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[str1keteam]

Nur Game of Thrones als Partner dürfte eigentlich kein Problem für HBO sein, da sich die Serien trotz des Genres ja mindestens so stark unterscheiden wie Boardwalk Empire und Luck, aber wenn man dann noch True Blood als 3-te Genreserie und Boardwalk als 3-te Big Budget Serie in die Rechnung einbezieht, stehen die Chancen auf eine Übernahme in den nächsten 3 Jahren (wenn denn überhaupt) äußerst gering.

Ausgeschlossen ist es aber nicht, da der Turm ja keine klassische Serie sondern eher eine Event-Miniserie in 2 Staffeln werde würde und wie könnte HBO seine Ausnahmestellung im TV eindrucksvoller unterstreichen als mit einer stargespickten Verknüpfung zu einer aufwendigen Kinoproduktion.

Von den 3 im Moment in Entwicklung befindlichen TV-Adaptionen ist aber wohl die Umsetzung von SyFys "Augen des Drachen"-Miniserie am realistischsten. Von Showtimes Under the Dome-Serie hat man ja seit der Verpflichtung von Brian K. Vaughan als Autor auch nichts mehr gehört.

[Plem]

Verdammt. Um The Corrections tut es mir richtig, richtig leid. Aber die Zweifel von HBO kann ich schon verstehen. Mein erster Gedanke als ich von der Serie gelesen habe, war auch, wie um Gottes Willen man das in der Form verfilmen kann.

Bei The Dark Tower sehe ich da ein ähnliches Problem. Habe zwar erst 2,5 Bücher gelesen, aber das ist ja noch verschachtelter als The Corrections. Über GoT oder The Wire kann man viel sagen, aber die Serien bzw. Romane sind zumindest chronologisch geradlinig erzählt. Beim Turm gibt es zich Flashbacks, Flashforwards, Flashsideways und Flashwasweißichnochwas. Da kann ich mir schon vorstellen, dass HBO den Schwanz einzieht.

[ultimateslayer]

Verdammt. Um The Corrections tut es mir richtig, richtig leid. Aber die Zweifel von HBO kann ich schon verstehen. Mein erster Gedanke als ich von der Serie gelesen habe, war auch, wie um Gottes Willen man das in der Form verfilmen kann.

Bei The Dark Tower sehe ich da ein ähnliches Problem. Habe zwar erst 2,5 Bücher gelesen, aber das ist ja noch verschachtelter als The Corrections. Über GoT oder The Wire kann man viel sagen, aber die Serien bzw. Romane sind zumindest chronologisch geradlinig erzählt. Beim Turm gibt es zich Flashbacks, Flashforwards, Flashsideways und Flashwasweißichnochwas. Da kann ich mir schon vorstellen, dass HBO den Schwanz einzieht.

Im ersten Buch vielleicht, aber Band 2 und 3 (weiter bin ich auch nicht) wird zwar zwischen Welten und Zeiten gewechselt, aber man verweilt dort ja auch immer länger. Aber bei The Dark Tower würde ja ohnehin nur ein Teil Serie werden und der andere Film. Das heißt auf die "Chronologie" der Bücher würde ohnehin nicht so sehr geachtet werden. Allerdings bezweifle ich dass das Projekt in der Form überhaupt noch realisiert wird.

[AlphaOrange]

NBC will offenbar "Grimm", "Go On", "New Normal" und "Save Me" im August starten, um die Olympia-Promo optimal abzugreifen:
http://www.deadline.com/2012/04/nbc-eye ... ama-grimm/
http://www.deadline.com/2012/05/nbc-pil ... -launches/

Ich weiß nicht so recht. Könnte für den Anfang tatsächlich klappen, aber wie schnell solche gepushten Starts abstürzen können, haben wir ja zuletzt bei Smash und Touch gesehen.
Neben dem allgemeinen Zuschauermangel im Sommer, sehe ich hier vor allem die Gefahr, dass die WH-Strecken innerhalb der Serien noch länger werden. Startet man einen Monat früher, muss irgendwo ein Monat Pause dazwischen geschoben werden.

[Theologe]

Ich weiß nicht so recht. Könnte für den Anfang tatsächlich klappen, aber wie schnell solche gepushten Starts abstürzen können, haben wir ja zuletzt bei Smash und Touch gesehen.
Neben dem allgemeinen Zuschauermangel im Sommer, sehe ich hier vor allem die Gefahr, dass die WH-Strecken innerhalb der Serien noch länger werden. Startet man einen Monat früher, muss irgendwo ein Monat Pause dazwischen geschoben werden.

NBC hat letztlich nichts zu verlieren und vielleicht ist es einfach sinnvoll, mal etwas ganz anderes, also einen vorgezogenen Start zu testen.
Wenn das in die Hose geht, ist das natürlich bitter, aber es läuft ja jetzt schon bis auf The Voice und Football alles mies.

[ultimateslayer]

Irgendwie versteh ich da nur Grimm in dem Line Up nicht ganz. 3 Freshmancomedys und ein Freitags-Genre Procedural im zweiten Jahr? Weird choice. Vielleicht dachten sie sich, dass es bei Grimm eh schon wurscht ist, weil die Serie unter der Woche vermutlich kaum neue Zuschauer abgreifen würde als Freitags, aber auch nicht noch 3 Jahre am Freitag versippern kann und versuchen deswegen was anderes. Aber Grimm hat ja bewießen, dass es allen möglichen Widrigkeiten widerstehen kann, also wer weiß, vielleicht passiert ja tatsächlich was unerwartetes.
Was für Serien gab´s in den letzten Jahren eigentlich sonst noch, die am Freitag gestartet sind und trotzdem über die erste Season hinaus gekommen sind?

