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(02/03/10 11:43pm)
____simple_html_dom__voku__html_wrapper____>Industry discussions center on networks that are not on top of their game (FOX’s “X-Factor” call) or hopeless (NBC in general), but there are networks doing things right. Let’s discuss one that I think understands how to operate in the modern landscape: USA. 1. It has a brand. If you think of all the great networks on television, cable or broadcast, they all have known brands: HBO (“Not TV, it’s HBO”), FX and Showtime (HBO-lite and HBO-ultra lite), CBS (old people!) and ABC (middle-aged cougars!). USA has now moved into that territory with their “Characters Welcome” branding strategy.Skeptics say it’s easier to create a niche brand in the cable arena, but USA exists in the upper-level of cable networks that could go just as broad as the broadcast powers, so its successful branding is impressive. “Characters Welcome” works for every one of the scripted series, as each features quirky individuals trying to accomplish something usually police- or crime-related. 2. It airs quality programming. “Burn Notice,” “Psych,” “White Collar” and “Royal Pains” all range from great to rock-solid, which gives USA a stable of content that performs well with audiences. Each one of those series (and the just-finished “Monk”) mixes procedural, close-ended cases with intriguing serialized elements. It is very formulaic, but it’s formulaic in the best way. USA programming is fun, light-hearted and still compelling. Ask drowning NBC – USA’s broadcast partner, mind you – if it would like to have a series or two that hits with audiences like USA’s content does. 3. It schedules smart. By now we all know the cable road map to success: air original series in the summer when the broadcast networks are taking it easy. USA’s been pretty damn masterful with that art, running most of its series in the summer first and letting the audience build when there is little competition. It has also been smart enough to realize that diluting the schedule with a slew of new series isn’t in its best interest. By keeping its original series stable around a half-dozen, USA allows the audience to stay invested in the long-term health of the series already on the air.4. But it takes risks. USA’s series might be a bit on the safe side and its scheduling model is par for the course, but it has also been willing to put its best up against the network powers. USA has aired new episodes of its biggest hits, “Burn Notice” and “Psych,” in the winter months up against original efforts from the big boys and done well. This season, it shook things up by premiering its latest series in the fall, as “White Collar” debuted in October to strong ratings and hasn’t let up since. Currently, USA is airing new episodes of all three aforementioned series and everything is still going well.USA proves that good content and smart business practices can mix, and struggling broadcast powers should take note.
(02/03/10 11:40pm)
____simple_html_dom__voku__html_wrapper____>With the Winter Olympics just a week away, one of the only times to be overtly patriotic in an obnoxious way is upon us. But for all the pride both Olympic Games fill us with, they are also major suppliers of unintentional comedy. While you’re watching over the next few weeks, watch out for these events, most of which will occur more than once.1. The announcers talk about curling as if it were the most difficult feat ever accomplished in the world: Listen, curling is probably the most entertaining winter game, but that is mostly because it is ridiculous that people get to represent their country by “playing” it. That and the brushers are just cool. BUT, the announcing teams always make it sound like curlers are athletes. Stop with that.2. You’re watching pairs ice skating and unsure which athlete is the male and which is the female: The bodies are svelte and toned, usually there’s a number of short haircuts and gender-bending outfits. It’s all apart of the sport, but after a while, the lines blur. Don’t be the one to make the wrong call on a skater’s attractiveness. Trust me.3. You find out the results of something online and then NBC tape-delay airs it 16 hours later in prime-time: I would have loved to be in the boardroom when NBC decided that the best way to drum up interest for sports nobody cares about is to show “important” events after they have already happened. There’s no better way to motivate me to watch, I’ll tell you that. 4. Biathlon: Cross-country skiing and rifle shooting. Seriously, that’s a sanctioned game by the Olympic Committee. It would be better if every games, they mixed up the two sports. In 2014, I’d love to see a 5K mixed with paintball. Or why not the skeleton combined with a spelling bee? 5. NBC airs a promo for “Friday Night Lights”: Oh wait, it won’t, because NBC is full of heartless bastards. This is less funny in a “haha” way and more funny in “I will bang my head against the wall” way.6. Athletes from countries you’ve never heard of become your favorites for reasons other than their prowess: Maybe the alpine skier from Macdeonia has a funny facial expression he does to pump himself up or the Armenian cross country skiing ladies remind you of Borat if he were a woman. In any event, you’re sold on someone you never would be and you get a few laughs out of it along the way.7. The “mascots” are shown: Did you know that the official mascots of the Winter Games are Miga, a mythical sea bear that is part orca and part kermode bear and Quatchi, a sasquatch, who wears boots and earmuffs? Need I say more?8. The coverage reaches for cultural, social or geopolitical connections that just aren’t there: We started with the announcers, let’s end with them. Though we all recognize winning a medal is a source of pride for countries under dire straights, sometimes they take it too far. When we start hearing how great it is that the Australian luge rider is doing great despite the overwhelming heat during summer months, it’s gone on enough. But like all of these, at least it’s funny. And most of the time during the Winter Olympics, you’ll need humor to get you through.
