RSS
Showing posts with label scandal. Show all posts
Showing posts with label scandal. Show all posts

The Sked: PROMO WATCH -- Update through March 1

The most recent Promo Watch numbers are based on prime time broadcast network programming between February 16 and March 1, with about 16 hours of programming sampled for each network over that period.  (Click "read more" to see the latest chart.)


ABCGCB continues to be the top ABC priority as it heads toward Sunday night's premiere.  On-air promotion has been heavy, averaging 38 seconds per hour over the last two weeks.  Over the past week, the on-air promo commitment to GCB has been 46 seconds per hour, nearing saturation levels.  As we have seen with NBC's Awake, heavy promotion does not guarantee a high premiere rating.  A compatible lead-in and an easy to communicate premise helps, and GCB has both of those things going for it.  Check back later today for a forecast of GCB's premiere ratings.  Promotion for Missing (starring Ashley Judd) has picked up to 20 seconds per hour over the past two weeks (and up to 25 seconds per hour over the past week).  Scandal (starring Kerry Washington) premieres later and has fallen down to 8 seconds per hour over the past two weeks (and an almost non-existent 2 seconds per hour the past week).  It will be interesting to see if the creative approach for Scandal has been re-tooled when promos start airing again in heavier rotation.  

NBCAwake averaged 44 seconds per hour over the past two weeks (peaking at 46 seconds per hour this past week leading up to Thursday's premiere).  The 1.9 Adult 18-49 rating the debut received Thursday at 10 pm is surely a disappointment.  Yes, it built on its Up All Night lead-in, it was in first place in the time period (if you exclude cable and forget it faced repeats on ABC and CBS), it improved on the performance of The Firm, and it slightly beat Prime Suspect's premiere (by all of one tenth of a rating point).  But these are "world's tallest midget" comparisons.  Amazing that some television writers actually picked up on that spin.  The promos were given every opportunity to run, and the audience either was confused or simply didn't care. Next up is Fashion Star, which has averaged 19 seconds per hour over the past two weeks (and 18 seconds over the most recent week).  Look for its allocation to zoom as Awake levels come back down to Earth.  
        
CBSPerson of Interest stays in the top spot with 23 seconds over the past two weeks.  Even the repeat episode that aired Thursday received heavy support (19 seconds over the past week).  Undercover Boss has received substantial support, 19 seconds per hour over the past two weeks and 21 seconds over the past week (actually making it the #1 priority this week only), emphasizing an emotional sell and a teary Popeye's Chicken CEO understanding the pain of Americans.  CBS is hoping Boss can bounce back from last week's 1.9 rating (which featured a rather cold, unemotional CEO, by the way) after the very promising 2.4 rated premiere.  Amid scripted series repeats, Survivor and Amazing Race stand out with original episodes and have also received 18 seconds per hour each.      


FOX.  The heat has started to be turned up on Touch starring Kiefer Sutherland, 19 seconds per hour over the past two weeks but up to 23 seconds per hour over the past week.  While not a full commitment when compared to the other networks, Touch is clearly FOX's priority.  Bob's Burgers clocks in at 11 seconds per hour (over both the past two weeks and the past week), while the network has eased off the gas for Breaking In (10 seconds per hour over the past two weeks and a barely noticeable 6 seconds per hour the past week). Not shown on the chart, Q'Viva (Jennifer Lopez and Marc Anthony scour the world for young talent) premieres Saturday for a short run.  The show has averaged 3 seconds per hour the past two weeks and 7 seconds per hour the past week (with a few spots in American Idol, for Ms. Lopez's benefit).     