[little_big_man]

Die früh gestarteten Serien können dann ja auch einfach früher enden, wie dieses Jahr z.B. Parenthood (welches zwar nicht früher gestartet ist, aber wegen weniger Episoden auch schon Ende Februar beendet war). Dann könnte NBC in diesen Slots dann ihre übrigen Mid-Season-Shows senden von März-Mai...

[Theologe]

Was für Serien gab´s in den letzten Jahren eigentlich sonst noch, die am Freitag gestartet sind und trotzdem über die erste Season hinaus gekommen sind?

Nur Blue Bloods, Body Of Proof war freitags eingeplant, wurde dann aber von Oktober auf März verschoben und lief dort dienstags.

[redlock]

Was für Serien gab´s in den letzten Jahren eigentlich sonst noch, die am Freitag gestartet sind und trotzdem über die erste Season hinaus gekommen sind?

CSI -- der ultimative Hit, der eine volle Staffel Freitags lief.
Okay, Blue Bloods in neuerer Zeit.

Frühe Starts: siehe die ''Erfolge'' bei FOX. :lol:
Andererseits, NBC hat nichts, aber auch gar nichts zu verlieren. Außerdem kann man die Staffeln dann so teilen, wie man es vom Kabel TV kennt (siehe die Serien bei USANetwork, ABCFamily).

[McKing]

http://www.bgr.com/2012/05/02/amazon-studios/

Bin für alles offen. Freu mich sehr, dass Serien nicht mehr für TV-Sender hergestellt werden, sondern direkt online für die Konsumer.

[AlphaOrange]

Ich bin da noch skeptisch, was diese ganzen WebTV Geschichten angeht. Hab da einfach ein bisschen Bedenken, dass das künftig die Budgets für Serien nochmal stark nach unten wuchten wird.
Der Auftrieb der Cable Stations hat High Budget im Network TV gekillt. Wenn sich die Diversifikation jetzt auch noch auf Netzbetreiber und Web-Anbieter ausbreitet, die alle mit ins Seriengeschäft einsteigen, sind bald noch viel mehr Serien da, die in gewisser Weise alle am selben Geldtopf nagen werden. Bislang hab ich noch nichts Richtung WebTV gesehen, das mich qualitativ auch nur ansatzweise überzeugt hätte.

[Theologe]

Der Auftrieb der Cable Stations hat High Budget im Network TV gekillt.

Könntest du bitte etwas näher erläutern, was du damit meinst? Die Budgets der Networks sind doch immer noch riesig, wie man immer wieder sehen muss, wenn Cable Stations Shows übernehmen wollen.

[little_big_man]

Starz Greenlights ‘Treasure Island’ Prequel Pirate Series Exec Produced by Michael Bay

Starz is heading out to the high seas with a straight-to-series order to a pirate adventure drama executive produced by Michael Bay. The series, tentatively titled Black Sails, was created by Jon Steinberg and Robert Levine. The eight-episode drama is set twenty years before the events in Robert Louis Stevenson’s classic Treasure Island and chronicles the adventures of fabled buccaneer Captain Flint and his men. Flint, the most brilliant and most feared pirate captain of his day, takes on a fast-talking young addition to his crew who goes by the name John Silver. Threatened with extinction on all sides, they fight for the survival of New Providence Island, the most notorious criminal haven of its day – a debauched paradise teeming with pirates, prostitutes, thieves and fortune seekers, a place defined by both its enlightened ideals and its stunning brutality. “Starz is excited to be working with a visionary like Michael,” said Starz CEO Chris Albrecht. “Along with the high-octane action that is a hallmark of a Michael Bay production, it has the elements that Starz originals are striving to bring to the premium landscape: epic, larger than life, cinematic storytelling. The series is also a property we believe will appeal to the global content marketplace with broadcasters around the world.” The latter is important to Starz because, like with the Spartacus franchise and Magic City, Starz owns all domestic and international rights to Black Sails.

[...]

http://www.deadline.com/2012/05/starz-g ... chael-bay/

Klingt spannend...

[str1keteam]

Hats also doch noch eins der 1000 Piraten Dramen von der Entwicklungsphase zur Serie geschafft.

Zumindest Port Royal auf FX und die Wikingerserie könnten aber gerne noch folgen. Unter der Federführung von Michael Bay und dem Human Target Autoren erwarte ich vom Treasure Island Prequel zwar gute Abenteuer-Unterhaltung, aber selbst bei Starz nicht die düster-kompromisslose Piratenserie, die mir vorschwebt.

[redlock]

Starz Greenlights ‘Treasure Island’ Prequel Pirate Series Exec Produced by Michael Bay

Starz is heading out to the high seas with a straight-to-series order to a pirate adventure drama executive produced by Michael Bay. The series, tentatively titled Black Sails, was created by Jon Steinberg and Robert Levine. The eight-episode drama is set twenty years before the events in Robert Louis Stevenson’s classic Treasure Island and chronicles the adventures of fabled buccaneer Captain Flint and his men. Flint, the most brilliant and most feared pirate captain of his day, takes on a fast-talking young addition to his crew who goes by the name John Silver. Threatened with extinction on all sides, they fight for the survival of New Providence Island, the most notorious criminal haven of its day – a debauched paradise teeming with pirates, prostitutes, thieves and fortune seekers, a place defined by both its enlightened ideals and its stunning brutality. “Starz is excited to be working with a visionary like Michael,” said Starz CEO Chris Albrecht. “Along with the high-octane action that is a hallmark of a Michael Bay production, it has the elements that Starz originals are striving to bring to the premium landscape: epic, larger than life, cinematic storytelling. The series is also a property we believe will appeal to the global content marketplace with broadcasters around the world.” The latter is important to Starz because, like with the Spartacus franchise and Magic City, Starz owns all domestic and international rights to Black Sails.

