life issue with more than a dozen laughs along the way. It's unfortunate that 30 Rock hasn't gotten the huge audience it deserves, though I imagine it's the rapid-fire quips and the deliberate, over-the-top themes with cynical undertones that turns viewers off. People want easy laughs after all, and 30 Rock makes you think, concentrate and actually follow the story from beginning to end. Go figure.

Blog Archive 10 - CBS OwnsTelevision...

... And my faves aren't cool.

I know it's nothing new... CBS has been dominating TV for a few years now, and they do it with authority. Still, I can't help but think back to the days when Touched by an Angel was CBS' big thing, and when they hit the ground running with now long-running reality shows, Big Brother and Survivor, taking on the crest of a reality television wave that soon died out. Remember The Weakest Link and Who Wants to Be a Millionaire?... Good times.

I so hated reality TV, though. To some extent, I still do. I like my entertainment scripted, thank you very much. And I don't buy the "reality" schtick one bit. Those gigs are so staged.

That said, reality television has its merits, and continue to play a large role in American pop culture today -- as much as it pains me to admit it.

But, seriously, CBS used to be considered a network for old folks, to put it bluntly. Never did they have the wide breadth of programming that they do now. It was back when NBC consistently ruled the week on a regular basis, and fostered their "Must See TV Thursday" line-up with a two-hour block of strong sitcoms, ranging from The Fresh Prince of Bel-Air to Seinfeld to Mad About You to Friends to Frasier to Will & Grace. All of that was followed by the popular medical drama, ER (which is now in its 14th season).

Mad About You debuted in 1992, and helped launch film careers of both stars Helen Hunt and Paul Reiser. As a result, Hunt is the second actress to have won a Golden Globe, an Emmy and an Oscar all within the same calendar year; the first to do so was Liza Minnelli. Photo © In Front Productions and Nuance Productions

Over the course of roughly 15 years, starting in 1990 with Will Smith's breakout series, NBC had a revolving door of choices that always gathered strong audiences. This, of course, does not even take into account the success of 80's sitcoms like Cheers and The Cosby Show. As for the 1990's, not one of the aforementioned sitcoms lasted less than six seasons, and one can't turn on the television at any time of the day without finding one of these series airing in syndication.

Unfortunately, that control began to fade as these sitcoms began to die off, one by one. The Fresh Prince ended in 1996, Seinfeld in 1998, and Mad About You ended in 1999 -- but not before stars Helen Hunt and Paul Reiser were making a cool million dollars per episode in the last season (this precedent undoubtedly helped the six Friends stars achieve the same pay a few years later). NBC finally let go of the six-character show with seven-figure actors in 2004, along with Cheers spin-off, Frasier. And they only just called it quits on Will & Grace in 2006.

Friends stars (from L-R) David Schwimmer, Lisa Kudrow, Matt LeBlanc, Courtney Cox Arquette, Matthew Perry and Jennifer Aniston were, at one point, the highest paid actors in television. Known for their real-life bond, these actors helped keep NBC in the spotlight for a decade. Photo © Warner Bros. Television

It was a bitter release that seriously hurt NBC in the long-run. It's not to say that their other nights weren't successful, because they were. However, "Must See TV Thursday" was a staple of the network. Whether it's by coincidence or not, once the sitcoms faded away, so did NBC's control. By the time 2004 rolled around, CBS already had several Jerry Bruckheimer dramas in tow, including the three-pronged CSI franchise, Cold Case, Without a Trace and Close to Home. It would seem the Old Fogey network snuck up on us all and wholeheartedly earned control of our entertainment.

So far, CBS hasn't been sharing much by way of viewers, unless it's begrudgingly with ABC, another network that underwent somewhat of a revamping a few years ago. Both CSI and Grey's Anatomy fight for dominance on a regular basis -- that is, when American Idol isn't on, the World Series isn't in full swing, or Dancing with the Stars isn't airing. Otherwise, they take turns for the Number 1 spot of the week. Ironically, both series air during the same timeslot on Thursday nights -- a night with which NBC seems to struggle rather consistently nowadays.

Popular online website zap2it.com has the Nielsen's list of Top 20 series for the week of November 11th through November 18th. Of the series listed, CBS has 11, ABC has 6, NBC has 2 (with their highest ranking being at 11 with Sunday Night Football), and FOX has 1. Seriously, it's no longer much of a contest anymore, and the tables have certainly turned.

Talk of Grey's Anatomy leads me to the conclusion that my shows just aren't "cool" yet, even halfway through the season, while dramas like the one starring Ellen Pompeo continues to dominate. I've never gotten into it, but I absolutely love Shonda Rhimes' other medical drama, Private Practice. I really can't believe it's only recently broken into the Top 20 spot, though I have my theories as to why that is.

For one thing, they don't have sex all the time. Grey's was built upon the sex lives of the young interns.

For another, three-fourths of the Private Practice cast are over the age of 35. The leads, a cast of geniuses really, don't really cater to the preferred demographic I guess, which would explain why there wasn't as much crossover between both Rhimes series as perhaps everyone expected.

Private Practice stars television veterans (from L-R) Taye Diggs, Audra McDonald, Tim Daly, Kate Walsh, Amy Brenneman and Paul Adelstein, along with relative newcomer, Chris Lowell. Photo © ShondaLand

It's a shame, too. Kate Walsh, Audra McDonald, Amy Brenneman, Taye Diggs, Paul Adelstein and Tim Daly are all immensely talented. I don't really care that they all seem to have a "been there, done that" air about them. It's because they're not playing sex-crazed, twenty-somethings that I enjoy them so much. No offense to Grey's, because it's a great show in its own right, but Private Practice is much more mature without the "mature" content. It's been nearly eight episodes, and I'm pretty sure there's only been one sex scene -- if that. It's rare for a show to go that long without nookie, and I applaud them.

