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[redlock]

Hier, damit kann Theologe seinen USA network Hass weiter brennen lassen ( :lol: )

THR: Back then, USA had The 4400 and The Dead Zone. Do you see the network moving forward in a new direction? Where does the network go from here?

Wachtel: Even in those days, we weren’t really sci-fi. When you think about the approach of Dead Zone, Dead Zone was not a Stephen King thriller. The writer, Michael Piller, came up with a very personal, very humanistic, very character-based way into the work of Stephen King. A man whose life has been shattered, who has impregnated his lover, who has the child. A wonderful triangular romance that [built up] over time. The 4400 was a big genre concept, but our sell was life interrupted. It wasn’t Armageddon, it wasn’t Deep Impact, but in those days, with our bigger, more genre pieces, the network’s approach was always coming into it from a character perspective. That’s something we’ve figured out how to do with a spy show, a lawyer show, a doctor show.

THR: It’s always character first?

Wachtel: It is always character first and story second.

Quelle:
http://www.hollywoodreporter.com/news/h ... ain-210776

[Shepherd]

Wachtel:[/b] It is always character first and story second.[/color]

Das an sich wäre ja nicht schlimm. Wenn die Charaktere dann aber die Vielschichtigkeit von Vanillepudding haben, dann wirds eben öde. Die Aussage klingt ja so als ob wir da Charakterstudien vom Feinsten serviert bekommen- in Wahrheit ist das meist eindimensionales Blubb.

[Theologe]

Hier, damit kann Theologe seinen USA network Hass weiter brennen lassen ( :lol: )

Du verwechselst Hass mit purer Enttäuschung.

[redlock]

Hier, damit kann Theologe seinen USA network Hass weiter brennen lassen ( :lol: )

Du verwechselst Hass mit purer Enttäuschung.

Oh

[Theologe]

Mangels Interesse hat wohl bisher niemand gepostet, dass Ted Danson neuer Hauptdarsteller bei CSI wird. Nachdem ich quasi nach der 9 Staffel ausgestiegen bin, werde ich zumindest zu Beginn der 12. Staffel einen Blick riskieren, wie sie Ted Danson in einer solchen Serie macht und da er Bored Of Death erhalten bleiben soll, muss man sich nichtmal ärgern, dass er seine Zeit "verschwendet".

Law & Order: Special Victims Unit bekommt dafür mit Danny Pino und Kelli Giddish weniger große Namen. Wobei ich beide Schauspieler mag.

[str1keteam]

http://www.deadline.com/2011/07/fx-pick ... to-series/
I hear FX has pulled the trigger on a series order for Ryan Murphy and Brad Falchuk's hot drama pilot American Horror Story, from Fox 21. The spooky project which stars Dylan McDermott, Connie Britton and Jessica Lange, has been picked up for 13 episodes and is eyed for a Halloween launch with an October 5 premiere. Described as a psychosexual thriller, American Horror Story centers on a therapist (McDermott) and his wife (Britton) who, dealing with the aftermath of the husband's adultery, move along with their kids into a new house that seems to know all about their fears and plays on them. American Horror Story has strong supernatural elements (For example, the housekeeper is perceived differently by the two spouses) and also explores other forms of horror in society. In creating the show, Murphy and Falchuk took inspiration from classic 1970s horror movies, including Rosemary's Baby, Don't Look Now and The Shining.

American Horror Story had been on the fast track at FX since the get-go. It was given a pilot order in February. Before the pilot was even cast, FX president John Landgraf in March said that the project had been earmarked for a fall 2011 launch. But I hear that plan was solidified by the pilot's great testing results, especially in the female demos, fueled by the appeal of stars Britton and Lange. In anticipation of a series order, American Horror Story had already assembled a writing staff that has been working on scripts. Filming is expected to start in about 2 weeks. Co-starring on the series are Frances Conroy, Alexandra Breckenridge, Taissa Farmiga, Evan Peters and Denis O'Hare. Murphy and Falchuk will juggle running series with shepherding their hit Fox dramedy Glee.

5 Oktober wäre wirklich rekordverdächtig kurz fürs Cable zwischen Pilotorder und Serienpremiere. Jetzt aber bitte Powers nicht vergessen, Herr Landgraf.

http://insidetv.ew.com/2011/07/18/ricky ... afterlife/
The Office meets Dexter?

Yes! Ricky Gervais, the creator of The Office and Extras is teaming up with former Dexter showrunner, Clyde Phillips, for a new show called Afterlife, about an atheist who dies and goes to heaven.

They are writing the pilot episode now and plan to film in early 2012. Gervais will take a cameo role.