[...]

http://www.deadline.com/2012/05/starz-g ... chael-bay/

Klingt spannend...

Plündern und vergewaltigen** (altes Piratenmotto :lol: ) -- damit dürfte die Serie perfekt zu Spartacus und Starz passen :lol:

Wenn's jetzt nur nicht so langweilig wie ''Magic City'' wird...



**: wer's politisch korrekter haben möchte kann's mit ''Sex und Gewalt'' ersetzen

[little_big_man]

The CW Renews 'The Vampire Diaries,' '90210' and 'Supernatural'

http://tvbythenumbers.zap2it.com/2012/0 ... al/132338/

Keine Überraschungen....aber auf 90210 hätte ich gerne verzichten können zugunsten einer neuen Serie.

[Plem]

Hmm, (noch) kein TSC :|

[Stefan]

The CW Renews 'The Vampire Diaries,' '90210' and 'Supernatural'

http://tvbythenumbers.zap2it.com/2012/0 ... al/132338/

Keine Überraschungen....aber auf 90210 hätte ich gerne verzichten können zugunsten einer neuen Serie.

Rofl - war SUPERNATURAL nicht vor 2 Staffeln in der eigentlichen "final season"? :lol:

90210 ist eine Katastrophe - ich verstehe nicht, warum CW das noch erneuert.. GOSSIP GIRL lässt sicher auch nicht mehr lange auf sich warten -.-

[Theologe]

Keine Überraschungen....aber auf 90210 hätte ich gerne verzichten können zugunsten einer neuen Serie.

Ich hätte auch auf die Diaries verzichten können, aber vermutlich wäre der Ersatz auch nicht besser. Supernatural ist für mich die letzte Bastion auf CW und das letzte WB-Überbleibsel.

[smalltown]

http://www.youtube.com/watch?v=X47903Ct ... r_embedded

Fox neue Datingshow scheint nicht gut anzukommen. Ich weiß nicht was ich von halten soll es klingt eigentlich interessant. Aber es ist auf jeden Fall ein wenig billig, "The Voice" so offensichtlich zu kopieren. Mal sehen ob sie das wirklich umsetzen und wenn ja ob sie verklagt werden.

[Waterboy]

Rofl - war SUPERNATURAL nicht vor 2 Staffeln in der eigentlichen "final season"? :lol:

jupp, hätte man das da mal gemacht. Season 6 & 7 sind zwar noch recht unterhaltsam, aber die Serie hat leider deutlich an Qualität verloren. Hoffe Season 8 ist die letzte Staffel und man bringt alles mit einem runden Ende zu Ende.

90210 ist mir ziemlich egal, nur 1 oder 2 Folgen gesehen und die sind grausig gewesen.

TVD natürlich keine Überraschung, war eh klar und ich freue mich


Als nächstes bekommt dann Gossip Girl seine final Season und ich bin mir eigentlich sicher das man TSC auch verlängern wird.

Wie siehts eigentlich bei Ringer aus? Hab die Quoten nicht wirklich im Blick, aber da SMG sich ja bereits von ihrem Prinzen befruchten hat lassen, denke ich mal es wird keine 2. Season geben oder ?

[AlphaOrange]

Wie siehts eigentlich bei Ringer aus? Hab die Quoten nicht wirklich im Blick, aber da SMG sich ja bereits von ihrem Prinzen befruchten hat lassen, denke ich mal es wird keine 2. Season geben oder ?

Ringer ist töter als tot. Die Quoten sind selbst für CW-Verhältnisse ein totales Desaster und haben auf den letzten Metern noch Freitagsserie Nikita im Rennen um die schlechtestlaufende CW-Serie abgehängt.

[Donnie]

Sehr interessante Pilot Buzz-Artikel. Langsam zeichnet sich wirklich ab, welche Serien man am Ehesten im Herbst zu sehen bekommen wird:

TV Pilot Buzz: 'Nashville,' 'Arrow,' Mindy Kaling, '1600 Penn,' 'Elementary' Among Front-Runners

With less than two weeks to go until the broadcast networks roll out their plans for the 2012-13 television season, it's crunch time for the more than 80 pilots bidding for a slot on the fall (and midseason) schedule.

Projects from established showrunners including Shawn Ryan, Greg Berlanti, Ryan Murphy, Shonda Rhimes and Marc Cherry are screening this week for network executives, who hope that stars including Connie Britton, Bill Pullman, Mindy Kaling and Dennis Quaid turn enough heads to gain a place in primetime.

Here are a collection of the comedies and dramas gaining steam heading in to crunch time. Worth noting: While early buzz can be a good indicator, it doesn't always translate to a series order.

