Category: Fall TV Preview (Page 22 of 27)

TCA Press Tour: “Family Guy” – The 100th Episode

One of the cooler panels during the course of the TCA Press Tour was unquestionably the “dinner theater” provided by the cast of “Family Guy,” who did a table read of their upcoming 100th episode for the assembled critics as they ate lunch. We were warned ahead of time that, yes, it was the unedited version of the script, and that several bits had been removed from the upcoming air version, but I didn’t hear any complaints after the fact, so I guess those of us with delicate constitutions managed to survive. I won’t give away any of the jokes – I mean, the show isn’t even scheduled to air until October – but I will say that it’s called “Stewie Kills Lois,” that there are jokes involving The Beatles, Barbra Streisand, and “The Lake House,” that there are tentative plans for guest appearances by James Woods and Rob Lowe, and that it’s a two-parter, so even we don’t know what happens in the second half.

Oh, and I’m guessing that Peter’s bit where he reminisces about he and Lois going to an abortionist is almost certainly not going to be in the version that you see on Fox.

After the read, the cast remained on stage and took a few questions from the crowd…the first of which, unsurprisingly, was, “Seth, what exactly did you cut out of that script?”

“Oh, I think the abortion one was about eight times as long,” MacFarlane laughed. “Some of this stuff, actually, you will only see on the DVD. There’s some stuff that was, you know, judiciously edited with our approval. And some stuff — for example, the swearing you’ll only see on the DVD. Since that’s become such a big part of “Family Guy,” there are — occasionally if we bleep something for TV, we’ll let it slide on the DVD.”

Most surprising admission from MacFarlane: that they’re never out to shock for the sake of shocking. “The thing that I try to do with ‘Family Guy,'” he explained, “is to kind of have this balance between the classic and the edgy. You know, we do a lot of poop jokes, but at the same time, we use a 45-piece orchestra every week with a full string section. If something is just shocking and not funny, then we’ll cut it out. And we have these table reads every week, which we do for each episode, in which we have a very good cross section of artists and people from the outside and writers, and, you know, the studio network is there. And no one is shy about gasping in horror if we have crossed the line, and so it’s a very good barometer.”

Best bit of gossip from MacFarlane: “Certain members of the Brolin family were amused by the (Barbra Streisand) gag that we did. That’s all I’ll say.”

Most surprising anecdote: the FCC responded to the show’s FCC-themed episode…and thought it was funny! MacFarlane admitted that it “surprised the hell out of me…and gives me a little bit of hope!”

Least surprising question: let’s just say it involved a reference to manatees. (I’m as guilty as anyone; I did the same thing when I talked to him…but I like to think that my comedic timing was better.) Of course, MacFarlane offered up his now-stock response about how he’s actually a big fan of “South Park,” but what he also provided was a surprisingly solid explanation as to why they enjoy doing the cutaways that Parker and Stone busted their balls about.

“The cutaways they sort of see as a deviation from the story,” MacFarlane explained, “(but) we sort of see them as, in a weird way, kind of these animated versions of, like, one-frame ‘Far Side’ cartoons that are sort of, you know, something you can only do really, I think, effectively in the animation medium. And, you know, they’re just kind of laughs for laughs’ sake. You don’t have to know what’s going on with the plot. You don’t have to know what’s going on with character drive. They’re just pure comedy…we hope!”

TCA Press Tour: Insert “No ‘Bones’ About It, The Show’s Better Than Ever” joke here

I’ve said it before, but I’ll say it again to give credit where credit is due: if it wasn’t for my wife, I wouldn’t watch nearly as much “Bones” as I do. As a diehard David Boreanaz fan, she was there from Episode 1 of the series to watch her boy in his new gig…and, not surprisingly, that meant that I was there a fair amount of time as well. It’s come quite a long ways over the past few years, with Emily Deschanel growing into her character…or maybe it’s her character doing the evolving; I can’t always tell…and the rapport between Deschanel and Boreanaz getting stronger all the time. Additionally, the ensemble cast has continued to gel, which only adds to the success of the show.