Sadly, the same applies to my other favorite series, 30 Rock, Ugly Betty and Women's Murder Club. None of them are in the top spots, they don't have sexy, steamy characters in dramatic relationships, and that's apparently what sells. That and crime dramas, like Criminal Minds and NCIS. Oh well. Thankfully they're still performing strong enough to stick around.

Now, for spoiler junkies like myself, TV Guide's Michael Ausiello has revealed some great scoop about some of the top-rated series on television (along with some other juicy secrets) here. You've gotta love this guy, if not for his fans.

Blog Archive 9 - If I Could Do Last Season Over Again...

... I'd have watched the show from beginning to end.

Knee-jerk reactions... In some cases, they can be a sign of excellent reflexes. In others, they can be a sign of immense ignorance.

Last season I wasn't sure what I was going to watch, but I was fairly certain that I wouldn't be tuning in for one particular series: Studio 60 on the Sunset Strip. In fact, I made the decision early on. It was debuting to much buzz and fanfare over at NBC, and at times it stole the spotlight from Tina Fey's 30 Rock, which also premiered last season. I was irritated because I felt that Fey's Rock had come first and that Aaron Sorkin's rapid-fire drama, starring a very talented ensemble cast (Matthew Perry, Bradley Whitford, Amanda Peet, D.L. Hughley, Sarah Paulson and Steven Weber) was a gorgeously dressed knock-off of an original series that was developed and nurtured by people who actually worked in the business of sketch comedy. I was mildly bitter on Fey's behalf, having been a fan of her work for a few years. In my eyes, 30 Rock was the underdog, and Studio 60 was the brawny big brother who easily got all the attention from the social elite.

It's been suggested that Studio 60's talented cast may have eventually cost the series when it came to its inflated production budget and waning ratings. Photo © Warner Bros. Television

And, to be honest, I wasn't too far off. Compared to 30 Rock's motley crew (no matter how deliberately crafted), Studio 60 had a beautiful cast. They were the guys getting most of the buzz, both from NBC and the critics. They also had Sorkin, who had just come away from his long-running, acclaimed hit The West Wing. They had the dynamic duo Matthew Perry, of Friends fame, and Bradley Whitford, also from the aforementioned Sorkin drama. Like Rock, they had snappy banter and long-winded monologues that seem almost too complex to have been concocted on the spot. Unlike Rock's single-camera style, Studio 60 had complicated blocking in scenes and sometimes ethereal (perhaps sunset?) lighting that created a distinct West Coast tone.

On the surface, they seemed a bit too perfect. And I wasn't impressed.

Unfortunately, neither were American viewers. The show was cancelled after being dragged out throughout the entire season in intermittent spurts -- something that isn't bad, when I think about it. I'll elaborate on that later.

Fast-forward a year. I recently acquiesced, and finally purchased an iPod. This last weekend, on a whim, I bought the pilot episode of Studio 60, along with two others -- just for kicks. I'd cooled off from my annoyance a year ago, and I was ready to give the intelligent drama a go.

To be frank, after seeing the first two episodes "Pilot" and "Cold Open," I was blown away. Intelligent doesn't even begin to describe it. I began to question my own sanity. Certainly a year ago maturity made a difference, but how could I have been so blind? Yes, Tina Fey's half-hour comedy is brilliant and hilarious, but couldn't I have found room in my viewing schedule for both? I mean, for crying out loud, they aired on different nights after all.

When Judd Hirsch, whom I've admired since his role as Alex on the 1980's sitcom Taxi, performed that intensely volatile opening monologue in the pilot episode, I couldn't take my eyes off of him for fear of missing a beat. Like many others, I'm sure, I rewound the scene so as to get the full effect. I found myself doing that a lot actually... All the characters were quite compelling.

Bradley Whitford (left) worked with Aaron Sorkin for seven years on the Emmy Award-winning series The West Wing, while Matthew Perry is best known for his decade of work as the sarcastic Chandler Bing on NBC's other Emmy Award-winning hit, Friends. Photo © Warner Bros. Television

Peet's Jordan McDeere was as endearing as she was steadfast. As the president of the fictitious National Broadcasting System's programming, she took no prisoners, but did so justly. There are few female leaders on TV like Jordan, who can be firm without being portrayed as an ice queen.

Perry's Matt Albie was lovably neurotic and testy. With his self-deprecating humor, it would've been easy for the former Friends star to fall back into some well-rooted Chandler-isms, but Matt was a completely separate entity who probably would've gotten Perry an Emmy nod had the show been given another chance.

The same goes for Whitford's honest-to-a-fault Danny Tripp, who is outed within the first episode for his recent drug abuse. Whitford's solid portrayal of Perry's other half was great. I believe he too could've been up for an Emmy had the series gone to a second season.

I was interested in Paulson's portrayal of right-wing, Christian comedienne Harriett Hayes. This character may have been an artistic extension of Sorkin's beliefs regarding the radical Christian right, but I like the fact that he made her an obvious protagonist. Alongside Paulson, Sorkin made Harriet a flawed, yet intriguing, character.