ABC

Soapy drama Nashville, starring Friday Night Lights' Connie Britton as a country music star at her peak teamed with a rising star (Heroes' Hayden Panettiere) from Thelma and Louise scribe Callie Khouri, is considered a safe bet at the Disney-owned network. … Marc Cherry's Devious Maids, an adaptation of the Mexican format with Susan Lucci attached, has heat heading into the final days of decision making. .... Fashion soap Americana, with Anthony LaPaglia and from North Country writer Michael Seitzman, is gaining steam, with internal conversations about it being "on brand" for the female-skewing network. Meanwhile, Radha Mitchell's crime syndicate adaptation Penoza, which has Twilight's Melissa Rosenberg on board as a writer/exec producer, and Shawn Ryan's island-set military drama Last Resort, starring Scott Speedman, are also in serious contention, though one source suggests departing from ABC's soapy, female core with this season's The River may have given Paul Lee's camp cold feet about veering off again. Meanwhile, Shonda Rhimes' period hotel drama Gilded Lilys, from Gossip Girl scribe KJ Steinberg and starring Torchwood's John Barrowman, and spooky drama 666 Park Ave., starring Lost's Terry O'Quinn, have not been ruled out.

Among the network's comedy offerings, which several sources have labeled as disappointing, country-themed multicamera effort Malibu Country, starring Reba McEntire, screened Wednesday to positive buzz, with Claudia Lonow's How to Live With Your Parents, Kyle Bornheimer starrer Red Van Man, Judy Greer's American Judy, Kal Penn's Prairie Dogs and multicam Only Fools and Horses all in contention.

NBC

The first to greenlight a pilot to series with its Matthew Perry comedy Go On, the struggling network already has a jump on the pack and has two more half-hour efforts currently staffing up. Ryan Murphy and Ali Adler's blended-family comedy The New Normal and Anne Heche starrer Save Me have both begun looking for writers, and the latter of which screened through the roof. … White House comedy 1600 Penn, created by and co-starring The Book of Mormon's Josh Gad, with Bill Pullman as the leader of the free world, is considered a sure thing though it has yet to begin staffing. … Also testing well was the network's Justin Kirk House-like single-camera veterinarian comedy Animal Kingdom. … Greg Daniels' adaptation of Brit series Friday Night Dinner, despite mixed feedback, is considered to have a shot because of The Office creator's value to the network. … Meanwhile, Jimmy Fallon's multicam effort Guys With Kids has internal heat, with his early involvement giving execs added confidence.

On the drama side, there's heavy interest surrounding JJ Abrams' Revolution. ... Dick Wolf drama Chicago Fire, starring The Vampire Diaries' Taylor Kinney, is being described as ER at a fire station with real "broadcast potential." … The network's Dr. Jekyll and Mr. Hyde effort Do No Harm, starring Steven Pasquale and Phylicia Rashad, looks to have heat. … Meanwhile, ensemble Western The Frontier is said to have turned out great, but the network remains hesitant on the period piece directed and exec produced by Thomas Schlamme. Also still in contention: murder-mystery Notorious and Jason Katims' medical drama County.

The CW

With considerable ratings needs and a desire to have more original year-round fare, there's talk of the younger-skewing network picking up at least five new dramas. (CW topper Mark Pedowitz told The Hollywood Reporter that he's holding off on comedies until he has stabilized the schedule.) Comic adaptation Arrow, starring Stephen Amell as the DC hero, and The Carrie Diaries with AnnaSophia Robb as a young Carrie Bradshaw, are both considered locks for series orders among the network's eight dramas. … Josh Schwartz crime drama Cult, starring Vampire Diaries' Matt Davis, has begun staffing, with the prolific producer possibly going 2-for-2 this development season. … The Good Wife's Mamie Gummer is receiving rave reviews for her role on medical drama First Cut, with her performance being described as a mix of Calista Flockhart in Ally McBeal and Ellen Pompeo in Grey's Anatomy. … Hunger Games-like effort The Selection, starring Aimee Teegarden (Friday Night Lights), hasn't impressed everyone and isn't coming off as the slam dunk everyone had hoped for. … With Pedowitz looking to expand the network's original scripted fare beyond fall, Beauty and the Beast -- starring Smallville's Kristin Kreuk in the adaptation of the 1980s CBS drama -- could earn a pickup as not all the network's series orders likely will be for fall alone.

CBS

Although it remains the most-watched network with the clearest brand, CBS is in need of a few replacements as many of its dramas grow long in the tooth. Of appeal: procedurals with a bit more character built in. Early front-runners Elementary, the modern take on Sherlock Holmes starring Jonny Lee Miller and Lucy Liu, and the untitled Ralph Lamb Western -- starring Dennis Quaid, Michael Chiklis, Jason O'Mara and Carrie-Anne Moss -- are considered as close to a lock as they get. … Female-fronted hours Applebaum, starring Rachelle Lefevre and Jay Mohr and based on Ayelet Waldman's Mommy Track Mysteries, and legal drama Baby Big Shot, with Janet Montgomery, could get pickups, with the latter possibly getting a fall slot and the former held for midseason. … The untitled Greg Berlanti-Nicholas Wootton cop drama starring Holt McCallany (Lights Out) remains in the mix.

Among comedies, the network is said to have loved Partners, from Will & Grace creators Max Mutchnick and David Kohan and starring David Krumholtz, Michael Urie and Sophia Bush. … Insiders were said to also have loved the untitled Nick Stoller sad-sack comedy starring Michael Angarano, with the network mulling whether it would finally pickup a single-camera effort ("they'll have egg on their face if they don't do it," suggests one source of the big push the network made earlier this season to court single-cam fare). … The Greg Berlanti-Greg Malins comedy could see a pickup, with talk of the Martin Lawrence comedy moving forward care of his promotability (though some question the show's international appeal).