The plot has traces of Gervais’ The Inventing of Lying, the 2009 film that featured Gervais as a desperate underachiever who introduces the idea of God to a naive society where no one else has yet contemplated the notion of telling a falsehood

Invention of Lying war zwar nicht weltbewegend, aber aus der Ausgangssituation könnte Gervais sicher eine gute Serie zaubern.

Breaking Bad co-star Giancarlo Esposito has joined the new ABC drama series Once Upon a Time in a major recurring role. He will play Sidney/The Magic Mirror. In Storybrooke, he is Sidney: a reporter for the local newspaper The Daily Mirror. In Fairy Tale Land, he is the vaporous visage trapped within the Evil Queen's Magic Mirror who is always truthful. Esposito, repped by Domain and Prinicpal Entertainment, will next be seen in Tyler Perry's I, Alex Cross.

Da es nur wiederkehrend ist, muss das noch nichts über BB verraten.

[McKing]

http://insidetv.ew.com/2011/07/18/ricky ... afterlife/
The Office meets Dexter?

Yes! Ricky Gervais, the creator of The Office and Extras is teaming up with former Dexter showrunner, Clyde Phillips, for a new show called Afterlife, about an atheist who dies and goes to heaven.

They are writing the pilot episode now and plan to film in early 2012. Gervais will take a cameo role.

The plot has traces of Gervais’ The Inventing of Lying, the 2009 film that featured Gervais as a desperate underachiever who introduces the idea of God to a naive society where no one else has yet contemplated the notion of telling a falsehood

Invention of Lying war zwar nicht weltbewegend, aber aus der Ausgangssituation könnte Gervais sicher eine gute Serie zaubern.

Als Atheist kommt man um Gervais nicht herum. Wird zu 100% geguckt . Tolle Nachricht!

[ultimateslayer]

Dafür, dass str1ke im TWD Thread so rumgesponnen hat, muss ich jetzt sein kleines Herz brechen (okay, zugegeben, ich bin grad auch etwas enttäuscht):

Universal Nixes Stephen King's 'Dark Tower' - No Ambitious Film Trilogy Or TV Series
EXCLUSIVE: The moment has come for Universal Pictures to fish or cut bait on The Dark Tower, the ultra-ambitious adaptation of the Stephen King 7-novel series that was going to encompass a trilogy of feature films and two limited run TV series. The studio has said, No Thanks. Universal has passed on going forward with the project, dealing a huge blow in the plan for Ron Howard to direct Akiva Goldsman's script, with Brian Grazer, Goldsman and the author producing and Javier Bardem starring as gunslinger Roland Deschain. Now, the filmmakers will have to find a new backer of what might well be the most ambitious movie project since Bob Shaye allowed Peter Jackson to shoot three installments of The Lord of the Rings back to back.

This stunning development comes after Universal in May pushed plans to start production this summer on the first film. The studio claimed to be on track for a February, postponing to reduce the budget. This temporarily dispelled rumors that Universal was putting the project in turnaround, rumors that cropped up when the studio put workers on hiatus. But it was only a temporary respite. I'm told that this time, the studio reviewed Goldsman's script for the first film and the first leg of the TV series, and would only commit to the single film. That wasn't good enough for the filmmakers, who had already hired comic book and Heroes and Battlestar Galactica writer/producer Mark Verheiden to co-write the TV component with Goldsman, which was to be made for NBC Universal Television (studio insiders deny that the studio was only willing to make the movie and not the series). I know the filmmakers planned to make it all part of the first shoot while they had the cast in place and the sets erected. I'd heard back in May that Warner Bros--where Goldsman's Weed Road is based and which is fully financing two installments of Peter Jackson's The Hobbit--was a possible landing place for the adaptation of King's 7-novel epic that is that author's answer to Tolkien's LOTR novels. The Dark Tower is about the last living member of a knightly order of gunslingers, with Deschain becoming humanity’s last hope to save civilization as he hits the road to find the Dark Tower. Along the way, he encounters characters, good and bad, in a world that has an old West feel.

Why did Universal chairman Adam Fogelson and co-chairman Donna Langley decide not to go forward? They weren't saying, at this point. Nor were the filmmakers. Universal has put big chips on the table for several tent pole films and maybe that has something to do with it. The big bets include the Peter Berg-directed Battleship with Taylor Kitsch starring, as well as the Keanu Reeves-starrer 47 Ronin with Carl Rinsch directing. If you listen to word on the street, both of these are $200 million realm with huge marketing budgets. Universal recently passed on green lighting At The Mountains of Madness, which Guillermo del Toro was to direct with Tom Cruise starring, based on HP Lovecraft horror tale. That time, the studio balked at funding a $150 million film that gave del Toro the latitude to deliver his cut with an R-rating.