                          PROMO WATCH

                    Top Priorities by Network
              On-Air Promo Seconds per Hour Sampled
               Past Two Weeks (Feb 19-Mar 1, 2011)

      ABC                          CBS
     GCB                38        Person of Interest 23
     Missing            20        Undercover Boss    19
     Oscars             15        Amazing Race       18
     Revenge            10        Survivor           18
                                  Hawaii Five-O      13

     NBC                          FOX
     Awake              44        Touch              19
     Smash              20        Alcatraz           14
     Fashion Star       19        Bob's Burgers      11
     SVU                10        Breaking In        10
     The Voice          10       
    

###

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • RSS

The Sked: PROMO WATCH -- Update through February 23

GCB and the Oscars are the big bets for ABC in recent days, while NBC continues to make an extraordinary push for Awake.  CBS is hoping to take Person of Interest to another level, and FOX just doesn't seem to be making any choices about what to promote hard.  The most recent Promo Watch numbers are based on prime time broadcast network programming between February 9 and 23, with about 18.5 hours of programming sampled for each network over that period.  (Click "read more" to see the latest chart.)


ABCGCB has become the top priority for ABC over the past few weeks, now averaging 21 seconds per hour sampled in prime time.  ABC has been repeating the same 30-second spot over and over (the rhyming spot with "witches" and "riches" instead of the expected "bitches" from the original series title).  The spot is not particularly clever, but ABC is hoping the repetition of the show's premise will cut through.  With a last minute rush of Oscar spots (often over 30 seconds per hour on recent nights), the Academy Awards spots have moved into the #2 priority position, averaging 17 seconds per hour over the past two weeks (after being in the high single digits recently).  Of note, the spots promote the Oscar app and Oscar.com almost as much as the show itself.  (Clips of the still niche The Artist and visuals of Jean Dujardin and Berenice Bejo are not going to persuade marginal viewers to tune in.)  Revenge remains a fairly important priority (16 seconds per hour), as ABC keeps trying to make it break out  from the 2.5 range into the high-2 rating area.  Scandal is now averaging 11 seconds an hour (up sharply from the middle single digits).  That number is going to continue to rise as we move through March.  Missing (starring Ashley Judd as a CIA agent/ mom searching for her son) is holding at 9 seconds per hour.  It looks like it has the production quality of The Firm, and -- just a hunch -- will not receive much higher promotion levels in coming weeks, as opposed to the Shonda Rhimes project Scandal.

NBCAwake premiering next Thursday at 10 in the dead zone time period is now averaging an amazing 41 seconds per hour over the past two weeks.  If it fails it won't be for lack of trying.  With Up All Night as its lead in, Awake's success will be based on the inherent appeal of the show's premise, which is described in every spot.  We shall see.  Smash is holding at a very strong 25 seconds per hour over the past two weeks.  As the ratings tumble each week (and during each quarter hour that airs), the network is trying every promo trick in the book to get people to hang on.  Last week it was the sex appeal of the characters and storylines.  This week, it's a guest star -- Nick Jonas?!?  Maybe he has a high Q-score with the target audience for a drama about mounting a Broadway musical, but it seems a little desperate or cheesy for a show that relies on critic quotes like "Wow.  Just wow."  Fashion Star is holding at 20 seconds per hour, a very solid level for a new reality show.  The Voice, at 10 seconds per hour, is just enough to keep its name out there, and NBC is using the brief promos effectively to dub the night "Must See Monday".  (At least for the first two hours of the night, it's a very legitimate claim.) 


CBSPerson of Interest has been anointed by CBS as the new show most worthy of a midseason push.  At 21 seconds per hour the past two weeks, the JJ Abrams-produced freshman number is the #1 priority for the network, which clearly want to see if its ratings can break out of the low-3 range to above a 3.5 rating.  Undercover Boss has received a substantial investment of time the past several nights, moving its average into double digits (11 seconds per hour).  That is low compared to Survivor (19 seconds) and Amazing Race (17), but it is significant for a Friday show, and CBS hopes it can build on the show's promising initial ratings on the tough night.  Just missing the chart below is Late Show with David Letterman (9 seconds per hour), substantially more than the Tonight Show with Jay Leno (5 seconds) or Jimmy Kimmel Live (3 seconds).  Unless the guest is truly newsworthy, however, late night ratings are surprisingly inelastic to promo efforts.   


FOXBreaking In has edged up to 12 seconds per hour, up from 10 recently.  And the return of Touch is at a barely-committed 10 seconds per hour.  And pity poor Bob's Burgers (not shown on the chart below) whose return is starting with a base of 6 seconds per hour.  Not that any of those shows will make much of an impact in any scenario -- it's just that FOX doesn't seem to be betting on anything.   