Fox

With the network looking to fill many needs, all reports indicate that Mindy Kaling will be departing Dunder Mifflin as her Bridget Jones-type doctor comedy from Universal Television is considered a lock, with one source indicating that it's as good as "on the schedule." … Also considered a strong contender is Rebounding, the late-season pilot order about a guy recovering from his fiancee's death, from Last Man Standing duo Joe Port and Joe Wiseman and exec produced by Modern Family's Steve Levitan. ... Despite mixed reviews internally, prospects are still good for The Goodwin Games, from How I Met Your Mother scribes Carter Bays and Craig Thomas and starring Becki Newton and Scott Foley. … Single-camera Mercedes Ruehl comedy El Jefe, screened Tuesday and -- along with Mike O'Malley's Prodigy Bully, Mike Royce's John Stamos comedy Little Brother and Dana Fox's Ned Fox is My Manny -- are all considered in contention.

On the drama side, Greg Berlanti's Cuba Gooding Jr. legal drama Guilty is said to have played well. … Pilot season's "big get" -- Kevin Williamson's Kevin Bacon serial killer drama -- hasn't screened but is considered to be a sure thing considering its star power and pedigree. … Josh Berman-Robert Wright medical drama Mob Doctor, with Jordana Spiro and Zach Gilford, is also said to have heat, with the Untitled Karyn Usher spy drama still in the mix.

Source

Nets home in on pilot picks
NBC expected to make more early moves as countdown to upfront week begins

After nearly a week of marathon pilot screening sessions at the broadcast nets, speculation about prime pickup prospects has hit a fever pitch as the countdown to upfront week begins.

NBC

Bizzers expect NBC to make a move with early pickups for three shows as early as today. The chatter has centered around comedies "The New Normal," "1600 Penn" and "Save Me," possibly as candidates for August premieres following NBC's summer Olympics coverage. NBC and Fox lead off the broadcast upfront presentations on May 14.

"Normal," "1600 Penn" and "Save Me" shows are all single-camera vehicles, as is Matthew Perry's "Go On," which earned a series greenlight late last month. But NBC execs made it clear to creatives this pilot season that the network was in the hunt for more multi-camera comedies, in part to find a companion for "Whitney," which has been a multi-cam island on the Peacock this season.

Among NBC's multi-cam prospects, the most polarizing contender seems to be Roseanne Barr's "Downwardly Mobile." Some say the show's noisy blue-collar humor is in step with the harsh economic realities facing viewers in flyover country; others say it feels too retro to work on 21st century NBC. But given the built-in marketing platform of Roseanne's sitcom comeback attempt and her reunion with former TV hubby John Goodman, no one's ready to count "Mobile" out yet.

The multi-cam comedy drawing the most uniformly positive buzz is "Guys with Kids," the ensembler produced by Jimmy Fallon's shingle. "Table for Three" (fka "Daddy's Girls") and Kari Lizer's "Lady Friends," toplined by Minnie Driver and Andrea Anders, have generated mixed reactions. Industry insiders say Lizer's status as an A-list comedy showrunner could tip the scales for her at NBC, or ABC, where she's also in contention with Mary McCormack starrer "The Professional."

On the drama side, NBC is said to be sky-high on Jason Katims' hospital drama "County," starring Jason Ritter; and "Chicago Fire," the latest from the Dick Wolf shop. Next in the pecking order is the Jekyll & Hyde-esque "Do No Harm" and mystery-thriller "Midnight Sun." The 1840s-set Western "The Frontier" has been well-received but there are said to be concerns about whether the net can effectively launch such a show given that it will have a slew of new programming to support in the fall.

ABC

At ABC, there's chatter that sudser "Mistresses," which was given a series order in March for a summer 2013 run, could now be a fall contender.

The Alphabet's hot drama pilot prospects include Marc Cherry's "Devious Maids," supernatural mystery "666 Park Ave.," family soap "Americana," set in the world of fashion; and Navy submarine crew actioner "The Last Resort." ABC execs are said to have eyed "Resort" as an event series with a limited episode order a la "The River." But that may not fly with producer Sony Pictures TV as the studio would need 13 episodes minimum to maximize the show's international revenue.

Other contenders are "Penoza," about a housewife who takes over a crime ring after her husband is whacked; and "Nashville," a multi-generational soap set in the country music capital.

ABC is said to be happy with a high percentage of its comedy pilots, which will mean hard choices for execs as the clock ticks down to the net's May 15 upfront presentation. If there's a sure thing at ABC, it would seem to be Claudia Lonow's "How to Live with Your Parents for the Rest of Your Life," which is buoyed by the strengths of stars Sarah Chalke, Brad Garrett and Elizabeth Perkins.


CBS

CBS is inscrutable, as usual, but some info is seeping out. Buddy romcoms "Partners," from Max Mutchnick and David Kohan, and "Oh Fk, It's You," from Greg Berlanti and Greg Malins, seem bound for the schedule. (It's notable that both were helmed by the Iron Man of sitcom pilots, James Burrows.)

A dark horse that emerged this week is "Super Fun Night," from Conan O'Brien's camp. The Rebel Wilson project is said to have undergone significant post-shoot tweaking and has been gaining fans within the Eye, possibly as a companion to "2 Broke Girls." On the flip side from NBC, CBS may foray into single-cam comedy territory with "Entry Level" from feature scribe Nick Stoller.