Insiders said that Universal brass loved the filmmakers and the project, but couldn't make it work with the current budget in its business model.

http://www.deadline.com/2011/07/univers ... tv-series/

[str1keteam]

Naja, das Universal sich im letzten Moment in die Hosen scheißt, war nach dem Hin und Her (und der Vorgeschichte um del Toros R-Rated Lovecraft Film) fast zu erwarten. :evil:
Da Potter 8 aber zur Zeit alle Rekorde bricht, habe ich noch Hoffnung, dass die Aussicht auf ein neues Mega-Franchise ein Studio zu untypischem Mut verleiten wird. Jeder will schließlich seinen eigenen Potter, Hobbit, Avatar oder wenigstens Twilight-Goldesel haben.

Falls sie es nicht als Mix aus TV-Serie und Filmreihe realisieren können, hätte ich aber auch nichts dagegen, wenn Howard die Filmrechte wieder zurückgibt und halt nochmal ein paar Jahre ins Land ziehen. Es war für mich immer dieser größenwahnsinnig-ambitionierte Plan, der mich dieser Umsetzung euphorisch entgegenblicken ließ. Bei den Beteiligten ist ja eine gewisse Skepsis angesagt, ob sie die Richtigen für diesen Stoff sind. Normalerweise gehören Regisseure mit einer klaren und einzigartigen Vision wie del Toro, Jackson, Aronofsky, Fincher, Nolan oder ein mutiger Jungregisseur wie Snyder ans Werk. Ich könnte mir selbst eine stark vom Stoff abweichende Tarantino-Verwurstung vorstellen. Außer Team Abrams und Howard/Grazer ist aber wohl momentan keiner genug in die Reihe verliebt, um jahrelange Arbeit in eine ungewisse Zukunft zu investieren.


Dark Tower muss entweder eine HBO-Serie oder ein Kino/Tv Hybrid werden. Dieser Hybrid würde das ermöglichen, was selbst Game of Thrones mit seinem Budget nicht leisten kann. Die Umsetzung von großen Schlachten und CGI-Sequenzen, die in wenigen Minuten das Budget von 2 Episoden verschlingen. Worst Case Scenario wäre eine Fassung in nur 1-2 Filmen, die die Handlung aufs Nötigste eindampft und auf dem Weg fast alles verliert, was die Reihe einzigartig macht.

[Theologe]

Jetzt aber bitte Powers nicht vergessen, Herr Landgraf.

Nachdem mich Lucy Punch von der Serie zurückschrecken ließ und Jason Patric mich ein wenig besänftigen konnte, haben die mich jetzt mit Titus Welliver zurückgewonnen. Es wurde bei dem mal wieder Zeit für eine Hauptrolle, nachdem nach dem Ende von Deadwood nur noch in Gastrollen bei The Good Wife und Sons Of Anarchy glänzen konnte.

[TemplateR]

Universal schmeißt "Der dunkle Turm" hin

Ich frage mich, warum man nicht einfach eine Anime-Serie daraus macht ? Gibt doch Anime-Studios wie MadHouse, Bones oder Production I.G, die die Buch-Reihe "Der dunkle Turm" würdigt umsetzen können.

Dafür braucht man keine teuren Effektspezialisten oder Schauspielern, um einen der meistgelesenen Roman-Reihen von Stephen King zu verfilmen.

[Stefan]

Universal schmeißt "Der dunkle Turm" hin

Ich frage mich, warum man nicht einfach eine Anime-Serie daraus macht ? Gibt doch Anime-Studios wie MadHouse, Bones oder Production I.G, die die Buch-Reihe "Der dunkle Turm" würdigt umsetzen können.

Dafür braucht man keine teuren Effektspezialisten oder Schauspielern, um einen der meistgelesenen Roman-Reihen von Stephen King zu verfilmen.

Weil Anime immer noch Nische ist und das große Studios nicht interessiert - denke ich

[Theologe]

Weil Anime immer noch Nische ist und das große Studios nicht interessiert - denke ich

So sieht es aus. Mit Animationsfilmen (aller Art) bedient man den DVD-Markt oder im Kino Familien und auf den Heimkinomarkt wäre die Buchreihe vergeudet.

[str1keteam]

Ich bin nun wahrlich kein Anime/Trick Banause und ich könnte mir auch eine gute Animeserie dazu vorstellen (z.B. von den Samurai Champloo/Cowboy Bebop Machern), aber den Turm will ich als Realverfilmung sehen. Gibt ja schon eine Comicfassung.

haben die mich jetzt mit Titus Welliver zurückgewonnen. Es wurde bei dem mal wieder Zeit für eine Hauptrolle,

Ist glaube ich vorerst wieder nur als wiederkehrende Rolle geplant, aber immerhin.