I could go on, but the show had a large ensemble cast outside of these four main players. Needless to say, the show was incredibly strong. I have no good excuse for not enjoying the series while it lasted. However, I think it does say something about the bar and level of expectations Sorkin and his cast and crew held, and how those expectations differed from America's own threshold. This series was the epitome of quality programming. And while I'm sure it hit some rough spots, perhaps was a bit too serious, and lacked action, from what I've seen, it was an amazing show with superb characters. In short, it had a lot of potential. Here's TV Guide's Matt Roush feelings on the series finale, in response to a reader's question.

Sorkin was accused of being too liberal. Unfortunately, it's probably monologues like the one Hirsch delivered that drove away many viewers. Even well-educated viewers who make sixfigures a year (the demographic some networks seem to brag about to their advertisers as a last resort or alternative to the preferred demos) might've been turned off by what some may have considered to be a liberal sermon of morality. I'm not one of those people, but I can understand why Sorkin had to tone the preaching down a bit.

For what the series lacked in the Laugh Out Loud department, it brought a lot of other positive attributes to the fore. For one thing, I think I learned more about network politics and shenanigans in the two episodes than I have in four years of college. Studio 60 contained humor that made you think -- really think -- about the underlying message.

In an attempt to rectify my egregious mistake last year, I will probably be buying Studio 60 on the Sunset Strip on DVD as soon as possible. As I mentioned earlier, the series aired in random trickles throughout the season, which gave the show an opportunity to have roughly 22 episodes. There are those who still rave about the series, and others who remain skeptical. I'm willing to give it a shot now, if only to prove that I'm able to admit when I'm wrong. For all of the series' shortcomings, it truly was intelligent entertainment at its finest.

Unfortunately, this means I have to turn over a new leaf and catch up on shows that I've deliberately neglected this season. Cavemen, anyone?

Blog Archive 8 - Strike Talk, Part III

WGA Strike, Part III of ?

I know I've been talking about the WGA strike a lot lately, but I do have my reasons: This is an "intelligent entertainment" blog, and if talented, tenured writers are no longer producing content, there's not going to be much entertainment in our future. Worse still, it probably won't be all that intelligent, either. More than likely decisions will be made on the fly and off the cuff, by actors, producers and directors alike.

Heroes is reportedly filming a new ending to a December episode this week in anticipation of it filling in as a season finale. Photo copyright NBC Universal Television.

At this point in time, ABC's Desperate Housewives, NBC's Heroes and ER, Fox's Back to You and 'Til Death, and CBS' Two and a Half Men, Rules of Engagement, The New Adventures of Old Christine, and The Big Bang Theory are all halting production, among many others, as shown in the updated grid on latimes.com. The scary part is that many of the series listed in the table only have anywhere between three and seven more weeks of programming left before their done. I say "scary," because TV is going to be inundated with unscripted, reality television shows come January, and I was so relieved when that trend took a downward turn. We can only hope that it doesn't become uber-popular again. That would be the worst kind of irony for writers once this whole issue is resolved.

The way I see it, this strike could essentially cause one of two things. Short of costing Hollywood much more than the $500 million it cost them in 1988, it may bring crews together in that sometimes elusive, yet collaborative, effort to create quality programming. Without writers to do the work, others will have to step up to the plate. It could be downright inspiring.

Or, sadly, it could cause an even deeper divide in Hollywood.

So far, it's looking pretty bright. Actors like Julia Louis-Dreyfuss, America Ferrera and cast members from The Office have reportedly expressed their support of the writers, though many of their colleagues have remained coy. According to Variety, executive producers have been "refusing to cross the picket lines even to perform non-writing chores on scripts that have already been completed." It's great to see that there is such a unified front from Screen Actors Guild members and executive producers.

The Hollywood Reporter has a great article that documents the back-and-forth debate between Alliance of Motion Picture & Television Producers (AMPTP) president Nick Counter and WGA leaders. Make of it what you will.

It looks like many in the media underestimated how badly the strike was going to hit production on a variety of shows, but I think it's a good sign that everyone is still supporting the writers. We'll see how far that support goes in two months' time, though it's fairly clear which side of the debate is causing the problem here. Hopefully the writers will get what they want (and deserve) in a timely manner, so everyone can get back to work.

Still -- and this is pure speculation here -- I wonder if this may be drawn out longer so as to stop any chances of a precedent being formed. There's been talk of a Screen Actors Guild/Directors Guild strike this summer, and maybe The Powers That Be are hoping it will be reconsidered, so as to prevent another huge hit like this. I don't think anyone wants to see production halt from coast to coast, but if SAG members have justifiable reasons like the writers, it may be quite necessary. According to Firefox News, SAG president Alan Rosenberg was pretty confident, saying, "We'll get what they get."

For everyone's sake, I hope that confidence is bankable.

Blog Archive 7 - Writers Guild Strike In-Depth

Writers Guild to Strike Monday

The more I learn about this situation, the more convoluted it seems. I know members of the Writers Guild of America are striking Monday because they want more of the digital piece of the pie when written work makes it to the Internet. Members of the guild are also striking for more residuals from the multi-billion-dollar DVD industry. That sounds simple enough... And fair.

Tina Fey is the creator, executive producer and star of NBC's 30 Rock, one of the New York-produced series that will be immediately affected by the strike. This quadruple threat (known for her work on Saturday Night Live as the first female head writer, and her breakout hit with Lindsay Lohan, "Mean Girls") is also a WGA member who writes for the series. Photo from geekfitters.com

Here is the official press release from the Writers Guild of America.

To start, I'm always nervous when guilds and unions strike, because it gets into that gray political area, and I'm never sure what the underlying reasons for the picket truly are... I mean, sure there are the public reasons, the ones that are stated without censure by PR gurus and union representatives -- but then there are the reasons that are stated behind closed doors. Unfortunately, nothing is black-and-white with politics, and I don't believe unions and guilds are always above reproach.