The bar for new dramas is high at the Eye, given the depth of its bench. Sherlock Holmes-inspired "Elementary" is this year's heat-seeker, along with Vegas period piece "Ralph Lamb." Berlanti seems poised to have a drama and a comedy picked up at the Eye with the buzz good for his cop character drama "Golden Boy."


FOX

Fox's comedy slam dunks are said to be the untitled Mindy Kaling project (a BFF for "New Girl"), and the guy-centric "Rebounding." From there, it's said to be brawl for half-hour real estate between "El Jefe," "Little Brother," "Ned Fox is My Manny" and "The Goodwin Games."

Drama-wise, there's been a strong response to the femme Mafia doctor vehicle from writers Josh Berman and Rob Wright. Kevin Williamson's serial killer thriller "Mastermind" is fortified by the power of Kevin Bacon and is expected to land a midseason order (Bacon only committed to 15 episodes).

In the tussle of Fox's dueling femme secret agent projects ("The Asset" and untitled Karyn Usher), the untitled Karyn Usher is believed to have the upper hand in part because execs are wild about its ingénue star Saxon Sharbino.

Berlanti's legal-themed "Guilty," starring Cuba Gooding Jr. as a disbarred lawyer out to clear his name, is still in the mix.

THECW

At CW, the consensus on the likely pickups that emerged early last week hasn't changed much. Stars and producers of "Arrow," "Carrie Diaries," "Cult," "First Cut" and "Beauty and the Beast" seem bound for Gotham week after next. The only lingering question seems to be whether CW will make it a six-pack of pickups if "The Selection" makes the cut.

Source

Primetime Pilot Panic: 3rd Hot List Update

NBC

2ND UPDATE FRIDAY: Another NBC comedy frontrunner, 1600 PENN, has been given permission to begin making staffing offers, moving it closer to a series pickup.

UPDATE THURSDAY PM: I hear Greg Daniels’ comedy pilot FRIDAY NIGHT DINNER also has been given permission to start making staffing offers. But I’ve learned that those offers are backed by Daniels’ veteran NBC series The Office, meaning that the writer-producers signed for FND would segue to The Office if the pilot doesn’t go.NBC Pilots

PREVIOUS 11 AM THURSDAY: About halfway through the broadcast networks’ screenings this week, it doesn’t look like there have been major surprises, with most early frontrunners solidifying their positions.

NBC, which is looking to launch a number of series in August, right after the end of its coverage of the Summer Olympics, has been moving the fastest, picking up the first pilot to series, the Matthew Perry-starring single-camera comedy Go On, and giving several others permission to make staffing offers. In addition to single-camera comedies THE NEW NORMAL and SAVE ME, I hear also allowed to begin a hiring process are the Jimmy Fallon-produced multi-camera comedy GUYS WITH KIDS and J.J. Abrams/Eric Kripke’s action drama REVOLUTION, which had been very quiet after a late start. We might see more series pickups today as there is a rumor this morning that the network may order as many as three new series before the day is over. (UPDATE: That rumor turned out to be bogus, no NBC series pickups today.) Also going strong on the comedy side at NBC is White House single-camera family comedy 1600 PENN as well as Greg Daniels’ FRIDAY NIGHT DINNER despite middling testing. Single-camera ANIMAL KINGDOM is still in contention along with several multi-camera comedies, though it seems like NBC brass have somewhat cooled off on the format: the UNTITLED KARI LIZER, DADDY’s GIRLS, which has been gaining momentum, and, to some extent, DOWNWARDLY MOBILE. Meanwhile, SARAH SILVERMAN is a very long shot. Drama-wise, medical drama COUNTY appears to be a strong contender, along with another medical drama, the Jekyll and Hyde-esque DO NO HARM, though it is not clear if NBC would pick up two medical shows. The Dick Wolf-produced CHICAGO FIRE is strong, and its pickup may factor into Wolf’s ongoing renewal negotiations with NBC for Law & Order: SVU. The Western-flavored FRONTIER still has supporters despite mixed testing results, while last-minute pickup NOTORIOUS is quickly becoming a contender.

FOX

The UNTITLED MINDY KALING comedy pilot continues its march towards Fox‘s schedule as a potential companion to New Girl. Late bloomer NED FOX IS MY MANNY also appears likely to snag a series order, along with the Steve Levitan-produced REBOUNDING. Several other Fox comedy pilots are fighting for a spot: the network’s other two adult sibling comedies besides Ned Fox, LITTLE BROTHER and GOODWIN GAMES, as well as EL JEFE and PRODIGY/BULLY. On the drama side, the Kevin Bacon-starring UNTITLED KEVIN WILLIAMSON project continues to look as a sure thing, despite some concerns over its violence, ahead of its network screening. The UNTITLED BERMAN/WRIGHT mob doctor drama followed its great testing with a strong screening to solidify its chances, with the UNTITLED KARYN USHER teen spy drama and the Cuba Gooding Jr.-starring legal drama GUILTY also very much in contention, while THE ASSET is fading.