Auf 100 Bullets, das bei Showtime in Entwicklung ist, bin ich nach dem Lesen der ersten 3 Sammelbände jetzt genau so heiß wie auf Powers. Anfangs schien mir das fast schon zu gewöhnlich für eine PayTV Serie, denn da sieht es noch wie ein Mix aus Procedural- und Kurzgeschichtensammlung aus. Der Typ, der die Koffer mit den Beweismitteln und den nicht zurückverfolgbaren Kugeln an Menschen mit Gründen für einen Rachemord verteilt, schien die einzige Verknüpfung zwischen den Geschichten. Dann hat sich aber schnell herauskristallisiert, dass alles Teil eines größeren Ganzen ist, scheinbare Gastfiguren stellten sich als Teil der durchgehenden Handlung heraus und Szenen, die nur wie Hintergrundausschmückung wirkten, werden später aus anderer Perspektive beleuchtet. Wenn Showtime sich einen coolen Regisseur für die Pilotfolge und als Produzent angelt und beim Casting (die Hauptfigur hat was von einem etwas jüngeren Clint Eastwood..wie beim Turm wäre deshalb Chris Cooper mein Wunschkandidat unter den realistischen Lösungen. Ein Gastcharakter scheint wie für Samuel Jackson geschrieben und das war sogar einer seiner Lieblingscomics. ) ein gutes Händchen hat, kann David Goyer nicht viel falsch machen, so lange er nah an der Vorlage bleibt.

[str1keteam]

http://www.deadline.com/2011/07/dimensi ... tv-series/

David Cronenberg's science-fiction horror classic Scanners may be headed to the small screen. The Weinstein Co.'s Dimension Films is developing a drama series adaptation of the movies about a group of people with telepathic and telekinetic abilities, with The Hills Have Eyes writer-director Alexandre Aja signed to executive produce the series and potentially direct the pilot.

Dimension was not involved in the original 1981 Scanners film or its sequels, but acquired the rights to the franchise in a development deal several years ago. The original plan was to mount a theatrical remake, with David Goyer tapped to write two drafts, and Rene Malo, Clark Peterson and Pierre David signed as producers. But with the recent resurgence of genre TV dramas like AMC's monster hit The Walking Dead, Dimension started also considering a small-screen adaptation. According to insiders, it was Dimension principal Bob Weinstein and Aja who conceived of the plan to transform the Scanners property into a TV show. Malo, Peterson and David remain attached as executive producers on the series, while Goyer is no longer involved. Dimension is already in talks with potential showrunners to create and run the series. Aja is repped by WME and Industry Entertainment.


Trailer zum Original
http://www.youtube.com/watch?v=PmJC3ZaX ... r_embedded

Da hängt alles davon ab, bei welchem Sender es landet. Könnte z.B. bei AMC oder FX ein intelligenter Horror-Psycho-Thriller werden oder bei Starz spaßiger Over the Top-Trash, aber bei SYFY oder einem Network mit ziemlicher Sicherheit nur ein austauschbares Procedural, das so weit vom Original entfernt ist wie die Dead Zone-Serie von Cronenbergs Verfilmung. Sowas wie Alphas mit nur einer übernatürlichen Kraft. Mit Aja an Bord werden sie aber hoffentlich die R-Rated Route wählen.

[Stefan]

Tja, der Wonder Woman Pilot ist geleakt..

Failed Wonder Woman Pilot (2011)

Es gab ja schon vorab viel über das furchtbare Script zu lesen und damals dachte ich eigentlich, dass DEK daran noch vieles verbessern wird.. aber viele der lächerlichen Momente sind immer noch in der Show zu finden.

Generell fand ich Palicki in der Rolle okay, auch wenn sie meiner Meinung nach für Diana zu jung ist.. die Kämpfe waren eigentlich für ein TV Budget ganz gut gemacht und hätten nach den nötigen CGI-Arbeiten sicher auch besser ausgehen (man sah ja sogar noch die Seile )

Warum man Diana aber ne dritte Persönlichkeit geben musste, verstand ich damals beim Script nicht und hier auch nicht .. speziell weil der ja nur dafür da ist, um zu zeigen, wie einsam es ist, ein Superheld zu sein.. warum hät man diese Szenen aber nicht mit Diana selbst zeigen können? Die Idee, dass ein "Star" wie Diana jeden Tag in nem ALIAS die Firma verlässt.. dasist einfach total bescheuert

Ich frag mich auch, warum man vor dem Projekt sagte, dass man nicht "cheesy" ist, wenn fast jede Szene in dem Piloten irgendwie cheesy war.. furchtbar. Außerdem frage ich mich, warum man sofort im Piloten 2 verschiedene Kostüme benutzt hat.. zweiteres sah an Palicki gar nicht mal so blöd aus und lag viel näher am original.