* The character of Zach Addy – played by Eric Millegan – went off to Iraq at the end of last season, but since Millegan was on the panel, it was reasonable for us to presume that he’d be back for Season 3. Before Millegan could answer, however, creator Hart Hanson interrupted, “Don’t verify it, Eric! Waffle! Just because you’re here on the panel doesn’t mean you’re back!” Millegan looked for a moment as though he thought Hanson might be serious, but when Hanson admitted that he was kidding, Millegan revealed, “Yeah, I’m back. And, gosh, I don’t want to give too much away, but he was sent home early. He was supposed to be in Iraq longer, and he was sent home early, and in the show we’re going to explore why he was sent home early and how he feels about that.”

* As far as Fox’s repeated threats to move the show to an invariably-deadly Friday night timeslot, Hanson stated with conviction, “We’re not going.” Would that he had the power to make that decision. “We’ll do what we can,” he finally said. “You know, FOX does what they can. They’re fair. They have a good plan. We’d just like to perform well enough that we don’t have to move to Fridays.”

* Speaking on the subject of the definite sexual tension between Booth and Bones, Deschanel offered a titillating revelation. “I think this season we’re growing deeper as friends and other things,” she says, “just deeper as a relationship, pretty soon. I mean, we investigate a certain kind of fetish that comes up in a crime that we’re investigating and that kind of brings up a lot of sexual tension and stuff between us.” (“Pony play,” cracked Boreanaz.)

Going on, Deschanel said, “And you can see how we have been affected by being left at the altar after Angela and Hodgins left their wedding and how that kind of affected us and how we’re forced in some way to face what we feel for each other. And you’ll see that at the beginning of the season, how we’re dealing with that.”

Boreanaz added, “You’ll see us very separate and apart and not kind of clicking, I think, in the beginning. Then you’ll see how that kind of gets back and working and how it sparks up again and the reasons why it works, the reasons why it doesn’t. Again, we can possibly throw in a therapist maybe to help us with our relationship in order to deal with the workplace, which I think is — I don’t think you’ve ever seen that on television, so I think that’s a really unique insight into how these two characters will grow with each other as the show grows.”

Hanson, however, got the last word on the subject…as is only appropriate for the show’s creator.

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TCA Press Tour: Ain’t Nothing Wrong With Nawlins

At first glance, the idea of a cop drama which takes place in the post-Katrina world of New Orleans seems like it might taking advantage of a well-documented natural disaster to inspire ratings…but after the panel for “K-Ville,” I walked away being more curious that I otherwise had been. I still haven’t seen the pilot for the series yet, but despite my concerns, it sounds like there’s far more of a buddy-flick dynamic between stars Anthony Anderson and Cole Hauser than I had anticipated. More importantly, though, the show is actually being filmed in New Orleans, with the cast and crew doing their part to rebuild the city.

Anderson hadn’t really spent much time in the city prior to Katrina’s devastating strike. “My first time there really was during the pilot back in March,” he admits, “and to arrive in the city, it was very disheartening to see the city in the state that it was. The spirit of the people in New Orleans is unlike any other spirit in people that I’ve seen before, you know, to go through what they’ve gone through and still walk tall with the sense of pride and courage. In Lower Ninth Ward, Jefferson Parish and places around like that, that are hard-hit, where communities have been devastated and decimated. And this is still two years later, so for it to be that way now, yeah, it was quite a shock and a surprise to me, what we’ve allowed to happen on our watch, our government or whoever. But you know, we’re there lending a helping hand to do what little it is that we are doing, but we’re doing something.”

To say that Anderson is doing little is to say that he’s being humble. Later in the panel, he acknowledged that “we signed on with Habitat for Humanity, and we’re out there on our days off rebuilding the community and rebuilding homes because, you know, this is our neighborhood, and this is where we plan on living for the next 6, 7, 8, 9 years. So that’s what we’re doing, personally.”