                          PROMO WATCH

                    Top Priorities by Network
              On-Air Promo Seconds per Hour Sampled
                 Past Two Weeks (Feb 9-23, 2011)

      ABC                          CBS
     GCB                21        Person of Interest 21
     Oscars             17        Survivor           19
     Revenge            16        Amazing Race       17
     The River          14        Unforgettable      12
     Castle             13        Undercover Boss    11
     Scandal            11

     NBC                          FOX
     Awake              41        Alcatraz           13
     Smash              25        Breaking In        12
     Fashion Star       20        Glee               12
     The Voice          10        Touch              10
                                  New Girl           10
    

###
 

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • RSS

THE SKED: ABC'S Spring Schedule



The bi-yearly gathering of TV journalists is going on in LA this week, and while the schedules for most networks have already been set through the rest of the season (sudden cancellations notwithstanding), ABC, with its piles of short-run series ordered from last year's pilot season, had some additional announcements to make:

TUESDAYS:  Beginning April 24, PRIVATE PRACTICE will move for the remaining 4 weeks of the season into the 10PM slot currently occupied by the not-long-for-this-world BODY OF PROOF.  This will give the network a chance to see whether the show is now strong enough to survive without a Grey's Anatomy lead-in, and also clear space for the Thursday move below.


WEDNESDAYS:  Starting April 11 (after HAPPY ENDINGS is done for the season, with what should be a minimum of repeats from here on), the very promising sit-com now known as DON'T TRUST THE B____ IN APT 23 will inherit the prime post-Modern Family slot at 9:30PM.  For those keeping count, this makes 2 series this season in which ABC is coyly trying to suggest but not use the word "Bitch," the other being whatever they're calling Good Christian Bitches, which will air on Sundays starting in March.  We all look forward to next season's network spin-off Once Upon a F___ing Time.  

THURSDAYS:  Shonda Rhimes isn't losing the post-Grey's slot, just shuffling it a bit.  When Private Practice moves to Tuesdays, Rhimes' new Washington-set soap SCANDAL takes over, as of April 5.

The one piece on the ABC board still unaccounted for is the return of COUGAR TOWN, as to which the network continues to be vague.  One can't help but notice, though, that a half-hour might open up on Tuesdays if WORK IT were to meet a tragically untimely demise, providing yet another reason (as if any were needed) to root against it.

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • RSS

THE SKED: ABC MIDSEASON - UPDATE: "Pan Am" Crashes; "Cougar Town" Diminishes


UPDATEThe other shoe is falling on COUGAR TOWN, and it's not a good fit:  ABC has cut the show's order from 22 episodes to 15, and will announce its timeslot at the TCA in January.  Deadline says it may be put into the Tuesday 8:30PM slot behind LAST MAN STANDING, which would be a mismatch of historic proportions.  Rebel Network (see below)--your time may be coming!
 

ABC has announced a slate of midseason premieres, and what's missing may be more notable than what's there.  There was no mention of the returning COUGAR TOWN on the schedule, nor the new (and based on its pilot, exceptionally promising) sitcom APT 23, not to mention Shonda Rhimes' Washington drama SCANDAL.  Vulture says that according to their inside source, Cougar Town will in fact be on the air on February or March, so for now at least we can hit "Pause" on our plan for a new rebel network that starts out with Community, Cougar Town and the return of Arrested Development.  


As for what the network did announce:

SUNDAY:  As had been anticipated since the Upfronts, ABC will give GCB (which is really GOOD CHRISTIAN BITCHES but the Parents Television Council won't let the network say so) the post-DESPERATE HOUSEWIVES slot on Sundays 10PM starting March 4, and then hope it can be the successor to that show's fading audience.  The last show to get a shot at that throne, PAN AM, was given only one extra episode, bespeaking scheduling needs rather than any real encouragement.  Although the show isn't officially dead, ABC's development season would have to be awfully bad for it to come back.

MONDAY:  No changes, but the next cycle of DANCING WITH THE STARS will debut March 19, giving The Voice plenty of time to settle into its Monday slot on NBC, since it starts the night after the Super Bowl.