All in all war der Pilot aber ein absoluter reinfall und DC kann sich bei NBC bedanken, dass die Serie nicht bestellt wurde - das hät das Franchise für 10 Jahre beerdigt :?

[Mr.Silver]

Das zweite Kostüm ist ja eigentlich das alte Originalkostüm, und das zuerst verwendete kommt ja an das neue Kostüm von Diana überhaupt nicht ran.Wie Du
schon schreibst, ein totaler reinfall.
Ich verstehe auch nicht warum immer soviel abgeändert werden muß, kann man
nicht einfach eine 1:1 Umsetzung machen, und warum keine Superschurken ,immer
nur irgendwelche aufgeblasenen Vollpfosten.Aber daran kranken ja alle Real
Superhelden TV-Serien.

[Markus F.]

Ich dachte WOnder Woman wäre bestellt worden?
Naja bin in letzter Zeit wohl nicht ganz bei der Sache wenn es um TV Serien geht...

[Stefan]

Ich dachte WOnder Woman wäre bestellt worden?
Naja bin in letzter Zeit wohl nicht ganz bei der Sache wenn es um TV Serien geht...

Nope.. da wurde nur der Pilot bestellt

[str1keteam]

http://www.deadline.com/2011/07/new-tal ... the-works/

Fifteen years after horror anthology Tales from the Crypt ended its 7-year-run on HBO, a new TV series based on the popular and controversial 1950s EC Comics anthology books is in the works with Gil Adler, producer on the HBO Crypt series, and Andrew Cosby co-creator of Syfy hit Eureka and co-founder of comic book publisher BOOM! Studios. The new hourlong series will neither be anthological nor related to the HBO show. "It will be an ongoing series that uses characters from the comic books in a more modern context," Cosby said. "It's all about continually elevating the genre, for both existing fans of the source material and mainstream audiences." Cosby and Adler first started discussing reviving the franchise on TV and then approached Joel Eisenberg, whose company with Timothy Owens EMO Films had acquired the rights to the comic books. After a lengthy legal process to make sure that all rights have been properly secured, the TV series project is now moving forward and is being developed by EC Film, Radio & Television, a partnership between William M. Gaines Agent, Inc. - the corporation representing the intellectual property of the late Crypt creator Gaines run by his daughter Cathy Gaines Mifsud - and EMO Films. Producing are Adler, Cosby and Steven Sawalich of Articulus Entertainment. Eisenberg will Executive Produce, while William Gaines' grandson Corey Mifsud, will be credited as Associate Producer.

A detailed pitch and a bible for the new Crypt series have been completed, with producers expected to take the project out shortly. It will be pitched to broadcast networks as part of the current development cycle as well as to cable outlets. (There had been some rumblings about potential interest from HBO sister channel Cinemax, which has returned to original programming.) The producers are considering both a traditional network model and non-traditional route for the project, including fully financing the series, probably as an international co-production) before taking it to U.S. nets.

Die Überschrift hat mir noch einen inneren Reichsparteitag beschert, denn das Fehlen einer hochklassigen Horroranthologie im Geschichten aus der Gruft Stil hatte ich ja schon mehr als einmal beklagt, aber da es gar keine echte Anthologie werden soll und auch für Networks in Frage kommt, könnte das am Ende auch ein Procedural werden, das außer dem Namen nichts mit der Vorlage gemein hat. Interesse ist definitv vorhanden, aber so lange nicht klar ist, für welchen Sender es gedacht ist, bleibe ich nur äußerst vorsichtig optimistisch. :?

Das HBO wieder zugreift, kann ich mir zwar leider nicht vorstellen(nur dort könnte man wohl wieder mit einem hohen Budget und einer Fülle von Top-Regisseuren und hochkarätigen Gaststars rechnen), aber da Horror zur Zeit im TV groß in Mode ist, kommen alle anderen Pay-Tv Sender und auch AMC oder FX in Frage. Cinemax oder Starz scheinen mir als die passendste Wahl.

[str1keteam]

http://www.deadline.com/2011/07/bbc-ame ... as-copper/

After months of deal-making, BBC America today officially announced that it has given a 10-episode order to Copper, its first original scripted drama series . The series hails from Canadian-based Cineflix Studios, which has been ramping up scripted development under former AMC executive Christina Wayne. Copper, which centers on a young Irish cop operating in the immigrant communities of 19th century New York, was co-created by Tom Fontana and Will Rokos (Monster’s Ball). Fontana, Rokos, Barry Levinson and Wayne are executive producing. Copper will start production in the fall in Toronto for Summer 2012 premiere.

Wenn die ein halbwegs ordentliches Budget haben und daraus kein Crime Procedural stricken, müsste das interessant werden. Die Gangs of New York Zeit. Als der Westen noch wild war und die Städte Struktur gewannen.