The WGA strike, however, seems pretty legitimate. I believe they have every right to want more for the product they provide. While I value all the working cogs of the Hollywood Machine - from the grips to the crafts services men and women to the producers, actors and writers - I have to agree that historically, writers have gotten the least amount of respect considering what they do for the industry. Actors, directors and producers are among the highest paid in Hollywood, and while writers are paid considerably for their services, it would seem they also get paid to not complain when their works of art are altered without their consent.

Apparently it's not unusual for writers to be vastly ignored once they step foot in a studio; their creative control ends once they send in their edits, because as soon as the director and the producers get a hold of it (not to mention when actors are given the freedom to adlib), anything can happen. Let's not even go into what happens when the editors sit down in their labs.

To be fair, writers know the risk going in, and the pay probably isn't bad enough for them to leave. Still, I am a firm believer in the idea that television and film should be a collaborative meeting of the minds. I respect directors, producers, actors and editors for their contribution to the film industry. In short, I think they're all brilliant, and as a media production student who would love to work in the film and television industry one day, I can understand their positions.

However, writers continue to lack the respect and, yes, financial advantages that others in the industry have. Yes, producers have been known to write, but if all producers were meant to write for the industry, there would be no need for writers in the first place. Writers are more often than not the first ones to nurse a new story to life, to research and develop it; they also tend to be the go-to people when edits need to be made in a pinch, or when actors have issues with the content; they are the ones whom few viewers know by name or face. I firmly believe something should be done to rectify this 70-year-old industry trend.

That said, I am disappointed that it came to this. This strike is essentially halting production on many programs. It won't happen right away, and it won't happen in droves, but it will affect many actors and crews. As The TV Zone blog on newsday.com stated, late-night television will be "gone. And quickly at that. And per my understanding, don't expect someone like Jon Stewart to do a Johnny Carson - who left the air in the '88 strike, but returned a few months later in May of that year. Stewart's a member of the Guild and it's inconceivable that he'd break ranks with fellow scribes."

Also, according to the online publication, daytime soap operas could be facing re-run time after the New Year. Love 'em or hate 'em, the soap opera industry employs many who will more than likely be out of work for some period of time. The aforementioned strike in 1988 resulted in the producers writing instead, which kept the soaps on the air, according to latimes.com. Maybe that will be the case here.

Conan O'Brien is one of the many late-night funny men who will be affected by the WGA strike on Monday. Photo from tv.yahoo.com

So, what we have here is an issue that no longer just affects executives (who continue to get paid no matter what, bless their wealthy hearts), but it also affects crew members, or even writers who didn't want to strike. In addition, I'm not even sure the contract issues the WGA is currently fighting have anything to do with soap opera writers, as their work does not make it to DVD or the Internet -- legally.

Also, I'm not sure how the various unions support actors and crew members who are out of work due to a strike, and it's entirely possible that they are required to be paid something while they beat the streets of Los Angeles and New York -- mostly New York -- looking for jobs. Still, I find it very ironic that the writers of Hollywood, in their quest to gain more respect, have essentially turned the industry on its head.

One other thing: It's my understanding that executives are unwilling to raise residuals on DVDs because they're not sure how sales will fare in the future. While I completely understand the logic in that business model, DVD sales are a very lucrative business for studios. It's gotten to the point where a movie can essentially tank by industry standards in the box office, but rake in enough to make it a relative success in domestic and international/overseas sales, which include rentals and purchases. If I'm not mistaken, I believe the same can more than likely be said for television shows as well, which explains why the TV on DVD market skyrocketed a year or so ago.

I'm sure nothing is black-and-white, even in the WGA's understandable attempt to gain more leverage. There may be more to the situation than meets the eye -- in fact, I'm sure of it, considering WGA members haven't been allowed to discuss their closed-door meetings since threats of the strike began. At the same time, they are honest grievances that are backed up by fact and historical precendent.

I hope the situation is secured in a timely manner, however, if only so WGA member Ajay Sahgal (video below) can stop stressing out. Poor guy.

[youtube=http://www.youtube.com/watch?v=EfvZRmBHdVE&rel=1]

Blog Archive 6 - I'm Out of the Loop Here...

Well, I checked out last week's Nielsen's ratings, thanks to zap2it.com, and it would seem that I'm missing out on the so-called "popular" shows. It may be because I have little tolerance for reality television, but there also seem to be a lot of scripted shows out there that I'm missing out on... I think I'm out of the loop.

Listed below are the ratings.