TUESDAY:  Say goodbye to the awful MAN UP!--and now say hello to the even more dreadful (based on the pilot) WORK IT, a cross dressing comedy that may even now be making Billy Wilder's gravestone weep.  It's inheriting the post-LAST MAN STANDING slot to cement ABC's Tuesday 8-9PM as the worst comedy hour on television.  At 9PM, CELEBRITY WIFE SWAP will have a 5 week run starting in January, then the effectively creepy THE RIVER will take over for 7 weeks until the DANCING WITH THE STARS results show returns to the hour.  BODY OF PROOF only received an extra order of 3 episodes, so the 10PM slot will open up early in 2012, meaning that may be where Scandal (or whatever currently inhabits Scandal's slot) will go.

WEDNESDAY:  You don't mess with what's working:  no changes.

THURSDAY:  In the troublesome 8PM slot, WINTER WIPEOUT will run Jan-March, and then THE MISSING, which looks to be Ashley Judd as Liam Neeson in Taken, takes over.

FRIDAYSHARK TANK replaces the 8PM hour of EXTREME MAKEOVER in February.

SATURDAY:  If Cougar Town and Apt 23 go here, I'm starting a boycott.  (They won't.)

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • RSS

THE SKED: Terra Nova and Other Short Orders


The typical episodic order for a new Fall show is 13 episodes, with a network option for 9 more (known as the "back-order") to bring the full season to 22 episodes.  Shows that debut at Midseason typically get the same 13 episode initial order, with the network having a 13 + 9 option in their second seasons.  There are certainly plenty of exceptions to those rules, but TV Guide is reporting an unusual number of oddities this coming season:


Most curious is the fact that even though FOX's TERRA NOVA debuts in the Fall, it will apparently have only a 13-episode run next season no matter how successful it is.  This is presumably due to the same production difficulties that have led to multiple postponements of the show along the way.  (See our Pilot Report here.)  If the producers can't get their act together to produce more than 13 hours in a 9-month TV season, one has to wonder how the show--which is hugely expensive by ordinary network standards--will work going forward.  

ABC is responsible for most of the other short orders, which are probably attributable to the network choosing an unusually large number of midseason hours with limited space (and budget) to air them:

GOOD CHRISTIAN BELLES (which is apparently now called GCB):  10 episodes (pilot report here)

THE RIVER:  8 episodes (pilot report here)

SCANDAL:  7 episodes (pilot report here)

MISSING:  10 episodes (no pilot yet)

Also, NBC has ordered 6 episodes each of its midseason sitcoms BENT (pilot report here) and BEST FRIENDS FOREVER (no pilot yet)

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • RSS

THE SKED PILOT REPORT: ABC'S "Scandal"


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.

SCANDAL - Midseason on ABC:  Potential DVR Alert.

ABC's midseason drama SCANDAL is produced by Shonda Rhimes, which makes it a very slick piece of work indeed.  Better still, Rhimes wrote the script herself, so it has her distinctive monologue-in-the-midst-of-dialogue rhythms.  The show still needs work, but it has possibiilities.

For one thing, Scandal has an original premise.  Yes, a Shonda Rhimes series that's not about doctors (although the pilot does include one hospital scene; apparently she can't abide any show that doesn't include at least one person on an IV).   It concerns a group of lawyers in Washington DC under the direction of former Presidential aide Olivia Pope (Kerry Washington), who--they are at great pains to tell us--aren't a law firm but a crisis management outfit.  They handle high-profile clients--ambassadors, politicians, etc--who need their sensitive problems disposed of as quietly as possible.


Perhaps unwisely, the main plot of the pilot episode concerns a decorated soldier accused of murder--unwise, because even though the show desperately wants us to know it's not going to be a law series, the storyline feels like it could have come from any of TV's legal franchises.  The B-story, about a woman who claims to have slept with the President, is much more effective.  Also, the pilot (directed by Paul McGuigan) spends too much time in Olivia's offices--the action starts to feel hermetically sealed.  It's unlikely ABC would foot the bill to shoot the series in DC, but this is a show that would benefit from some healthy location shooting.