[Donnie]

Erste Kritikerstimmen zu Ryan Murphys "American Horror Story" von Twitter:

TVGMMattRoush
"Ballsy of FX to screen Ryan Murphy's berserk #AmericanHorrorStory (10/5) to theaterfull of critics. Such a hot mess, but Jessica Lange: FAB."

TVGMMattRoush
"@TVMoJoe Agreed. SeaQuest was laughably inept. American Horror Story is laughably, memorably, audaciously nuts. Keep returning to "berserk."


HitFixDaniel
"I really, really enjoyed the font they used in "American Horror Story."

sepinwall
"American Horror Story was like season 3 of a Ryan Murphy show, in pilot form."

tvoti
"American Horror Story is... well... I'm willing to be convinced, but pilot was a mess."

nprmonkeysee
"I quite like the pilot of AMERICAN HORROR STORY. It's a genre/camp piece, and I have no idea how it can keep going, but the pilot is fun."

Source:
The one thing I heard several critics agree on is that they liked the font used in the show's credits and title card (see above). Beyond that, opinions were all over the map.

Several younger critics thought the show was terrible, all sensation and stylistic weirdness for its own sake. Several older critics thought the pilot was sensational.

I found myself somewhere in the middle. The opening is full of suspense and genuine scares. But once the story kicks in it often feels like a series of disparate scenes rather than a cohesive story. (Producers said some new scenes will be added.) And a lot happens in the pilot, maybe too much. No one can accuse the pilot of moving slowly but it's a lot to unpack.

The "American Horror Story" pilot is weird, creepy and bizarre. And yet, I'm curious to figure out if what we're seeing is sometimes the hallucinations of the characters. France Conroy ("Six Feet Under") plays a maid whom McDermott's character sometimes sees as a young woman. Why?

Jessica Lange steals the show as a neighbor, dressed in old-fashioned garb, who swans through the family's home, often with her developmentally disabled daughter in tow. (The Lange character refers to her daughter as a "mongoloid.")

I'm really not sure what to make of "American Horror Story" at this point but the fact that it leaves me wanting to see more, especially in a fall with a lot of TV shows that do not inspire such curiosity, pushes my first impression into more positive territory. But if the show is largely an exercise in trying to discern what's real and what's not, I'm not sure how long I'll tune in.

Außerdem hat Hitfix ein recht interessantes Interview mit dem neuen NBC-Boss Robert Greenblatt:

It's been tough at the network in the years leading up to you coming here. But one of the nice things about those tough times was that a lot of really good shows that would've been canceled in about five minutes in healthier times have been allowed to stick around for a while. You said that the goal now isn't just to run out the clock on the broadcast TV business and maintain, but to actually build and grow again. How do you balance the desire to keep these really good shows you inherited with the desire to grow?

I think these really good shows will stay around for as long as there's creative life in them. They're all getting older. I guess "Community" and "Parks and Rec" are younger. But with my desire to put more comedy on the network, I think there will be a need for those shows. And the critics have been so incredibly supportive of those shows that we have to really take all of that in consideration. It takes time to replant the garden. So I think it'll be a little while before we can just clear the decks and replace shows. I think it'll be one here, and one there, and then hopefully a new one gets to a second season, and then another. But being patient and giving shows time is a need and a challenge. You're occupying slots with shows that are either going to work in the long run or not, and you just don't know how long you can wait before you have to replace something.

Because you've got "Community" and "Parks and Rec," which I would say are the two best comedies on TV, and they're going to be on opposite "X Factor," "Big Bang Theory" - they're going to get their butts kicked.

That's the other thing: everything is such a difficult time period, no matter where you looked. That was the beauty of "Community" this past season. Coming up against all that new competition in that time period, it actually decreased a little bit, but held up so well against the big guns that we felt, "Wow, there's a strong core here." Look at the time-shifting numbers, and that's a measure of engagement for the viewer. To some degree it doesn't help us monetize, but that's a measure we do look at. Hopefully, every year it gains more traction.

Is there a specific plan for where you're going to deploy "30 Rock"?

Not yet. We're going to have to see how the season unfolds. The beauty of bringing it on later is that we'll run them straight through. Not that those shows don't repeat fairly well, but I think it'll be great to just burst it through. We have to see what Thursday looks like, what Wednesday looks like, after the armageddon of the fall.

"Parks and Rec" was in a similar situation last year and you wound up only needing 16, where "30 Rock" will be doing 22. So you'll either have to put it on sooner or double-run it a few times just to get it through the season.

We may do a couple of weeks of an hour bloc of it, but we'll get the 22 out. We haven't laid out the full schedule yet. But I think there's a luxury to it. You have January, February, March, April and most of May. That adds up pretty quickly.