ABC

Marc Cherry’s DEVIOUS MAIDS was recently given permission to make senior writing staff offers ahead of its official screening, which bodes well for the dramedy. (UPDATE: The pilot’s screening was just so-so.) AMERICANA also is strong following its screening, as most ABC drama pilots are still in contention. Sudser-wise, that includes NASHVILLE ahead of its screening (UPDATE: it screened very well) and to some extent PENOZA. On the testosterone side, slow starter, the UNTITLED ROLAND EMMERICH action drama continues to improve its chances, with the Shawn Ryan-produced LAST RESORT solid. The fantasy/genre race among GOTHAM, 666 PARK AVE and BEAUTY & THE BEAST to join freshman breakout Once Upon A Time is still too close to call. Buzz on Gotham has been solid, reaction to 666 has been more mixed but it features a cast of signature ABC stars like Terry O’Quinn and Vanessa Williams. Meanwhile, there have been some issues on BEAUTY & THE BEAST but its deep Disney roots and the fact that, like Once and unlike Gotham and 666, it is owned by ABC is making it a strong contender for a pickup. Period soap GILDED LILYS has cooled off after a lackluster screening, with SCRUPLES still soft. On the comedy side, there are no major standouts. The Reba McEntire starrer MALIBU COUNTRY is solid, with UNTITLED MANDY MOORE and UNTITLED DAN FOGELMAN gaining momentum, and AMERICAN JUDY, HOW TO LIVE WITH YOUR PARENTS, ONLY FOOLS & HORSES, RED VAN MAN and PRAIRIE DOGS all in contention. It is still early on the UNTITLED KARI LIZER, which had a solid taping, while feedback on AWESOMETOWN has been mixed.


CBS

CBS‘ Sherlock Holmes reboot ELEMENTARY continues to look like a lock for fall, along with the star-studded RALPH LAMB, which has not been seen by many yet. The Jerry Bruckheimer-produced TROOPER has been rising, especially with speculation that CBS may cancel one of the CSI spinoffs (the odds are on the more expensive Miami at the moment), so a Trooper pickup would keep the number of Bruckheimer series on the network intact. The uber-producer will have an opportunity to pitch both the pilot and the bubble CSI shows as I hear he will be hosting CBS chief Leslie Moonves at the Kentucky Derby this weekend. Several other drama pilots are in contention. APPLEBAUM has been received well, with WIDOW DETECTIVE, which tested well, and GOLDEN BOY in the mix. On the comedy side, Max Mutchnick and David Kohan’s PARTNERS is strong, as is the NICK STOLLER comedy, with the BERLANTI/MALINS quietly gaining momentum. The MARTIN LAWRENCE comedy was a very late order and has not been seen yet but early buzz has been positive.

THECW

No major changes in the standings at the CW with six of the network’s eight pilots still in serious consideration as the CW could pick up as many as 5-6 new series and be creative with scheduling, spreading them out throughout the season in cable fashion. The list of frontrunners continues to be topped by ARROW and THE CARRIE DIARIES, with BEAUTY & THE BEAST, FIRST CUT and CULT strong and the Hunger Games-esque THE SELECTION also in contention.

Source

CW President Mark Pedowitz Opens Up about Ratings, Profits and "Vampire Diaries" (Q&A)
Mark Pedowitz opens up about the plan for profitability and what happened when his wife crossed paths with a young Matt Weiner.


When Mark Pedowitz was selected to run The CW a year ago, he seemed a nontraditional choice. After all, at 59, Pedowitz, who is married with no children, falls far outside the perennially ratings-challenged network's core 18-to-34 female demographic. And the gig came after Pedowitz made his name first as a Hollywood attorney and business affairs executive and then as the head of ABC Studios, where he championed such broad, all-ages hits as Lost and Grey's Anatomy. But 12 months in, the Brooklyn native already has used his deal-making savvy to monetize CW content, closing a billion-dollar pact with Netflix (for streaming rights to previous seasons of CW shows) and a five-year licensing deal with Hulu. He's ordering summer original series, one of several initiatives to lift The CW's viewership, which has fallen 14 percent in the ratings among its target audience, and prepping his first fall schedule, which is likely to include a Sex and the City prequel (The Carrie Diaries) and a superhero drama (Greg Berlanti's Arrow). The La Canada-area resident, who has three dogs -- two bloodhounds and a basset hound -- pictured prominently around his spacious Burbank office, sat down in late April to discuss ratings frustrations, provocative programming and the surprising instruction he gave his writers.

The Hollywood Reporter: If you could rewind a year, what's the one thing that you'd tell yourself about this job?

Mark Pedowitz: I would have spent the first six months not looking at ratings. I would have saved myself a lot of aggravation. I had an epiphany in December, when I started looking at the social-media grids like Get Glue, where our shows constantly are in the top 10. Or look at live-plus seven numbers, which we don't get paid for, and we're tripling our women 18-to-34 ratings. You start to realize that these shows are working, but the key -- and part of our development slate this year is going to be an attempt to do this -- is to find a way to get them to come back to view the shows live.

THR: If I'm a creator in town, what's your pitch for why I should take my show to The CW?

Pedowitz: I had a pretty good reputation at ABC Studios of being very writer-friendly, and I'm still that way. So my pitch is, you bring me material you believe in, and we will back the play. We're not overly intrusive in this world, and we're open to ideas. I asked Thom [Sherman, head of development] and his team, "What didn't get made but should get made?" They handed me the script for Cult [a drama from Gossip Girl's Josh Schwartz and Stephanie Savage], I read it, and I talked to everyone we needed to talk to, and we got the green light to do it.

THR: What don't you get pitched enough of?

Pedowitz: We don't have the luxury of cable, so we can't push the boundaries the way that you'd like to with some topics. I instructed Thom and his team to have our writers write these pilots as if they were writing for the pay medium. It's easier to pull back than it is to add, so I said, "Write it the way you would if you were going to take it to HBO, and we'll deal with the language issues and everything else to make it work for our air." Some embraced it; some didn't believe us. Hopefully now they'll believe us.