We don't learn all that much about the supporting cast in the pilot.  Henry Ian Cusick--Desmond from Lost--is the firm's womanizer who's trying to settle down, heedless that investigator Darby Stanchfield has a crush on him; Katie Lowes is the new girl at the firm (the weakest character so far--she's made to weep and be told that Olivia doesn't approve of crying); Columbus Short is the slick litigator, and Guillermo Diaz the requisite hacker.  It appears that the President (Tony Goldwyn) will also appear regularly, and he's a real asset.  More than in Rhimes' medical ensembles, though, the center of Scandal is clearly Olivia, and her story--which I won't spoil here--is a good one that provides plenty of potential grist for future episodes.  The script overplays the certainty of her "gut," though, and needs to avoid too many scenes where she plays therapist for her colleagues.

Since Scandal is slated for midseason (presumably to run with Grey's or Desperate Housewives at some point), there's plenty of time to do some overhaul on the project.   The show already has a smart producer, a fairly original setting, some sharp writing and a strong lead, so there's reason to be hopeful that they'll figure out how to make the pieces work together smoothly.


  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • RSS

THE BEAVER: Chew On This



Watch It At Home:  Gibson Delivers, The Movie Wobbles

As you may have heard, the new comedy-drama THE BEAVER stars a guy named Mel Gibson, who used to be a big-time movie star.  (It's actually a surprise to realize how long ago that was:  his last real hit was Signs, 9 years ago--to put it in perspective, that was also the year of My Big Fat Greek Wedding and Star Wars:  Attack of the Clones.)  He followed that in 2004 with a massive, if controversial, success as director of The Passion Of the Christ, after which he steered his career, and his life, straight off a cliff (he became Charlie Sheen + heinousness).  The Beaver is his first step at an attempted comeback, and however disgusting one may find his off-screen behavior, it has to be admitted that while Beaver mostly fails as a movie, that's not Gibson's fault.  He gives a strong, even brave performance that ultimately the film can't match.



For those who've managed to avoid the extended hype (the film, which had been screening more than a year ago, was repeatedly held back from release as its studio, Summit, tried to deal with Gibson's deepening calamities):  The Beaver features one of the more oddball concepts of recent years.  Kyle Killen's script presents us with Walter Black (Gibson), a family man and business owner who is stuck in a profound, probably clinical, depression.  Nothing can bring him out of it... until he places a beaver puppet over his hand, and begins communicating strictly through the voice, and as the persona, of the beaver.  This causes the consternation you'd expect from his wife (Jodie Foster, who also directed) and children (Anton Yelchin and Riley Thomas Stewart) and the colleagues at his toy factory, but brandishing his new beaver identity, Walter becomes dynamic and successful, at least for a while. 

It's frankly impossible to watch Mel Gibson play a man with mental problems, alternately sunk in lethargic depression and then manic with the persona of his hand-puppet, without thinking of his real life instability.  Gibson seems to be going very deep in plumbing the self-disgust and desperation of Walter; only he (and maybe Foster) know how much of Walter is his own direct psychodrama, but the fact is that it all works for the character.  Walking around with a ratty puppet on his hand, Gibson constantly skirts the border of silliness, yet you never see him play for the easy laugh or step outside the man's disorder.  (It's weirdly unexplained, though, why this American character would give his new persona a Cockney accent--somewhat amusingly, the beaver sounds like a cross between Ray Winstone and early Michael Caine). 

Everything beyond Gibson's performance is shaky.  The tone of Killen's script is all over the place:  it starts out as more or less a comedy, then it gets extremely dark as Walter's family begins to implode and he becomes almost possessed by the beaver puppet (it starts to turn into every ventriloquist horror movie you've ever seen), and then it resolves itself into a standard we're-gonna-get-through-this therapeutic family story.  It may be that another director more comfortable with the surreal could have handled these hairpin turns, but Foster isn't that kind of filmmaker.  As a director (her previous films were Little Man Tate and Home For the Holidays), she has a penchant for dysfunctional family dramas and a very straightforward, undistinctive style, which doesn't serve this quirky material well; it's a tale that could have used some visual or aural pizzazz, and Foster doesn't seem interested in that side of filmmaking (unlike, ironically, Gibson himself).  She doesn't bring out the best of herself as an actress, either--her character is never more than the "wife," supportive and puzzled.  She gets better work from Anton Yelchin as the troubled older son, and the luminous Jennifer Lawrence, almost unrecognizable from Winter's Bone, playing a cheerleader with her own troubles who becomes involved with Yelchin. 