And one of the things you're doing with Monday at 10, assuming both shows work, is you're going to get 13 originals of "Playboy Club" and 13 originals of "Smash."

We're doing 15 "Smash"es, because that'll coincide with the 15 "Voice" weeks. Look, I hope that we have that problem of "Playboy" works, and we'll figure out where to bring it back. We're trying to do more of these serialized shows in sequence, without pre-emptions. Because you lose the audience when you take a break.

Well, you come from Showtime, and one of the things that cable discovered over the last decade was that you rotate: you do 13 episodes, then a new show comes in for another 13, etc. Shorter seasons, keep the quality up, originals year-round, and you don't have those weird breaks in March and April where you get one original episode in a 5-week period.

I think we'll gradually see more and more of that. It's obviously easier to do that with reality shows, for economic reasons. We already do that with "Biggest Loser." You can tailor those, because they're expandable or contractable. Harder to do with scripted shows, but we're trying a couple of versions of that this year. There's 16 "Parenthood"s, 15 "Smash"es, 13 "Awake"s because it's mid-season. There could be a scenario where "Parenthood" runs all 16 episodes almost sequentially, which is a benefit to "Parenthood." We saw as we ramped up through the finale in May, it grew, grew, grew. Then when "Parenthood" is done, we'll probably have 10 or 12 weeks of the season left where we could put a show like "Awake." But of course that's more costly. That's stretching one show throughout 35 weeks.

But at what point does the amount you get hurt by the ratings dropping every time there's a long stretch of reruns outweigh the extra cost of doing all originals?

That's the question I think we're exploring this year, to see if it makes sense.

Speaking of "Awake," that's a wonderful pilot, but there are going to be some questions about its future, especially given what happened with Kyle Killen's last show ("Lone Star"). What are your expectations for that?

I expect it to be a great show, and I think it will be, from what I know about the later episodes. Can I even have the expectation of success? I don't even know if you can have that anymore. But I hope people will see the show, and the critics love it, and it gets on and has some traction. I think it's a little more complicated, a little denser than the average show. But people seem really engaged by this pilot (in which Jason Isaacs plays a cop who keeps bouncing between two realities: one where his wife died in a car crash but his son survived, and one where the opposite is true) I know some people loved "Lone Star," but I think we have a much more sympathetic character, and a franchise that's familiar. It's very clever, this show.

Finally, "Chuck" came to Comic-Con, and everywhere they've been going, it's been, 'Oh, this is the last season,' and yet there are certain elements of fandom that will always hold out hope.

I know! I hate to disappoint fans, but it really is going to be the last season. I wanted to properly end it so that the fans, who deserve to know when it's over, weren't left hanging again, like it has every season, practically. At this point in time, there is no talk of extending it. They're writing to the series finale.

Smash kriegt also 15 Folgen statt der üblichen 13, Awake kriegt 13 und Parenthood kriegt wohl nur 16.

[str1keteam]

American Horror Story is laughably, memorably, audaciously nuts. Keep returning to "berserk."
...
Several younger critics thought the show was terrible, all sensation and stylistic weirdness for its own sake. Several older critics thought the pilot was sensational.

Das klingt für mich äußerst vielversprechend. Wenn der Pilot zu so einer schrägen Genre-Serie nicht die Massen spalten würde, dann hätte er schon versagt. Man darf sich nach dem Auftakt nicht sicher sein, ob das genialer Wahnsinn oder wahnsinniger Mist ist. :lol:
Horror Satire bzw. clever-provokanter Trash ist niemals für jedermann. Mit Kritikern wie Sepinwall scheinen ihn auch genau die richtigen Leute nicht zu mögen, denn der schreibt nicht anders über True Blood, Rescue Me, Californication oder Spartacus.

There's 16 "Parenthood"s, 15 "Smash"es, 13 "Awake"s because it's mid-season. There could be a scenario where "Parenthood" runs all 16 episodes almost sequentially, which is a benefit to "Parenthood." We saw as we ramped up through the finale in May, it grew, grew, grew. Then when "Parenthood" is done, we'll probably have 10 or 12 weeks of the season left where we could put a show like "Awake." But of course that's more costly. That's stretching one show throughout 35 weeks.

Das klingt ein bißchen wirr. Meint er damit, dass Awake theoretisch mehr als 13 Episoden in der ersten Staffel erhalten könnte oder das es erst gegen Ende der Season starten soll? :?