1	DANCING W/THE STARS-MON	ABC	Mon	8:00 PM	12.8/19.0	14,386,000	19,623,000
2	CSI	CBS	Thu	9:00 PM	12.4/19.0	13,981,000	19,794,000
3	GREY'S ANATOMY-THU 9PM	ABC	Thu	9:00 PM	12.3/19.0	13,847,000	19,036,000
4	DESPERATE HOUSEWIVES	ABC	Sun	9:00 PM	11.8/18.0	13,365,000	18,892,000
5	60 MINUTES	CBS	Sun	7:52 PM	11.3/17.0	12,690,000	17,227,000
6	HOUSE	FOX	Tue	9:00 PM	10.8/16.0	12,177,000	18,033,000
7	DANCING W/STARS RESULT-TU	ABC	Tue	9:00 PM	10.7/16.0	12,072,000	16,362,000
8	NCIS	CBS	Tue	8:00 PM	10.4/17.0	11,726,000	16,357,000
9	CSI: MIAMI	CBS	Mon	10:00 PM	9.6/15.0	10,875,000	14,452,000
10	CRIMINAL MINDS	CBS	Wed	9:00 PM	9.3/14.0	10,480,000	14,554,000
11	COLD CASE	CBS	Sun	9:22 PM	9.1/14.0	10,258,000	13,876,000
12	WITHOUT A TRACE	CBS	Thu	10:01 PM	8.9/15.0	9,999,000	13,616,000
13	CSI: NY	CBS	Wed	10:00 PM	8.8/15.0	9,873,000	13,431,000
14	SURVIVOR: CHINA	CBS	Thu	8:00 PM	8.6/14.0	9,734,000	14,222,000
15	LAW AND ORDER:SVU	NBC	Tue	10:00 PM	8.4/14.0	9,432,000	12,303,000
16	BROTHERS & SISTERS	ABC	Sun	10:01 PM	8.2/14.0	9,306,000	12,514,000
16	PRIVATE PRACTICE	ABC	Wed	9:00 PM	8.2/13.0	9,296,000	12,420,000
18	TWO AND A HALF MEN	CBS	Mon	9:00 PM	8.1/12.0	9,176,000	13,016,000
19	DEAL OR NO DEAL-WED	NBC	Wed	8:00 PM	8.0/13.0	8,999,000	12,575,000
20	EXTREME MAKEOVER:HOME ED.	ABC	Sun	8:00 PM	7.3/11.0	8,256,000	12,227,000

Chart by zap2it.com; Ratings information by Nielsen Media

Among the Top Twenty shows, I have no use for Dancing with the Stars (though my family watches it religiously), I watch CSI casually because of my sister; I keep up with Grey's Anatomy from a distance; I can no longer stand Desperate Housewives, though I totally respect the talented actresses; I watch 60 Minutes out of a desire to be "informed;" I respect House for its uniqueness; I am ambivalent towards NCIS, for it was a spin-off of my beloved JAG; CSI: Miami is somewhat 'meh'... I could go on and on.

I guess I'm just concerned that I've been completely off-base when it comes to "Quality Television." I don't mind straying from the crowd and not following the status quo, but I do wonder if perhaps I should rethink my standards, and maybe give some of these hit shows a chance.

Photo by ABC

It's still interesting that there are no new, huge hits, yet none of the currents series have been cancelled. Then again, there's still time for some series to hit the chopping block. I'm still (patiently) waiting for the relatively controversial Cavemen to get the axe -- no offense to the talented ape-boys who play the insightful title characters. I just don't see the point.

Blog Archive 5 - Writers Strike, Women's Murder Club

Strike on the Horizon

I've been trying to keep an eye on the recent Writers' Guild of America (WGA) issues that have been a brewing in Hollywood of late. Apparently the issue stems from Guild members requesting more money for content that makes it to the Web. According to Broadcast Newsroom, there has been heavy debating on either side, but there is a silver lining for some shows: With the networks ordering so many scripts in advance (so as to compensate for a potential strike that will otherwise leave them with gaping holes in their programming), it's giving "struggling" series a second chance at survival. The popular online trade magazine cited CBS' Cane, FOX's K-Ville and ABC's Big Shots as examples of such stragglers.

This all seems to be yet another indication of the ever-changing distribution model that studios and networks have both been fighting and trying to keep up with for the past couple of years. There is, as always, an issue of copyright, and how the original authors of a product can be properly compensated. Unfortunately, thanks to torrents and a host of other video- and media-sharing websites, it's very difficult to track every single download. While it's unfortunate for the creators of each work, it's also rather unavoidable. Worldwide, fans are determined and resourceful when it comes to finding what they want on the Internet.

Is TV Viewership Rising, Falling, Or at a Plateau?

I've been wondering lately how viewership has been faring, but it's become a bit hard to compare this season's performance with last season's because of the recent DVR debacle. Networks are wanting ratings credit for viewers who watch their series through DVR and TiVo usage, and Nielsen is admittedly trying to keep up with the changes.

The digital age has caused a revolution for which networks, advertisers and Nielsen's were not quite prepared, but they are trying. Still, I'm a bit surprised that there are no new series that have gotten the official axe yet. Granted, it's still early, but usually there's a stinker or two that's canned after the first week. I've yet to find one. And I know that doesn't mean that quality in programming has increased, because ABC's Cavemen is still around. Its concept (and the fact that ABC, of all networks, actually greenlit it) still boggles my mind.

So, we have struggling shows that aren't doing so hot this season. We have no breakout hits, despite the many, many, heavily-pimped new series, such as Private Practice, Bionic Woman, Journeyman, Cane, Pushing Daisies, Life, Moonlight and Back to You. However, we also have networks preemptively requesting more scripts so they can have something to produce and broadcast over the next three or four months in the event of a strike. With all of these technological and political changes, it's going to be an interesting season. Some series may be cancelled a little later than usual, while others may be given a final chance to add that extra umph! they've needed to truly shine. Only time will tell how each network's programming fares.

Women's Murder Club

Picture by tvguide.com/ABC -- From left to right: Paula Newsome, Laura Harris, Aubrey Dollar and Angie Harmon

I caught the series premiere of ABC's newest drama based on the literary work of acclaimed bestseller, James Patterson. The series, starring crime drama veteran Angie Harmon, follows the lives and careers of four diverse San Francisco women as they work together to solve murders.

At first, I'm sure some people scoffed at the idea. Though Patterson (who also serves as Executive Producer of the TV series) has had incredible success with the book series, I'd imagine there may have been some trepidation with having an all-woman team solve crime. For one thing, it breaks tradition. Over the past 20 years, law enforcement shows have typically comprised of a male-female duo, with the male lead character mostly taking precendence.