(02/03/10 5:46pm)
____simple_html_dom__voku__html_wrapper____>There was a time on television when police dramas weren’t just about ridiculous forensics or graphic sex crimes. Thankfully, “Southland” harkens back to the likes of “Homicide: Life on the Street” and “Hill Street Blues,” in which the characters mattered just as much as the cases. New to the LAPD, Ben Sherman (Ben McKenzie) deals with gang violence, a tough-as-nails, older partner (Michael Cudlitz) and murder – all during his first shift. In only seven episodes, the first season of “Southland” slowly builds up characters inside the LAPD, all with their own personal issues and demons. And though many of the personalities are cop-show archetypes – the young gun, the gay one, the drug addict, etc. – powerhouse actors like Regina King, Cudlitz and Tom Everett Scott quickly breathe life into them. Though NBC stupidly canceled this one, a handful of season two episodes will air on TNT this March. Watch and hope we get more episodes
(02/03/10 5:24pm)
____simple_html_dom__voku__html_wrapper____>Acts like Never Shout Never are ruining music. This one-man, Beatles-wannabe, pop-garbage act that postures as artsy folk on “What Is Love” is some of the worst music ever recorded on the dime of a major label.Christofer Ingle, the barely-past-puberty guy behind the terrible name, has one of the whiniest, most annoying voices backed up by atrocious lyrics. “Can’t Stand It” is an ode to a girl who is just “super-duper cute” and plods along to an elementary school-style beat. In fact, that’s really all this music is. It’s written for people who are still learning how to do long division and written by a person who should have spent more time doing math than thinking he could have a music career.At least with Disney products or other tween-appealing artists, we all know where they’re coming from. But this son of a bitch pretends to be a real artist, someone who pens real songs. Too bad he’s worse than just about any pre-packaged artist ever forced down our throats. Do not listen to this.
(01/28/10 12:22am)
Of all the hundreds that have appeared on the show, here are the 42 most important "Lost" characters.
(01/28/10 12:12am)
The 23 best-ever episodes in "Lost" history.
(01/28/10 12:05am)
16 questions that need to be answered in the sixth season of "Lost."
(01/28/10 12:05am)
____simple_html_dom__voku__html_wrapper____>Legal dramas are everywhere on television, as are programs that toy with linear narrative storytelling. But no program does both better or actually combines the two quite like FX’s “Damages.”Season two follows Ellen Parsons’ (Rose Byrne) return to the law firm of the cutthroat Patty Hewes (Glenn Close) under the guise of trying to find the people who killed her fiance – but she’s really working for the FBI to take Patty down. Meanwhile, a man from Patty’s past (William Hurt) pleads for Patty to take his case, leading to all sorts of corporate law espionage and dangerous situations. After a first season of powerhouse performances, season two somehow introduces even more compelling characters and top-notch work from the likes of Hurt, Timothy Olyphant, John Doman and Marcia Gay Harden, who join regular cast members Close, Byrne and Tate Donovan to create one of the best casts around.However, the story and non-linear narrative are not as effective the second time around. Perhaps it is the knowledge that we’re not being told everything that makes certain reveals hold less weight. Though season one was historically fantastic, really great “Damages” is still better than 97 percent of television.
(01/27/10 11:41pm)
____simple_html_dom__voku__html_wrapper____>Three full-length albums into their career and it’s hard to say anything negative about Motion City Soundtrack. After two sharp pop-punk gems, frontman Justin Pierre and the band went from more introspective and poppy on 2007’s “Even If It Kills Me” to mixed reaction. Thankfully for all fans of the band, their latest and major label debut “My Dinosaur Life” combines the pop sensibilities of “Kills” with the energy and aggressiveness of earlier efforts to create Motion City’s most complete work to date.“Her Words Destroyed My Planet” and “Disappear” are the centerpieces here; both gain H1N1 levels of infectiousness as Pierre reflects on love lost and drummer Tony Thaxton’s forceful work proves he was what was missing on the last record. Meanwhile, “Stand Too Close” and “Pulp Fiction” recall the clean melodies of the “Kills” standout “Broken Heart,” but still include Pierre’s kooky references to slasher films, Busta Rhymes and Inspector Gadget. Pop culture footnotes aside, Motion City Soundtrack prove yet again that pop-punk can still be done right – and damned good as well.
