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Showing posts with label Playboy Club. Show all posts
Showing posts with label Playboy Club. Show all posts

THE SKED'S PILOT + 1 REVIEW: "The Playboy Club"


A lot can happen between the creation of a TV pilot in the spring and production of episodes for the regular season:  a writing/producing team is hired, audience focus groups weigh in, networks and studios (which may have had their own turnover in the off-season) give plenty of notes, both helpful and otherwise, and critics begin to rear their ugly heads.  The results can include changes to tone, pace, casting and even story.  Here at THE SKED, we're going to look past the pilots and present reviews of the first regular episodes of this year's new series as well.

Previously... on THE PLAYBOY CLUB:  It's the early 1960s, and somewhere in New York, Don Draper is creating his dazzling ad campaigns.  But in Chicago, the center of the world is the Playboy Club, Hugh Hefner's monument to bunnily clad women.  Maureen (Amber Heard) is new to town and to the Club, but no sooner does she catch the eye of shady lawyer/aspiring politician Nick Dalton (Eddie Cibrian) than the local crime boss assaults her, resulting in a murder by high-heeled shoe.  Nick helps Maureen hide the body, and while the killing isn't discovered, Nick's girlfriend Carol-Lynne (Laura Benanti)--who happens to be Maureen's supervisor at the Club--sees them together and dumps Nick.  Meanwhile, other bunnies include secret lesbian Alice (Leah Renee Cudmore), who has a marriage of convenience with a closeted gay man; Brenda (Naturi Naughton), who wants to be the first black Playboy Playmate; and Janie (Jenna Dewan-Tatum), who's hiding a secret.

Episode 2:  The series, even more than the pilot, feels like a drama set 20 years earlier than it actually is.  The first regular episode, written by series creator Chad Hodge, dispenses for the most part with the civil rights story that at least made an appearance in the pilot; instead, we get a sequence where lesbian Alice tries to restrain her drool when Maureen asks her to help with photos for a prospective Playboy cover shoot.  (Alice, although a bunny herself, being suddenly barely able to control herself in the presence of female flesh.)  The show is nothing more than a backstage soap opera, and old-fashioned to a fault.


Instead of any social commentary at all, we get the continuation of the main storyline from the pilot:  Nick and Maureen worry about whether the gangster's body is going to be found, while Carol-Lynn fumes over the attraction between the two. Although the episode flirts with the possibility of Carol-Lynn becoming a mentor to Maureen, by the end, even though Carol-Lynn's taken Nick back, she's making "scarlet woman" remarks about Maureen and darkly threatening her about the bad things that can happen to someone in Chicago.

In other plots, Nick moves forward with his run for State's Attorney by bribing Mayor Daley, and Alice's gay husband covers up a potentially incriminating photo of Nick with the dead gangster's son in order to make a good impression on Nick.  (The husband's whole family, Alice included, is ridiculously at the Club because her conservative father-in-law decided it would be a fun place to bring the wife and daughter-in-law.)  We also find out that Janie is on the run from an abusive husband, and that Brenda's ambition is to buy real estate.  In another hugely unconvincing story beat, Maureen is so moved by the latter that when she wins the competition to be a Playboy cover girl and the money prize that goes with it, she secretly gives the cash to Brenda.

With the exception of Laura Benanti, who definitely classes up the joint, the acting doesn't help much either.  Cibrian is starting to seem like Jason Sudeikis playing Jon Hamm, and Heard, while gorgeous, is inexpressive.  Compared to Pan Am (the pilot at least)--let's not even mention Mad Men--Playboy Club looks pretty skimpy visually, too.  Most of the action takes place in the club itself, and while Pan Am's lush production design is wonderfully specific--you just know months of research have gone into duplicating every detail--everything in Playboy is a little dull and generic. 

In all, there's no reason to feel better about The Playboy Club now that it's in series mode, and a few causes to doubt it even more.  They did make one good decision, though:  no more arthritic narration from Hef himself.

Original VerdictIf Nothing Else Is On...

Pilot + 1:   Running Low On Potential

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THE SKED PILOT REPORT: ABC's "Pan Am" - PREMIERING TONIGHT


Disclaimer:  Network pilots now in circulation are not necessarily in the form that will air in the Fall.  Pilots are often reedited and rescored, and in some cases even recast or reshot.  So these critiques shouldn't be taken as full TV pilot reviews, but rather as a guide to the general style and content of the new shows coming your way.