After Anderson applauded Fox for A) putting the show on the air, and B) allowing them to shoot it in New Orleans, thereby bringing revenue to the city, producer Jonathan Lisco added, “There are some people working on our crew right now, our art designer and a few other people, who have come up to the three of us and actually embraced us. The art designer, Tim, in particular, said to me, ‘You know, your show is the reason why my family and I have recommitted to the land here: because I got the job down here. What’s interesting is…and not to sound too grandiose…but, luckily, the people of the New Orleans are very resilient by nature. So it’s nothing that we’re creating from whole cloth, but I think that the show is great for the rebuilding, concretely, of the city, but also for the spirit of the city.”

And the show does sound interesting. In addition to the very specific regional flavor of the area, the show is being described as a cross between “NYPD Blue” and “Starsky & Hutch,” which, at least in theory, sounds like it has a decent amount of potential.

Although Lisco admitted that he wasn’t out to malign any specific show, he nonetheless admitted, “We’re not trying to do something that is so hyper-real that it’s along the lines of “Nash Bridges,” where each
episode there’s a your-ass-is-mine by our bad guys, a car chase, et cetera. However, we’re not necessarily out to be only messaging in the wake of a big national disaster. We’re out to create entertainment, and I actually think that that balance is something we are very focused on in the show. We want to create entertainment; at the same time, we want to be socially relevant to the extent possible.”

Will they find the right blend? We’ll see.

TCA Press Tour: Grammer, Heaton, and Willard go “Back” to TV

There’s so much that’s right about “Back to You” that it’s almost a little too easy to suggest that it could singlehandedly revive the traditional multi-camera before-a-live-studio-audience sitcom. And, yet, how can you not feel like that may well prove to be the case when its stars include a comedy trifecta in Kelsey Grammer (“Cheers,” “Frasier”), Patricia Heaton (“Everybody Loves Raymond”), and Fred Willard (just about every comedy ever) and its executive producers are Steven Levitan (“Greg the Bunny,” “The Larry Sanders Show”), Christopher Lloyd (“Frasier,” “The Golden Girls”), and James Burrows (just about every comedy ever)?

You see my point, I think.

Heaton said that it was her manager who originally pitched the idea that she and Grammer would make a good onscreen duo, but the idea appealed to her immediately. “It just seemed right,” she said. “I thought, ‘Oh God, me and Kelsey together would be a lot of fun.’ And what can we do? We’re thinking maybe college professors, maybe that should be it. He’ll be the old, dead, white male writers professor, and I’ll be the women’s lib professor, and we’ll do something like that. And it just kind of didn’t hear anything about it. And then I was doing this play in New York for 600 bucks a week, and they said there’s this sitcom, and I said, ‘Yes, whatever it is.'”

“That’s very flattering, Patty,” said Levitan.

“That college professors pilot sounds interesting, too,” nudged Willard. “Don’t forget that.”

Despite having played the character of Frasier Crane for decades, Grammer stands ready to dive headlong into another role. “I’m an actor. That’s what we do. I played (Frasier) as long as I did only because he remained interesting to play. This guy has a whole new set of difficulties that are equally interesting.”

Grammer also mused, “I like to think that based upon my knowledge of most television newscasting now, it has nothing do with the news, anyway. So I’m very happy to just be another performer pretending to be a performer.”

As far as the difficulties for Lloyd in seeing Grammer in a different light than the one he viewed him in as a producer of “Frasier” for so many years, Lloyd says there was a certain amount struggle in finding a new character for him. “We wanted someone that was obviously not Frasier again,” he explained, “but not so far away from Frasier that people would say, ‘Well, what, he’s a sheriff in Alaska?’ It had to be close enough to him that people could accept him, but also to utilize some of his great strengths. He plays big attitudes well, and pomposity. We wanted sort of a public forum for him, which is how we wound up on the news and using Steve’s background there.”