While I am personally intrigued by the concept, I would not be surprised if some wondered whether the audience would buy, or be interested in, four women taking on the bad guys every week.

Fast National Ratings, as reported by zap2it.com, suggest that Women's Murder Club had a strong reception with audiences. Though premieres are not always indcative of a series' overall success, Friday is a tough night, specifically with CBS' killer lineup. If the series can measure up to the competition on a regular basis, and build upon what I'm sure is an increasing online fanbase (most likely comprised of women), I think the series has the opportunity to be a success.

It's unconventional, not just in theme and characters, but also in directing and writing. The story takes place in beautiful San Francisco, shying away from the obvious and overdone choice -- gritty New York City.

While Harmon's Lindsay Boxer has a backstory that may bring in a bit too much soap to the story (the character's ex-husband is assigned as Boxer's boss in the pilot), the combination of hard-nosed professionals with passion and a trusting friendship will ultimately drive the series. I'm looking forward to more episodes, and seeing how each of these characters will contribute to future storylines.

Blog Archive 4 - Creating the Character

When it comes to character development, television and film writers take various avenues in order to make lead characters compelling, easy to relate to, interesting and strong. While all roads may lead to a different destination, there are some similar paths that have been taken over the years.

One particular aspect of character development was brought to my attention a few years ago in an introductory film class. The professor claimed that women characters tend to have "Daddy Issues." At first, in my immaturity, I balked at the idea. It didn't make sense, I thought. How could all - or even most - female characters in television and film have these so-called "Daddy Issues?"

Then, when I got to thinking about it, truly analyzing the female characters over the past twenty years, it made perfect sense. For the most part, characters are greatly defined by their relationship (or lack thereof) with their parents. This is most obviously noted in women, but there are cases where men are defined by their parents as well. I'll get to that later.

Women With 'Daddy Issues'

As it stands, the vast majority of lead female characters who succeed in male-dominated fields, such as law enforcement, the military, and even the medical field, are initially defined by the relationships with their fathers.

Dana Scully (played by Gillian Anderson) of The X-Files joined the FBI in an attempt to prove to her father that she could make independent life choices that resulted in success. Her desire to prove herself to her father is what drove her in her career, and ultimately what created a wedge between them.

Sarah "Mac" MacKenzie (Catherine Bell) of JAG followed in her father's footsteps, both by joining the Marine Corps. and by becoming an alcoholic at a young age. Abandoned by her mother when she was small, she was left to endure her father's emotional and psychological abuse. Like many of the other female characters listed, she was developed as a no-nonsense military attorney who never suffered fools. Still, again like many of the other female characters here, she was known as compassionate, ethical and strong.

Samantha Carter (Amanda Tapping) of Stargate SG-1 and Stargate Atlantis joined the military to follow in her father's footsteps after an emotionally detached childhood that resulted from her mother's death when she was a young teenager. Her successful career in the male-dominated Air Force was solely independent of her father's, but the desire to prove herself to her workaholic dad was one explanation for her driven nature and independence.

Olivia Benson (Mariska Hargitay) of Law and Order: Special Victims Unit was introduced as a child of rape, so she never knew her father. Nevertheless, the driving force behind her character is the fact that she does not want to be anything like her father. For nearly a decade she has run away from biology, focused on helping people, and has questioned her capacity for violence.

Catherine Willows (played by Marg Helgenberger) of CSI lived a life of chaos in Las Vegas before turning to a career in forensics. Her enstrangement from her wealthy father led to stripping, poverty and a lack of self-worth. For approximately seven years, she has thrived independently in a fulfilling career, but the affects of her father's poor treatment live on, and continue to be touched upon as further explanations of her emotional detachment.

Lilly Rush (Kathryn Morris) of Cold Case lived a rough life of poverty and abuse. Her mother was a drug addict and her father was rarely - if ever - in the picture. As one of few female characters on television today who are truly the lead character in a procedural drama, Morris' Lilly is a strong, compassionate and independent woman whose hardships in life (as well as the lack of a strong male role model as a child) compel her to protect the lives of others.

Some Men Have 'Daddy Issues,' Too

As I said earlier, there are also some male characters who have been defined by their intense paternal conflicts. Some of them even belong to the series that were already listed.

Most notably, Fox Mulder (played by David Duchovny) of The X-Files had serious issues with his father, blaming him for the abduction of his sister, the subversion of the truth, putting his family in danger, and lying to him on a regular basis. Still, as has been the case with many female characters, there was an underlying layer of trust, a desire to please and protect his father at all costs.

Harmon Rabb, Jr. (David James Elliott) of JAG grew up never knowing his father. He was haunted by his father's disappearance during the Vietnam War, and desperately went to great lengths to find the truth as an adult. As with Mulder, there was never true closure with his father, and it continued to define his character throughout.

Women Seem To Lead, However

Essentially, from a traditional character development method over the past 20 years, when a lead female character is not being defined by her relationship with the male lead (i.e. Scully to Fox Mulder, Benson to Eliott Stabler, Carter to Jack O'Neill, or Willows to Gil Grissom), she is being defined by her relationship with her father.

While that trend isn't as prevalent as it once was, it is an interesting aspect of television and film history to note, as I believe it is quite indicative of society's expectations. Is it possible that, as a society, the audience expects there to be a very good reason to explain why a female is able to thrive in a man's world, why she's able to succeed and kick butt just as well as her male partner?

