Tag / The Shield

by admin

NBC Upfronts

good-place-danson-bellNBC announced their new fall schedule yesterday and, with something different on every night, it will look much different from the spring.  The week gets off to a familiar start with The Voice leading in to the latest from the creators of Supernatural and The Shield, Timeless, about a trio of time travelers trying to save the history of the US.

Tuesday adds This Is Us, a new show staring Mandy Moore and Milo Ventimiglia about ” a unique ensemble whose paths cross and their life stories intertwine in curious ways.”  Blindspot moves from the cushy post-Voice slot to try and lead off Wednesday nights.  The Good Place, a new comedy starring Kristen Bell and Ted Danson, arrives on Thursday, with The Blacklist moving back an hour.

Friday and Saturday remain uninspiring, with football remaining on Sundays, at least in the fall.  Mid-season shows include a new vampire series inspired by True Blood author Charlaine Harris’s books, The Blacklist: Redemption, a spin-off starring Famke Janssen, a “reimagining” of The Wizard of Oz with Vincent D’Onofrio as the Wizard, Great News, the latest comedy from Tina Fey and Robert Carlock, Powerless, starring Vanessa Hudgens as an insurance adjuster in a world with superheroes, and Arnold Schwarzenegger in a revival of The Celebrity Apprentice.

Cancelled shows, never to be seen again, include Heroes: Reborn, Mr. Robinson, The Mysteries of Laura, Telenovela, and Undateable.  With only 2 shows returning that I am currently watching, I guess we shall see which, if any, of the new shows stick.

by jim

Book 4 (of 52) – The Revolution Was Televised

The Revolution Was Televised: The Cops, Crooks, Slingers And Slayers Who Changed TV Drama Forever - Alan Sepinwall

The Revolution Was Televised: The Cops, Crooks, Slingers And Slayers Who Changed TV Drama Forever – Alan Sepinwall

Starting in the late 1990s, as cable networks started to look to provide more viewing options than reruns of Benson and The Rockford Files and struggling netlets looked to find an identity in order to challenge the big 4, television entered what can only be described as a golden age of quality programming.  TV critic Alan Sepinwall looks at the 12 shows that blazed this new trail, garnering hundreds of Emmy nominations in their wake.

The main leader of this revolution was HBO, which aired 4 of the 12 series Sepinwall profiled.  Whether it was the goings on in Emerald City in the prison drama Oz or the dirty dealings of the western Deadwood or the drug-fueled and gang-infested streets of Baltimore in The Wire or the family run New Jersey business on The Sopranos, HBO showed that their “It’s not TV, it’s HBO” promos were more than just a slogan.

Seeing the success that HBO had with their scripted dramas, other cable networks looked to change their fortunes by following the same path.  FX was looking to reinvent itself and succeeded with The Shield.  AMC broke through in a big way with two hits, Mad Men and Breaking Bad, the only two shows in the book that are still on the air.  Even the channel formerly known as SciFi managed to find themselves a hit with the remake of Battlestar Galactica.

The one place it is much harder to be revolutionary is on network TV, but that doesn’t mean it is impossible.  Against all odds, ABC took a germ of an idea from an outgoing network chief and somehow ended up with Lost.  The WB, trying to find something to air besides “ethnic” sitcoms, turned to a re-imagined Buffy The Vampire Slayer.  NBC also looked to the cineplex for inspiration and found themselves with Friday Night Lights.  Not to be outdone, FOX managed to turn what could have become a tiring gimmick into the long running 24.

Sepinwall goes back and interviews most of the power-brokers behind the scenes of these revolutionary shows and provides an in-depth look at how they came to be and the struggles it took to get them on the air.  If I wasn’t already reading Sepinwall’s reviews, I would certainly start after finishing this book.