I’ll close with a great anecdote from Levitan, one which, by itself, is pretty much what has kept him considering a TV-news-based sitcom for all these years:

“There was an anchorman in Madison, Wisconsin, (and) when we were trying to come up with, ‘Well, what’s a good idea for Kelsey?,’ this guy sort of popped into my head. It was the night that John Lennon was shot, and it was very sad. They went to the footage around The Dakota and people crying. It was very sad. You know it was a very big moment for him. They came back to him, and he went, very dramatically, ‘Lennon is survived by his wife, Topo Gigio.’ That has always stayed with me. What’s so funny to me about local news is there’s this great narcissism pretending to be altruism. It’s just a wonderful place for a larger-than-life character to be a big fish in a small pond.”

Sold!

TCA Press Tour: “Reaper” ROCKS!

Here’s officially all you need to know about “Reaper” to be sold on it: on his 21st birthday, Sam (Bret Harrison) discovers that, before he was born, his parents sold his soul to The Devil…and when The Devil turns up to let Sam in on what that whole soul-selling thing means to him, we discover that he’s played by – wait for it – Ray Wise.

Ray Wise, as you may or may not know, played Leland Palmer – Laura Palmer’s father – on “Twin Peaks,” and, believe you me, there ain’t nobody who can do a devilish smile like that man.

Executive producer Deborah Spera says, “We looked high and low for the right Devil, I have to say. And we had spent a lot of time looking at many actors and their portrayal of the devil. And (executive producer) Tom Spezialy came in and said, ‘You know what I was thinking about? What about Ray Wise?’ And we were like, ‘Oh, my God, perfect.’ Ray walked in and smiled at us, and that was it.”

At this point, Tyler Labine (“Invasion”), one of the stars of “Reaper,” said, “Just grin, Ray, right now.”

So he did.

After the applause died down, executive producer Michelle Fazekas added, “He read for us, and, literally, we were, like, ‘We’re there.'”

So are we.

For his part, Wise kinda sorta did research his entire life for this part. When asked what preparation he did to play The Devil, he replied, “Oh, I guess 37 years of acting and about 400 movies that I’ve seen in the last 10 or 12 or 15 years, watching John Huston in ‘The Devil and Daniel Webster,’ people like Peter Stormare in ‘Constantine.’ I’ve seen devils like Peter Cook in ‘Bedazzled,’ pretty much remembering every devil that’s ever been done on the screen, big and small, then forgetting all about that and doing my devil, which is a combination of probably me and every other character I’ve ever played from Caligula Caesar, the mad emperor of Rome, to Leland Palmer, to a variety of villainous and terrible people. But I play a lot of good people, too, and so I can inject some of that into the devil, too.

“In fact, I ran into David Strathairn this morning on an airplane flight here. David and I did ‘Good Night & Good Luck’ together. And he said, ‘What are you doing?’ I said, ‘Well, I’m playing The Devil in ‘Reaper,’ a new TV show.’ And he said, ‘You are playing The Devil?’ I said, ‘Yes.’ ‘You mean The Devil is a good guy?’ He knows me only from ‘Good Night & Good Luck,’ really, you know, and he doesn’t know a lot of the other things I’ve done in the past, so, to him, The Devil would be a good guy…but he could also be perceived as a very bad guy. Personally, as The Devil, I don’t think he sees in terms of good or bad and black and white.”

However you see The Devil, there’s one think that’s for certain: “Reaper” is a great, funny show. It plays like a guys’ version of “Buffy the Vampire Slayer” on a lot of levels. You’ve got a reluctant hero with a destiny he can’t escape from (instead of slaying vampires, he’s capturing the souls that have escaped from Hell), he’s got a best bud who helps him out, he’s got his own version of the Scooby Gang, and if he doesn’t exactly have the equivalent of a Giles in The Devil, at least he’s got a elder (to say the least) to bounce things off of.

Plus, the pilot’s directed by Kevin Smith! What more do you need?

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