(01/27/10 11:23pm)
The 15 most insane twists ever on "Lost."
(01/27/10 11:18pm)
The most mythologically-important locations in "Lost."
(01/27/10 11:13pm)
The four best couples in "Lost" history.
(01/27/10 11:02pm)
____simple_html_dom__voku__html_wrapper____>Dwayne Johnson has been trying to distance himself from “The Rock” moniker with a slew of weak family-friendly films. Sadly, his natural charisma couldn’t save “The Game Plan” or “Race to Witch Mountain” and it doesn’t do anything for his latest, “Tooth Fairy.”In one of the most ridiculously dumb premises in recent memory, a minor league hockey goon (Johnson) with the nickname “Tooth Fairy” (you know, because he knocks out people’s teeth) gets a tough punishment – one week as the real tooth fairy.Though Johnson tries his best, the terribly cliche script unravels exactly how anyone who has ever watched one of his films knew it would. Johnson’s character Derek Thompson first discredits his punishment, fails miserably and discovers the meaning of life through the job. Phoned-in, should-be-disappointed-in-themselves performances from Julie Andrews, Ashley Judd and Stephen Merchant round out this mess of a film that really lacks any entertaining qualities.No one ever thought Johnson could be the next Arnold, but the way he’s going now, he won’t even be the next Vin Diesel.
(01/27/10 10:58pm)
____simple_html_dom__voku__html_wrapper____>With “Lost” at the beginning of the end, emotions are high for us fans who have spent too many hours watching, debating online and staring at paused DVR images in hopes of finding hidden clues. But even for non-fanatics, this should be a sad time because there is no way that we will ever see a television phenomenon quite like “Lost” ever again. And here’s why.1. No broadcast network takes risks anymore. Even in 2004 when it began, “Lost” was a major risk. When Lloyd Braun, the head of ABC at the time, greenlit the egregiously expensive pilot (the two-hour effort reportedly cost between $10-$14 million, compared to the usual $4-$5 million), he was fired for being so careless. Six years and an exponentially quick increase in the use of the DVR and Hulu later, networks are even more worried about saving money. We all know the drill: reality shows, procedurals and lame spin-offs are how the major networks do business these days. And even when a network dips its toe into the shallow end of the interesting idea pool, they are quick on pulling the plug (see: “Invasion,” “Journeyman,” “Dollhouse”).2. The writers put character over concept. When people think of “Lost,” their minds instantly go to the Smoke Monster, the DHARMA Initiative, time travel and the Numbers. But that’s not what the series is about. Show masterminds Damon Lindelof and Carlton Cuse have always said that this is a story about people who were thrown into extraordinary circumstances – and they’ve backed that up. Unlike all the other “Lost” rip-offs like “FlashForward” that rely solely on an out-there premise. Sure, we diehards all tune in to figure out what the hell the four-toed statue is, or how in the name of Jacob, Ben and Locke were able to move the island, but we stay for Sawyer’s nicknames, Hurley’s “Dude”s, Jack’s incessant need to fix everything and all the other character beats that make all the waiting for mythology moments still so enjoyable. There’s a reason purely character episodes like “Tricia Tanaka Is Dead” and “Some Like It Hoth” are still compelling. 3. Audiences aren’t patient enough. Sprawling, cross-season mythologies don’t just scare penny-pinching networks – they terrify TV watchers in middle America. “Lost” does have a sizable group of fans that have watched since the beginning, but as time has gone on and the plot has gotten more dense and complicated, the ratings have plummeted from around 20 million to 9 million viewers an episode. Even factoring in DVR and online viewing, that’s a steep decline.And the problem with the audience leads to the concept-over-character issue I mentioned above. Producers and writers feel like they have to hook people in with these outrageous ideas and then the audience doesn’t get invested in the characters and leaves. It’s a cyclical roundabout of doom. 4. The disease of more always kicks in. If a series is a major hit, the networks and advertisers are going to want more of it. More episodes per season, more seasons and these days, more spin-offs. And the people involved with the show want more too: more money, more screen time, better back-end syndication money, whatever. But the folks at “Lost” always avoided that. Lindelof and Cuse negotiated the six-season deal in 2007 when they realized they couldn’t tell the story they wanted to if they didn’t know when it would end. And no actor has spoken out vehemently for more screen time or money, but instead fell into place because they knew they’d get their time to shine. In May, “Lost” will be gone forever and so will the idea of the hyper-serialized character drama on network television.