PAN AM -  Sunday 10PM on ABC:  If Nothing Else Is On...

Visually, PAN AM is a treat.  Just to be clear, this is the primetime series set in the mid-1960s that doesn't feature Don Draper or Playboy bunny tails.  While no series could possibly surpass the fetishistic accuracy of Mad Men (even though the Pan Am pilot is set in 1963, one of the songs on the soundtrack was composed for the Doctor Dolittle movie in 1967--it would give Matthew Weiner a coronary), Pan Am has a sleek, elegant look filled with terrific period detail; watching it, you feel like those plane sets could actually take off.  With Tommy Schlamme behind the camera (he's done all of Aaron Sorkin's shows, among others), Pan Am also moves rapidly and absorbingly through its mid-air paces.


In the dramatic region, the show hits more air pockets.  The script is by Jack Orman, who was showrunner of ER for years and has more recently written for Men Of A Certain Age, but who has less of a track record as a series creator.  The storylines are what one of the old Airport movies would have been like if no planes ever crashed:  mostly, a lot of tangled stewardess romances.  So we get the gorgeous Laura (Margot Robbie) who ran out on her own society wedding to make a life for herself; Laura's sister Kate (Kelli Garner), who's always been jealous of Laura and none too thrilled she has to share the spotlight with sis again; Colette (Karine Vanasse), who's French and unlucky in love; and Maggie, played by the cast's biggest name--Christina Ricci, in her TV series debut--but the sketchiest character, a political liberal who puts on stewardess garb for the sake of world travel.  (At least initially, the 2 pilot characters don't make much impression.)  Strangely mixed in with these suds is a story about one of the girls being recruited by an intelligence service to carry on mid-air espionage (John LeCarre it's not).

There's certainly potential to make something more of Pan Am's premise; a bit of dialogue toward the end suggests that behind their Barbie-doll exteriors, we should see these stewardesses as indicative of the new directions women will take as the 1960s unfold.  For now, though, it's pretty weak, uncompelling stuff.  While it's understandable that ABC wasn't interested in tackling the subtle, difficult tone of a Mad Men, at this point Pan Am doesn't even have the vitality of The Playboy Club's melodramatic pilot.  Luckily, the show's visual glamour and brisk pace should keep it aloft for a while as it tries to find itself.

ABC has given Pan Am a good spot on the runway, following Desperate Housewives on Sunday nights.  While it certainly won't touch NBC's football in overall 18-49s--assuming there's football this fall--it should appeal to the Housewives audience (the promos will look like a dream), and although Mitch Metcalf's Sunday projection shows it losing a chunk of that crowd and falling behind the aging CSI: Miami in the timeslot, it has a chance to do better--if it can figure out its own aerodynamics.

Read more about TV's new shows at THE SKED PILOT REPORT.

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THE SKED: MONDAY Ratings September 19

Two and a Half Men premiered with a 10.3 Adult 18-49 rating, about equal to a good Sunday Night Football game but not at the level of an AFC Championship game, as CBS head Les Moonves boldly predicted.  Nonetheless, this is a great number to welcome Ashton Kutcher to the show.  Can the show maintain this level for the season?  Of course, not.  We estimate Two and a Half Men will settle into a high-5 rating next week and a high-4 in subsequent weeks, still well above our projected rating for the quarter. 

The news is not good for NBC.  Both The Sing-Off and Playboy Club were under a 2 rating and below our meager forecast for the entire quarter.  The Sing-Off was a moderate success in December (against mostly repeat competition), but it just couldn't stand up to real competition of season premieres.  And Playboy Club looks DOA, a 1.6 demo rating and only 5 million viewers 2+ (Castle attracted over 13 million viewers on ABC in the time period and Hawaii Five-O had 12 million).  In all probability, the NBC numbers will remain the same in coming weeks or drift down slightly.



2 Broke Girls is off to a terrific start with a 7 demo rating.  It should go down a high-3 rating next week in its normal 8:30 time period, but a low-4 rating is not impossible.On ABC, Dancing with the Stars opened about where we expected, while Castle continue to impress (only one-tenth of a rating point behind time period leader Hawaii Five-O).  ABC's patience with Castle is admirable, and the show has slowly and increasingly taken good advantage of its Dancing lead-in.