THR: Your latest series, The L.A. Complex, certainly pushes those boundaries with tons of sex, drugs and homosexuality …

Pedowitz: Whether it works ratings-wise or not at first, it has a cultural connectivity to it. It's heightened, but it feels much closer to reality. It's smartly provocative, and even though that was an acquired show from Canada, that's where we want to take this network.

THR: The network had abandoned comedy for a few years. How is that changing?

Pedowitz: We developed eight comedy scripts, and we're big on two of them. We didn't order any of them because we felt it was more important to stabilize the schedule, which required us to focus on the hour format. But as I said last summer before any of these shows came on, 2 Broke Girls, New Girl and Don't Trust the B---- in Apt 23 would easily work as CW comedies. Look, we'll continue to service women 18-to-34, but the goal is to broaden it to an 18-to-34 adult audience. There are 64 million-plus people in that range, and we should be able to get more than we get.

THR: You've struggled with reality shows. Do you look at Jersey Shore and wish you had that?

Pedowitz: We've had trouble. But if you don't try a number of things, you're never going to change anything at all, so we have four new shows coming on this summer. You look at Jersey Shore, and you say, "Is there a variation on that?"

THR: You've struck deals with Netflix and Hulu as other networks are holding back content. Where do such streaming services fit into the content ecosystem?

Pedowitz: The board was heading in that direction, and then I came in and believed in it. We can hide behind the fact that our viewers should be watching on their TVs, but the reality is, many have cut the cord. The Netflix and Hulu deals have paid off for the board, the partners and the network. And it should allow greater exposure and marketing opportunities for the shows.

THR: By encouraging online viewership, your affiliates, which depend on live viewership, are poised to suffer. How have they responded?

Pedowitz: Remember, the affiliates have had to deal with all of this change as well. We're giving them a 30-second ad unit in the streaming version, and eventually, if we're able to do it technology-wise, we'll allow it to recur at the app level.

THR: How do your advertisers tell you they feel about your digital push considering 18 percent of the total audience for CW shows come from online?

Pedowitz: We did our road tour, and the advertisers were very welcoming. What they want is a lot of what we've done this year, which is put on 50 more original hours, make eight more pilots and try things. We have a summer schedule for the first time. From the advertisers and affiliates, there's a general appreciation for trying.

THR: You report to a board. Who is the day-to-day boss?

Pedowitz: The day-to-day boss managing The CW is me, and the board is there to assist me. I'd say I speak to Bruce Rosenblum, Nancy Tellem and Leslie Moonves at least once or twice a week, just to give them updates and to get their thoughts. We don't always agree, but it's a great discourse. Hopefully, I'll fulfill their goals.

THR: What is their goal?

Pedowitz: To make this a profitable operation and a vibrant operation. I think we'll get there over time. It's profitable for everyone involved, but as a stand-alone operation, it has a way to go.

THR: As a middle-aged man without children, how do you stay on top of what your demo wants?

I talk to my 27-year-old niece and my nephews and my friends' children. I also use Flipboard as a way to stay current. It's a great aggregator, and I'm a big fan of sending articles that I see on there. I just forwarded one called "My Grandma Was My Wing Woman."

THR: How do you unwind?

Pedowitz: If I can, my wife, Carolyn, and I will walk the Rose Bowl once or twice a week. And I read a lot of books, mostly sci-fi/fantasy. It's the space opera-type sci-fi that wouldn't work for the CW audience. Women tend not to want to come.

THR: What do you watch?

Pedowitz: I still watch every show that I started at ABC Studios. I've seen every episode of Grey's Anatomy, Lost, Criminal Minds, Army Wives. I'm completely hooked on Vampire Diaries and Supernatural, and my wife and I watch Dexter and Nurse Jackie together.

THR: Was your wife ever in the business?

Pedowitz: No, but it's a funny story. [Mad Men creator] Matt Weiner, [ICM's] Chris Silbermann and Eddy Yablans all learned sex education from my wife at the Harvard school [now L.A.'s Harvard-Westlake]; she was a science teacher there.

THR: Wow. Has that come up with them?

Pedowitz: Oh yes. Chris and his wife, Julia, had a dinner party years ago, and we were talking. When he told me which years he was there, I asked who he had for science and sex education. He said, "Miss Martin." I said, "Chris, here's Miss Martin," pointing to my wife. He shot straight up and said, "Miss Martin?" Carolyn, to her credit, said to him, "Obviously by having the children you learned something from my class."

Source

Ich muss ja sagen, die CW-Pilots hören sich größtenteils schrecklich an, besonders "The Carrie Diaries". Bei FOX und NBC scheint es das große Jahr der Comedys zu werden, zumindest klingt es in all den Artikeln als hätten sie unzählige gute Comedy-Piloten. NBC könnte allein mit "Go On", "Save Me", "The New Normal" und "1600 Penn" einen komplett neuen Comedy-Abend aufmachen. Mal schauen, ob sie sogar den kompletten Donnerstag überdenken.

Naja, es ist ja für die Networks üblich, die meisten Serien-Piloten vor den Upfronts zu bestellen, also müsste es in der Hinsicht ja schon mal nächste Woche losgehen.

[Holzklotz]

Bin sehr gespannt auf Chigago Fire. Hört sich spannend an.

[Stefan]

Ich muss ja sagen, die CW-Pilots hören sich größtenteils schrecklich an, besonders "The Carrie Diaries".

Sehe ich nicht so - eigentlich hört sich nur "Carrie Diaries" nach ner furchtbar schlechten Idee an