Time-Review zur American Horror Story Pilotfolge:

http://tunedin.blogs.time.com/2011/08/0 ... ror-story/
First Impressions: FX screened the not-final pilot for critics at press tour, and it has already generated polarized reactions. With good reason. This pilot is insane. In good ways and bad. It's visually hallucinatory and disorienting; you will end it not certain which scenes you've seen are real. (I'm 99% sure this is intentional--you're entering the same quasi-dream state as the characters--but it's a risky device.) It's genuinely, unrelentingly horrific and creepy. (Three words: things in jars.) And the Murphyisms are everywhere: the sardonic, bitchy grand dame character; the troubled teen outcasts; and especially the theme of sexualized horror and human corruption, physical and moral. It's a little like Ryan Murphy decided to make a Nip/Tuck sequel about The Carver, except not so restrained this time. :lol:

All of which is to say, if you are not a fan of Ryan Murphy shows, this show is your worst nightmare. Yet--for one audacious pilot anyway--I feel like his kind of hyperactive Dagwood sandwich of melodrama could work better in what is, after all, an unrealistic genre. The show needs emotional realism, though, and here Britton's casting is a big help. (Dylan McDermott's not so much; he plays Ben in the same shouty, sulky manner that he does any other character.) The pilot felt densely packed--there was a good half-season of story development crammed into it--and I could see it going the route of past Murphy projects, in which he's piled on twist after preposterous twist to keep himself from getting bored. But tomorrow is another day! As a pilot, AHS grabbed my interest and kept me on edge. It made me laugh—sometimes even intentionally! It genuinely creeped me out, with an intensity of horror I've seen in few TV shows since Carnivale. And a haunted-house story is a fitting way to deal with Murphy's longtime moral theme: as one character puts it, you can change the wallpaper and the kitchen, but can that cover up a rotten foundation?

Do I Want to Watch Another Episode? I can see exactly how this show can go even more over the top and out of control. I know Ryan Murphy's history. But it's one of the only new shows this fall that has surprised me and made me want to see what comes next. I can hear you screaming, "Don't go in there, you idiot!" Yet here I am, turning the doorknob...

[Theologe]

There's 16 "Parenthood"s, 15 "Smash"es, 13 "Awake"s because it's mid-season. There could be a scenario where "Parenthood" runs all 16 episodes almost sequentially, which is a benefit to "Parenthood." We saw as we ramped up through the finale in May, it grew, grew, grew. Then when "Parenthood" is done, we'll probably have 10 or 12 weeks of the season left where we could put a show like "Awake." But of course that's more costly. That's stretching one show throughout 35 weeks.

Das klingt ein bißchen wirr. Meint er damit, dass Awake theoretisch mehr als 13 Episoden in der ersten Staffel erhalten könnte oder das es erst gegen Ende der Season starten soll? :?

Ich habe das so verstanden, dass Parenthood am Stück kommt und Awake auch und wenn beides am Stück kommt, hat man 10 Wochen Leerlauf und wenn man anstatt der beiden Shows nur eine also, zB Awake mit 22 Episoden zeigen würde, müsste man die eben sehr strecken.

[str1keteam]

Ausnahmsweise wartet Murphy nicht bis Staffel 3, um neue Autoren anzuheuern. Hoffentlich ist Minear kein schlechtes Omen. Der ist ja seit einiger Zeit sowas wie der Ted McGinley unter den Autoren. Nach Angel hat keine der 9 Serien, für die er schrieb oder als Produzent tätig war, länger als 2 Staffeln überlebt. Qualitativ dürfte er der Serie aber gut tun. James Wong hat in den letzten Jahren zwar einige Gurken mituzuverantworten, aber ebenfalls einige gute Sachen geschrieben (Space 2063 muss man in seiner Vita noch hervorheben). Die Autorinnen kann ich nicht beurteilen.

http://www.hollywoodreporter.com/live-f ... tim-218735

Ryan Murphy and Brad Falchuk’s American Horror Story has added a bank of genre specialists to its writers’ room.

Tim Minear, Jennifer Salt, James Wong and Jessica Sharzer have boarded the FX horror drama, which was picked up to series last month.

Minear, whose recent credits include The Chicago Code and Terriers, will serve as consulting producer. His genre work includes The X-Files and three of Joss Whedon dramas: Angel, Firefly and Dollhouse.

Salt, who co-wrote the Julia Robertsfeature Eat Pray Love with Murphy, will serve as co-executive producer. She previously served as an executive producer/writer/supervising producer on Murphy’s FX drama Nip/Tuck.

Wong, who penned the first of the Final Destination features, also will serve as co-executive producer. His credits include the mystery drama The Event and The X-Files.

Sharzer will serve as supervising producer. Her credits include writing and adapting the screenplay for the 2004 dark indie feature Speak, which starred a 13-year-old Kristen Stewart. Sharzer, repped by Anonymous Content, also is in development on the untitled Kristin Chenoweth/Dusty Springfield biopic.

Glee co-creators Murphy and Falchuk wrote and created American Horror Story and will executive produce in addition to their work on the Fox musical dramedy.