(01/21/10 1:04am)
____simple_html_dom__voku__html_wrapper____>Last week during the Television Critics Association press tour, NBC dominated the headlines for its questionable (read: ridiculous) tactics relating to its late night lineup. But lost amid the anti-NBC rhetoric was FOX’s announcement that Simon Cowell will leave “American Idol” after this season and bring his UK competition program “The X Factor” to the network this fall. Although NBC is getting filleted for its decision-making, here are four reasons why FOX won’t look so smart either come this time next year.1. Losing Simon is a bigger loss than FOX and “Idol” realize. Yes, the “American Idol” brand is one of the most powerful in entertainment, raking in cash from the nearly milked-to-death series, the tours, the iTunes compilations, etc. But I would wager a hefty sum of money that people still watch for Simon. Despite the hoopla surrounding his meanness, everyone with a brain knows that Simon is the only judge who provides honest, constructive criticism. Randy Jackson and Kara DioGuardi are time-wasters, and though she’s inherently lovable, Ellen Degeneres isn’t going to give contestants what they need. Without Simon, the panel of judges loses the last shred of credibility it’s clinging to, and even in his bored state from the past few seasons, Simon is still the best. Singing competitions come and go; Simon is one of a kind.2. Airing both “X-Factor” and “Idol” risks audience burn-out. So far, FOX has been shockingly smart in its ability to avoid airing seasons of “Idol” in both the fall and spring. The two-to-three times a week of “Idol” from January to May is overkill enough, and with the tour following all summer, it’s safe to say fans are happy to have that break in the fall. By putting “X-Factor” (a program that is similar, only the judges “coach” different contestants) on in the fall, people will be bored with singing competitions by the time “Idol” arrives in January. If you’re FOX, why take the risk of diluting your biggest program, especially when you’ve smartly strayed away from doing so for nearly a decade? 3. “X-Factor” won’t be as big a hit as “Idol.” “American Idol” is still the biggest program on television, but it was developed and gained its popularity in a different time and has been able to maintain popularity both because of its set-up and its brand name. These days, it’s much tougher to develop a hit program when there are a number of others that accomplish the same things, and fans are brand-loyal to the “first.” Thus, the financial investment being made in “X-Factor” — which is substantial because Simon wouldn’t walk away from his monster “Idol” payday unless he was getting more here — might not be worth it.4. Putting Simon in indirect competition with his former program is bad for “Idol.” I’ve already discussed Simon’s importance to the judges, but based on his hard edge, it seems like he’ll do all he can to make his new program better than his previous one. This is especially true because he’s the creator and executive producer of “X-Factor,” meaning he has even more incentive to make it a billion-dollar brand. What happens when Simon’s winners are better performers than those on “Idol?” In the UK, once Simon introduced “X-Factor,” they canceled “Idol” to avoid all these issues. Sadly, no one in America is that smart.
(01/19/10 9:39pm)
____simple_html_dom__voku__html_wrapper____>NBC's under attack from everyone right now, but that won't keep us from piling on. In the latest episode of the WEEKEND Watchers Official Podcast, host Cory Barker and Austin Morris discuss the fiasco that is NBC's late night situation and the ramifications it will have for everyone involved. Plus: "Chuck" season three chatter!Check out the newest ep of the pod on our Multimedia page.
(01/19/10 1:04am)
A look at the Globes' TV side from Cory Barker
(01/13/10 11:42pm)
____simple_html_dom__voku__html_wrapper____>Trying to determine what will happen in the television industry is hindered by the fact that at least one network does something outrageously stupid every six months. Common sense might say one thing, but try telling that to NBC. Either way, here’s what to expect in 2010. Conan O’Brien will leave NBC; the man can only be disrespected for so long. With NBC planning to move Jay Leno back to 11:35 p.m. and telling Conan he can either have “The Tonight Show” from midnight to 1 a.m. or leave, the writing seems to be on the wall. He deserves better. 3-D TV will dominate headlines, but it won’t impress. By this summer we’ll be bombarded with stories about 3-D coming to television and how it’s going “change everything.” It won’t, just like 3-D hasn’t revolutionized the movie-going experience. It might be cool, but it’s not innovative. The “Lost” finale will blow up the Internet. No television event is as anticipated in 2010, and the “Lost” series finale in May and fan reaction will range from “religious experience” to “they were still making it up as they went along.” In fact, expect the final scenes to be even more controversial than the fade to black move from “The Sopranos” a few years back.“Fringe,” “Community” and “Castle” will be canceled. These three fan favorites are all great series in their own right, but the numbers just don’t add up. “Fringe” and “Community” don’t help themselves by being produced by a studio that’s not related to their specific network and ABC doesn’t seem to care either way about “Castle.”Hulu and other online viewing portals will change new episode availability. Discussions surrounding Hulu have been all about a pay model, but that won’t happen just yet. Instead, look for a tiered availability system where the network gets first rights to stream the episode right after it airs and then it makes its way to Hulu two to three weeks after first airing. These predictions are great, but surely NBC or FOX will do something so dumb that we can’t even imagine. That’s the beauty of the industry.