Perhaps it is on a subconscious level that audience members demanded such reasoning, or maybe it was equally subconscious on the part of the writers who needed to properly develop a character. Anything's possible.

Personally, I can take the cliche problems lead female "X" supposedly had with her dad, if it means we're still getting a capable, competent female character in the process.

Blog Archive 3 - Did You Survive Premiere Week?

This blog post comes in a bit late due to the fact that I had a hard time picking which premieres were worth my time. Even with the help of my trusty TiVo and a relatively mild weekend, I had to be pretty choosy. In the end, I came up with some old faves and some solid newbies.

Cold Case

On Sunday, September 23, Cold Case premiered on CBS. I thought it was a bit unusual, considering most shows premiere on the Sunday that follows premiere week. (Though The Simpsons premiered that evening as well.) I'm not sure why that is, but Monday usually leads the week off.

At any rate, Lily looks as though she's going to take a bit of a dark turn this season after narrowly dodging death in last season's finale. We knew there was little risk of her being offed considering she's the lead character, but it still created some pretty good tension. It'll be interesting to see where they take the character from here.

Heroes

Heroes premiered Monday on NBC. I honestly meant to catch up on this series during the summer, but I didn't, so I was completely lost. According to a couple of the people I asked around campus, Heroes was a big deal. I'm considering getting Season One on DVD, but I'll have to think about it. All in all, I'm just impressed that a sci-fi show was able to thrive in mainstream television. Perhaps there's hope for the genre yet.

Journeyman

Speaking of hope for the sci-fi genre, NBC took another crack at an intense time-traveling thriller with Journeyman last week. It was a no-brainer to pair this freshman series with Heroes. Still, just as many critics warned, the series was a bit hard to follow at first. It could be a bit stronger, but I really like the style of cinematography and pacing. It's possible that the series merely needs to find its footing, and it still seems to be performing. We'll see how it works out.

Law and Order: SVU

Ah, procedural dramas. NBC's most popular L&O series premiered on Tuesday. I really, really think they've jumped the shark with Elliott and his ex-wife preparing to raise another kid. I'm sure it had something to do with causing some tension between Elliott and Olivia, or maybe it was attempt to further distance the characters from any potential romance.

Either way, though I liked that they focused on his family in the beginning of the series' existence, his wife and kids have become a nuisance over the years. The premiere was decent, with Cynthia Nixon from Sex and the City fame playing a mother with a multiple personality disorder. It didn't quite compare to the premieres of seasons' past, but it was entertaining.

Bionic Woman

The highly touted, uber-advertised, Bionic Woman premiered Wednesday on NBC to much fanfare. The lead actress who plays the title role, Michelle Ryan, is a relative unknown, and there were some scenes that had a bit of a shaky delivery. Still, there's an intensity and an honesty that comes across in character Jamie Sommers.

The show definitely has potential. I'm a sucker for great special effects and action, but it also had an interesting storyline as well. It helps that they're also tackling a philosophical issue that's very timely in this technological age. How far is too far when it comes to bioengineering? It's a good question that's bound to come up more and more as the season continues.

With less cheesy one-liners in the heat of action, and more development of Jamie, her sister and her boyfriend, I think the series has a shot at becoming another Heroes.

Private Practice

Premiering opposite Bionic Woman, Private Practice debuted on ABC Wednesday, with both series starting off pretty well. What Practice lacked in action against Bionic, it made up for in strong characters.

It's hard to say if lightning will strike twice for Shonda Rhimes, creator of both Grey's Anatomy and Private Practice. I do have to say, however, that the new sister series definitely leads in the Talented and Accomplished Actors department (though the young actors on the former series are very talented as well). With the likes of Amy Brenneman and Taye Diggs, I see a lot of potential for Kate Walsh's (Addison on Grey's) new series. I'm glad she was able to spread her wings on a show that will showcase her talents. There's something about her quirky character that's way more endearing than Meredith, in my opinion.

Critics like TV Guide's Michael Ausiello also warned of a weak start for the series, which I can agree with to some extent. There were moments that seemed a bit absurd -- but, hey, Grey's has gotten away with a lot more with less logic, so I'm willing to give this show a shot.

ER

The show that just keeps getting rescusitated premiered with its 14th season (that's right!) Thursday on NBC. It was weaker than most, and seemed a bit dead in some areas, but the main characters of this season are still compelling.

There are probably a lot of people who can't believe this show is still on the air, and I have to admit I'm pretty surprised myself. It's a show that won't die, but as long as the chemistry between the cast remains (John Stamos, notwithstanding), I'll try to catch it every now and again. It probably won't be as religious as before, but I won't write it off until it's cancelled.

Stargate Atlantis

Finally, I'm allowed to let the geek in me roam free for a bit as I talk about Stargate Atlantis, which premiered Friday on the SCIFI Channel. It was a fairly decent season opener, with the introduction of two new cast members, Amanda Tapping (Colonel Samantha Carter) from the recently cancelled Stargate SG-1, and Jewel Staite (Dr. Jennifer Keller) from Firefly, which was cancelled a few years ago and concluded with the movie, Serenity.

It probably could've been a bit stronger, considering its future is not quite secure. For the most part, though, the scope of the premiere was pretty good, and will hopefully lead into other new storylines for the fourth season. The cast changes caused heated debates among fans, and there are some who are skeptical as to whether or not Stargate Atlantis will see a fifth season pick-up from Stargate. Still, with ailing original series in its lineup, SCIFI may be more amenable than expected.

It's a wait-and-see game for producers and viewers alike, as only time will tell if the series can perform on its own without the ten-year-old Stargate SG-1 as a lead-in. Here's hoping, because I'm a huge, geeky fan of that show, and I'd like it to succeed.