MONDAY FALL 2011    Estimates         Episode Rating      
                    May   Sep   #1   #2   #3   #4   #5   #6   Avg
ABC
 800 Dancing        3.7   3.6   3.9
 900 Dancing        4.4   4.2   3.9
1000 Castle         2.6   2.6   3.3
CBS
 800 How I Met      3.3   3.3   4.9
 830 2 Broke Girls  3.0   3.2   7.0 (special 9:30 time)
 900 2.5 Men        4.1   4.2   10.3
 930 Mike & Molly   3.4   3.6   9/26
1000 Hawaii Five-O  2.7   2.7   3.4
NBC
 800 The Sing-Off   2.2   2.3   1.9
 900 The Sing-Off   2.4   2.5   1.8
1000 Playboy Club   2.1   2.1   1.6
FOX
 800 Terra Nova     2.7   2.5   9/26
 900 House          3.4   3.3   10/3
CW
 800 Gossip Girl    n/a   n/a   9/26
 900 Hart of Dixie  n/a   n/a   9/26


An important note:  the ratings estimates are for original episodes across the entire Fall (from mid-September through mid-December).  Generally, a series will premiere at a high level and then settle into a more normal number by week four-six.  The important number to look at as the season unfolds is the average-to-date column at the far right.  By the time episode four rolls around, look at the average of episodes one-four and you should have a pretty good idea how the fall -- and the entire season -- will sort out. 

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THE SKED: Broadcast Network On-Air Promotion July 20

Last night we had our first look at CBS's current promotional priorities in the one-hour Big Brother at 8:00 pm.  With a fairly light on-air promo load, dramas got the lion's share of time: Unforgettable (one :30 spot) and Person of Interest (one :20).  2 Broke Girls was given one :10.  The rest of the time went to the new summer show Same Name (one :20 and one :10), a series in which a celebrity and average person with the same name swap lives and learn important lessons.  And there were two :15 promos with Julie Chen reminding us that we can get a live feed from the Big Brother bubble 24/7 on CBS.com, one of the most triumphant uses of the Internet to date.

Over on FOX, the two-hour So You Think You Can Dance was used effectively to support its current priorities, New Girl (one full minute of promo time in the form of two :30 spots) and Terra Nova (45 seconds -- one :30 and one :15).  Also appearing Wednesday was X-Factor in a glossy :45 spot.  FOX also supported its broadcast of the Emmy Awards with a :30 highlighting Jane Lynch as host and a :15 congratulating the FOX nominees in the show.  The Monday cooking line-up was also supported with three spots totaling 1:10.  Finally the network gave 20 seconds to In the Flow, a new summer sketch comedy.  From the look of the promo, this series should come and go quietly.

Finally on NBC, the one-hour America's Got Talent results show split the time between Playboy Club (one :30), Prime Suspect (one :30) and Hank Azaria's Free Agents (:35 -- one :30 and one :05).  Clearly NBC is being fair to this comedy and is rotating the emphasis on one or two of the three new comedies by night.  Whitney got a fair amount of promotion last night (20 seconds total -- one :15 and one :05), while Up All Night was the one comedy shut out last night (all of five seconds in the hour). 

Next week, we will look at ABC's priorties in The Bachelorette, the anchor of its successful Monday night.

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THE SKED: Broadcast Network On-Air Promotion

Last night in the hit summer shows (NBC's America's Got Talent and FOX's Hell's Kitchen), we took a look at the priorities for new fall series promotion.  The big winners on NBC were the comedies Whitney and Up All Night.  Each comedy received one minute of on-air promotion across the two-hour telecast (one :30 spot and two :15s for each).  In stark contrast, the Hank Azaria comedy Free Agents received only one spot and it was a :05 spot at that -- yes, five seconds.  NBC Marketing will be able to say the show was given a prime position in the network's best summer show (at 10:48, when ratings peak for the program), but five seconds is barely enough time to mention the show's title and star.  This is not a very big vote of confidence.  Either they have given up on Free Agents or they are planning a huge campaign in August.  Yeah, right.



The other new shows on NBC that got some attention were Prime Suspect (:45 total; one :30 and one :15) and Playboy Club (one :30 spot).  A few other programs were hit in America's Got Talent: a generic Today show spot, a couple of hits for the new summer show It's Worth What?, and a late night spot featuring that night's guests for Leno and Fallon.  All of this time could theoretically be better spent on the all-important new-show launches, but this is the kind of housekeeping a network must do.