Artistically, The Beaver is a risk that doesn't pay off, except in Gibson's performance--which probably makes it a bad test of his post-scandal commercial viability.  Summit is taking it slowly, opening this weekend in only 20 theatres and hoping for critical support as well as a bounce from a Cannes Film Festival screening, before expanding on May 20.  One can't really root for the man--he should have tried speaking through a puppet in real life, rather than revealing his true self--but that doesn't negate his talent.

(THE BEAVER - Summit - 92 minutes - PG 13 - Director:  Jodie Foster - Script:  Kyle Killen - Cast:  Mel Gibson, Jodie Foster, Anton Yelchin, Jennifer Lawrence, Cherry Jones - 20 Theatres May 6/Expansion May 20)

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • RSS

ARCHIVE REVIEW: Elizabeth Taylor in "Who's Afraid of Virginia Woolf"



Airing on TCM March 24 and April 10:  See It On Any Screen.


The legacy of the late Elizabeth Taylor arises at least as much from her stature as one of the great, iconic Hollywood movie stars (and the prototypical tabloid goddess) as on the breadth of her acting skills.  But she leaves behind one genuinely great performance in a classic movie:  Mike Nichols' film version of Edward Albee's WHO'S AFRAID OF VIRGINIA WOOLF.  TCM had coincidentally scheduled the film for overnight on March 24/25, and they'll re-air the film April 10 as part of a 24-hour marathon of Taylor's films.



It's hard now to recapture the scandalous thrill of Virginia Woolf in 1966:  2 years before the MPAA ratings system, it introduced shocking words like "son of a bitch" and "bastard" into neighborhood theaters.  And of course it starred Taylor with Richard Burton, the couple who'd shocked the world with their romance on the set of the mega-epic Cleopatra (Vanity Fair's terrific account of that story is here) and taken root in tabloid soil ever since, along the way appearing in the hit glossy romances The VIPs and The SandpiperVirginia Woolf was something altogether different, a Pulitzer Prize-winning play that followed 4 characters intensely over the course of a single apocalyptic night, and one that would require serious acting chops.  No one questioned Burton's ability to play George, and George Segal and Sandy Dennis were clearly talented up-and-comers who could handle the roles of Nick and Honey, but Taylor had never even attempted a performance with the magnitude of George's wife Martha.  

Mike Nichols made the brilliant decision to shoot the film in black-and-white (the remarkable photography is by Haskell Wexler), which apart from anything else greatly added to Taylor's ability to change her look for a part she was patently too young (only 34 when the film was made) and too beautiful to play--color publicity photos from the set dent the illusion of age and dissipation.  But technical assistance aside, Taylor took the role and ran with it, finding a savagery and depth that has stood the test of time and the many first-rate actresses who've played the role in the years that followed.  The 4 actors formed a spectacular ensemble, and the film remains not just one of the all-time great adaptations of a theatrical work for the screen, but hugely moving, scathingly funny and fiercely entertaining, long after the scandals have passed..  

Virginia Woolf marked the peak of Taylor's acting career:  she played a few roles that had traces of Martha's DNA (The Only Game In Town, X, Y & Zee), but mostly tapered off into B-movies, TV and curiosities like the misbegotten adaptation of Sondheim's A Little Night Music; her celebrity became more important than her talent.  She well deserved the Oscar she won for Woolf, though (and in her deglamorization she created the template for actresses like Charlize Theron, Nicole Kidman and Halle Berry to win their own awards), in a masterpiece that will always be worth watching. 

--Mitch Salem

  • Digg
  • Del.icio.us
  • StumbleUpon
  • Reddit
  • RSS