That's about it. I'll be following Bionic Woman, Private Practice and Atlantis closely, while catching Cold Case, Journeyman, SVU and ER when I can. There are loads of other series out there to try, like the CW's Aliens in America and Reaper, as well as ABC's Samantha Who? and Pushing Daisies. Those seem to be critically acclaimed winners... and those types of shows tend to lack the kind of viewership that will keep them around for the long haul. I should probably check them out soon before they get the ax.

So, did I miss anything? Are there shows I've overlooked?

Blog Archive 2 - Generous Emmy's

Last night on Fox the 59th Annual Primetime Emmys aired with glitz, glamour and some random expletives. As it was hosted by Ryan Seacrest, I can only assume Fox and the Academy were hoping to get a younger crowd in on the Emmy fun last night.

I'm not so sure it worked, but the awards weren't nearly as bad as they have been in the past. The music - while obvious - was a very nice way to remind the winners that there was a schedule (and ad dollars to keep). Some went a bit overboard but, for the most part, everyone stayed within the limit.

Just as the Oscar's apparently adopted the practice a couple of years ago, Emmy Awards were given to nearly every series that was represented last night. Neither The Sopranos nor Ugly Betty swept the awards like perhaps some people thought, which in a way is nice. The love was certainly spread pretty evenly. I don't know about anyone else, but I felt like the miniseries or movie categories really dominated the evening.

There were some funny moments, like Rainn Wilson and Kanye West battling it out over one of Kanye's songs with the host of Don't Forget The Lyrics, Wayne Brady. Some not-so-funny moments, like Seacrest suggesting that his American Idol co-star smokes weed. And then there were just some downright embarassing moments, like when Sally Field went a bit bonkers at the end of her speech, and ended up babbling for 30 seconds before letting loose what I can only imagine was a string of swears that Fox's speedy-fingered directors edited out.

Of the winners, here are my faves:

Jeremy Piven, Outstanding Supporting Actor in a Comedy Series - I love this guy, plain and simple; he's a comedic genius.

Katherine Heigl, Outstanding Supporting Actress in a Drama Series - Though I don't watch Grey's Anatomy very much, I do know that Heigl, Sandra Oh and Chandra Wilson are all very talented, so it was a toss-up. I don't blame her for mouthing, "sh*t!" when her name was announced over theirs.

Late Night With Conan O'Brien, Outstanding Writing for a Variety, Musical or Comedy Program - Sir Conan was up against other legendary funny men, Jon Stewart, Stephen Colbert and David Letterman, but he's my fave... it may be the crazy hair.

Helen Mirren, Outstanding Lead Actress in a Miniseries or Movie - The way-too-talented British actress was gracious enough to call Americans "generous," while somewhat alluding to both our positive and negative attributes, but she was forgiven. So she now has two huge awards in one year - an Oscar and an Emmy (that she can add to her other two, apparently). Bloody brilliant.

America Ferrera, Outstanding Lead Actress in a Comedy Series - She's officially Hollywood's Golden Girl now, and she really deserves the attention. She's handled herself well alongside other veteran actors.

The Sopranos, Outstanding Drama Series - Yeah, I stopped caring four seasons ago, but I do appreciate the series for its creative value. I wouldn't go so far as to say it's the best series ever as some would say, but I do think it deserved this final award as a proper send-off. Especially since James Gandolfini was snubbed for James Spader of the aging Boston Legal. I really hopethis is their last season.

30 Rock, Outstanding Comedy Series - I didn't think they were gonna get anything this year, even with all of the nominations, but Tina Fey's brain child deserved the kudos. Known as an "on the bubble series" (according to TV Guide) 30 Rock really needs to up its game this season. Hopefully this will give them the boost they needed.

Tonight is the season premiere of Prison Break and the series premiere of K-Ville. I'm curious to see how a series about New Orleans will fare in a country that forgot about Hurricane Katrina after only a few months. If nothing else, it should make for some good drama. We'll see.

Blog Archive 1 - School's in Session...

During my freshman year at Arizona State University, I used to scoff at the two girls down the hall from my dorm who religiously used their brand new TiVo to record such oh-so-stimulating shows like "The O.C." and "American Idol". At the time, I didn't understand how anyone could possibly be so addicted to television - or even their favorite shows - that they'd need to record something 24/7.

Three years later, I've definitely seen the error of my ways. While there are only a choice few series on television that make the cut on my Season Pass list, I have to admit that the opportunity to record anything at any time of the day has its advantages. Between early morning repeats of the old military/legal show JAG and late-night showings of Conan O'Brien, my TiVo gets the occassional workout. And with the Fall 2007 semester now in full swing, escapist entertainment is more necessary than ever.

Unlike three years ago, I now realize that TiVo is not just for the typical couch potato. In fact, TiVo allows you to NOT watch television all the time, as you can essentially pick and choose what shows you like, disregarding the rest, and watching them all (either in their entirety or not) whenever you can. In essence, you can be intelligent about what you watch, without suffering through the various, mindless forms of entertainment on the tube. It's a lovely tool that I'm glad I finally embraced.

The past two weeks have given everyone a chance to catch up on old favorites or shows that we happened upon by accident over the summer. Starting next week, networks all across the board, from CBS to SciFi to MTV will try to get our attention - and keep it for the remainder of the season.

Now, I know that there's no accounting for taste, so hopefully I'll be able to get the opinions of some random Sun Devils around campus. Let's see how "smart" the general consensus is when it comes to regular viewing habits.