Over at FOX in Hell's Kitchen, only three spots were made available to new shows.  A :30 spot for New Girl with the theme "See Jess..." (See Jess after Glee, See Jess Be Funny, etc.)  Terra Nova received a :15, and a full 45 seconds were devoted to a "So Fox" network spot about the new fall line-up (So Daring, So Thrilling, So Funny, etc.).  Interestingly FOX did not insert network promotion at the beginning and end of local breaks, leaving a very light format for promo time.  The rest of the available time was given to a :30 for American Idol auditions, a Glee live show tour promo, and some "this-week" spots for summer shows.  We'll keep an eye on FOX to see if their promo time in the cooking shows increases in the coming weeks.  (Last night simply could have had more non-promo commercials than normal because they needed to "make good" advertisers who experienced ratings shortfalls earlier in the summer.) 

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THE SKED'S TV NEWS AND NOTES: Salt Lake City Tries To Shut Down NBC's "Playboy Club"

It's no big surprise that NBC's station in Salt Lake City (KSL, which is owned by the Mormon church) will not carry Playboy Club this fall.  Similarly, this station does not clear Saturday Night Live (either in the regular Saturday late night time period or in the occasional prime time specials time periods).  But fear not, just as SNL is aired "across the street" by an independent broadcast station in the SLC market, we are sure Playboy Club will follow the same pattern.  Look for other small Southern markets to follow the lead of KSL (markets like Tuscaloosa, Alabama, for example).  The NBC Affiliate Relations team will also probably find other stations in these markets to air the drama.

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THE SKED PILOT REPORT: NBC's "The Playboy Club"



Disclaimer:  Network pilots now in circulation are not necessarily in the form that will air in the Fall.  Pilots are often reedited and rescored, and in some cases even recast or reshot.  So these critiques shouldn't be taken as full reviews, but rather as a guide to the general style and content of the new shows coming your way.

THE PLAYBOY CLUB -  Monday 10PM on NBC:  If Nothing Else Is On...

Take the era of Mad Men, mix with the millieu of Boardwalk Empire, then remove most of the brains... and that's pretty much the formula for NBC's THE PLAYBOY CLUB.  What remains isn't particularly deep, but it's a glamorous, fairly diverting piece of melodrama.


If Playboy Club feels dated even for a show set in the 1960s, it's because really, it's more of a slightly updated version of the backstage dramas Warner Brothers used to churn out in the 1930s and 40s. (Squint and you can see Jean Harlow, William Powell and Bette Davis in the leads.)   Set in the original Chicago Playboy Club, Chad Hodge's script (he previously worked on The CW's shortlived Runaway) offers hints that racial and gender issues are happening outside the confines of the club, but mostly the story is about a gorgeous small town girl--an orphan, no less-- who's come to the big city to become a star (Amber Heard), a shady lawyer who's smitten with her but perhaps not to be trusted (Eddie Cibrian), and the slightly older showgirl who's jealous of the girl and knows all the tricks (Laura Benanti).  This stuff may be hokey, but it's been working in one way or another for 75 years, and throw in an accidental killing and some central casting gangsters, and it's still got some charm. 

It helps that while Heard probably isn't the next great Medea of the stage, she's not just stunning but charismatic, and that Benanti, a Broadway veteran, has plenty of acting (and singing) chops; not so much that Cibrian gives what amounts to an extended Jon Hamm imitation.  The supporting cast is mostly made up of lovely young women who don't get much to do in the pilot, plus David Krumholtz in the Jack Carson role of the club manager.  (The nostalgic voice-over narration from what seems to be the actual aged Hef doesn't add much.)  Alan Taylor, who's directed his share of Mad Men episodes, was behind the camera for the pilot, and the production design is sumptuous. 

Playboy Club's direct competitors are Castle and Hawaii 5-0 on Mondays, so it definitely brings something different to the hour (Mitch Metcalf's Monday night analysis has it firmly in 3rd place in the slot, but that's mostly because The Sing-Off is by far the weakest lead-in of the evening). Creatively, the show is about an inch away from being camp; everyone involved should be forced to watch the recent bomb Burlesque as an example of what not to do.  On its own terms, though, it offers unquestionable eye candy and the possibility of moderate fun.


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