(01/13/10 5:15pm)
____simple_html_dom__voku__html_wrapper____>After a year-long run, it is time to retire the TV Surveillance column and moniker, as I am certain that I have suggested what television programs to watch in every single creative way possible. Like all the greats, I know how to go out on top.But just because Surveillance is gone doesn’t mean I am. I’ll still be talking television, but instead in a format that will give you four points on why I believe something. Featured this week: NBC’s decision to move Jay Leno back to 11:35 p.m. and why it’s an overwhelming train wreck of an idea. Reason 1: It’s yet another slap in the face to Conan O’Brien. NBC has mishandled Conan’s move to “The Tonight Show” from the beginning. First, they signed him up without really considering Leno’s feelings and then to pacify the great-chinned one, cleared out the 10 p.m. slot. That meant Conan had to not only compete with Leno for guests (since they are both located in L.A.), but also promotional time. Conan’s new show debuted in June to solid promotion, but quickly NBC turned its promotional might behind the unfunny Leno. Now, reports claim that NBC told Conan to either accept his new post at 12:05 a.m. or get lost, and even if NBC PR say there is no tension, there has to be. Conan’s always been an underdog, but he doesn’t deserve this – no matter how much he’s getting paid.Reason 2: The 10 p.m. hour is now on an island. With the “The Jay Leno Show” filling five hours of primetime weekly, NBC was light on pilot development for the 2009-10 season. The network even canceled critically acclaimed “Southland” because it was “too dark” for 9 p.m. After the Winter Olympics NBC will be looking to fill those five hours and doesn’t have many options to choose from. “Heroes” will be over for the season very soon, “Trauma” has already been canceled and aside from “The Marriage Ref” and “Parenthood,” there isn’t much ready for spring. What does that mean? More “The Biggest Loser,” “Dateline” specials with Chris Hansen running creepy sting operations and re-runs. And NBC is still waffling on airing “Friday Night Lights” despite these problems? Yikes.Reason 3: It’s a financial and affiliate disaster. The Los Angeles Times reported over the weekend that the cost of the whole shuffle is near $200 million when considering the loss of revenue local affiliate news casts saw. Even NBC staple series like “Law & Order: Special Victims Unit” took a major financial hit because its ratings dropped so mightily from being switched to 9 p.m.And the financial cost isn’t the whole problem. Local affiliates have been steaming over the Leno-at-10 p.m. from the beginning, and some even threatened not to air “The Jay Leno Show” earlier in the fall. Now NBC is asking local affiliates to accept this new late night strategy and deal with reruns or reality programming at 10 p.m. that could actually obtain lower ratings than Leno’s terrible hour. Reason 4: NBC is still failing to admit its failures. NBC’s self-inflicted problems have been discussed ad nauseum over the past few years, but this situation reveals one of their major problems – they fail to acknowledge any wrongdoing. After this announcement, NBC brass have thrown around platitudes like “right idea, wrong time” and “people just had more choice at 10 p.m.” C’mon. It was an utter failure on basically every level and until NBC starts being more honest with their statements, critics won’t give them any benefit of the doubt when they screw up big again – and we all know they will.
(01/12/10 11:38pm)
____simple_html_dom__voku__html_wrapper____>Amid the hopeless and terrible procedurals and serialized programs that take themselves too seriously, one program stands alone for being pure fun – “Chuck.” Season two sees Chuck (Zachary Levi) begin to embrace his role as the Intersect, but that all blows up when he discovers that there might be a way to get the secret-keeping computer out of his head. A perfect combination of comedy, drama, action and pop culture references, season two of “Chuck” features 22 fantastic episodes that never drag or bore. Executive producers Josh Schwartz and Chris Fedak and their team expand the spy world and the mythology of the series even further without sacrificing the character beats along the way. Though there is a clear separation between the goofiness of Chuck’s cover job at the Best Buy-riffing Buy More and the seriousness of his spy assignments, characters from both worlds are intermixed at will – and it always works. From energetic performances to sharp writing to great action sequences, “Chuck” really has it all. If there’s one ratings-starved series that deserves to survive for years, it’s this one, so watch it already.