Category: TV Dramas (Page 112 of 235)

TCA Tour, Jan. 2009: “Skins”

If I hadn’t been out here in L.A. for the last week and a half, you would’ve seen my review of the first volume of “Skins” on DVD, but when it finally does make it onto Bullz-Eye, you can count on it being a rave. I’ve groused on many occasions about the portrayal of American teenagers on television, how it always feel so terribly unreal and thereby presents a version of reality that they feel obliged to live up to. In the case of “Skins,” however, I’m torn by what I’m seeing: on one hand, there’s no denying that it feels really, really real, but, indeed, it’s so real that, unlike “Gossip Girl,” it makes me go, “Oh, my God, maybe this really is what my daughter’s going to be doing when she gets to be a teenager.”

(For what it’s worth, I’ve checked with my sources in the UK – hi, Claire! – and I’m assured that the Brit teen experience is far wilder than the US teen experience, so I’m feeling at least a little bit better about it.)

Those who’ve watched the first two series of “Skins” have been a little bit twitchy about the news that the father-and-son creators of the show, Bryan Elsley and Jamie Brittain, are basically doing away with the entire cast of kids – except for Effy and Pandora – and starting fresh with a whole new bunch of young’uns.

“We feel like…each cast has a kind of two-year life span, mainly because we are mostly interested in the ages of 16 to 18,” said Brittain. “That’s the format of the show. We felt that, looking at shows that have been before, like ‘Dawson’s Creek’ and ‘The O.C.,’ they tend to go downhill a little bit when the characters all go off to college or a university because, you know, then you have to contrive convenient endless ways to get them to meet up again. They’re always coming home for a party or something like that. Also, we sort of felt like, in the first series, we took the characters quite a long way and sort of took them to their conclusions, really. So any more of those original cast would be, you know, not needed.”

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TCA Tour, Jan. 2009: “Ashes to Ashes”

You know ABC’s “Life on Mars”? Okay, forget about it for a moment and jump back in time to the original BBC version of “Life on Mars.” After that series left the air in April 2007, rumors immediately began to swirl that there would be a sequel to the story, and in February of 2008, those rumors became a reality with the premiere of “Ashes to Ashes.” Sadly, however, we poor Americans have been stuck waiting around for the show to make its debut on BBC America ever since.

Thankfully, that wait will come to an end on March 7th.

If you’ve somehow managed to restrain yourself up ’til this point and don’t already know the storyline of “Ashes to Ashes,” here’s the deal: just as Sam Tyler was a modern-day cop transported back to the ’70s on “Life on Mars,” now it’s single mother and Detective Inspector Alex Drake who finds herself back in 1981…and, yes, she’ll be facing everyone’s favorite politically incorrect cop, Gene Hunt.

Music-wise, I’m particularly excited to hear what tunes will be offered up, given how many ’80s songs have been part of the soundtrack of my life, and it sounds like co-creator and writer Ashley Pharaoh has got quite a treat in store.

“In actual time, I was 21 in 1981, so I sadly was a New Romantic and had too much makeup and ribbons in my hair, so it was very dear to me, that stuff, and it was always going to be the soundtrack of ‘Ashes to Ashes,'” said Pharaoh. “Actually, we recreate a very famous New Romantic club from Soho: The Ritz Club. And Steve Strange, who ran the Ritz Club, guested in the episodes. Steve very Strange, we think he is, though.”

One of the first things Pharaoh wanted to do with a “Life on Mars” sequel was to change the male-male dynamic of the original series and bring a woman right into the heart of things.

“‘Life On Mars’ references back to sort of very male, British cop shows in the ’70s,” he explained, “and we wanted more sort of a ‘Moonlighting”’ feel, a brighter sense. And we thought it would be really good fun to take Gene Hunt on a journey with a very strong woman, feminist, intellectual from our time. The actress, Keeley Hawes, I’d worked with her before; I did a Thomas Hardy adaptation with her, ‘Under the Greenwood Tree,’ and I was knocked out. Whenever we met the producers and the writers with our little short list of actresses, she was always on the top, so it was a no-brainer, really, and I think it was a wonderful performance she gives as Alex Drake.”

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TCA Tour, Jan. 2009: NBC newsflash

Angela Bromstad, President of Primetime Entertainment, and Paul Telegdy, Executive Vice President of Alternative Programming, just popped up on stage to offer the following tidbits of information, some of which were announced awhile ago but which we haven’t yet covered on Premium Hollywood:

* “Southland,” the new drama from John Wells (which was formerly known as “Police”), will premiere on April 9th, Thursday at 10 PM.

From Emmy Award winners John Wells, Ann Biderman and Chris Chulack comes a raw and authentic look at the police unit in Los Angeles. From the beaches of Malibu to the streets of East Los Angeles, “Southland” is a fast-moving drama that will take viewers inside the lives of cops, criminals, victims and their families. Michael Cudlitz plays John Cooper a seasoned Los Angeles cop assigned to train young rookie Ben Sherman. Cooper’s honest, no-nonsense approach to the job leaves Sherman questioning whether or not he has what it takes to become a police officer. Cudlitz and McKenzie are joined by other cast members including Regina King who plays Detective Lydia Adams. Adams lives with and is the primary caregiver of her mother. Her partner, Detective Russell Clarke (Tom Everett Scott) is an unhappily married father of three. Michael McGrady plays Detective Daniel “Sal” Salinger. Sal oversees fellow gang detectives Nate Moretta (Kevin Alejandro) and Sammy Bryant (Shawn Hatosy). Arija Bareikis plays as patrol officer Chickie Brown, a single mom who dreams of being the first woman accepted into SWAT.

* They have ordered 3 more episodes of “ER,” bringing the season total to 23. The series finale will now air on April 2nd, with a one-hour retrospective preceding the two-hour finale. Why the additional episodes? “Why not?” asked Bromstad. She then clarified, however, that it allows John Wells time to get “Southland” ready.

* They have officially signed on for additional seasons of “The Office” and “The Rock”

* NBC has signed Don Cheadle and his company, Crescendo Productions, to a two-year, first-look television development deal.

* Due to its success up against “American Idol,” they will indeed be picking up another season of “Biggest Loser” for next season.

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TCA Tour, Jan. 2009: “Big Love”

I’m very much out of my element when it comes to discussing “Big Love.” Not that I’m not interested in the show, but I simply haven’t watched it. I know, however, that another fine member of our editorial staff – one J. Codding – is a regular viewer, so I wouldn’t dare miss the opportunity to cover the upcoming third season of the show. Plus, really, whether you’ve watched the show or not, who in their right mind wouldn’t want to sit in on a panel that includes Bill Paxton, Jeanne Tripplehorn, Chloë Sevigny, and Ginnifer Goodwin?

If you haven’t followed the behind-the-scenes activity on the show, it’s been kind of a weird time for “Big Love” since it left the airwaves back in August 2007. The writer’s strike led to a delay in production for the show’s third season, and when the strike was concluded, executive producers Mark Olsen and Will Scheffer made the decision to throw out the ideas they’d come up with for Season 3 and basically start fresh.

“It’s always good to have more time and more time and more time to digest story and to reconsider choices made,” said Scheffer. “It makes the show stronger, deeper, better, you know, to have a couple of goes at initial assumptions. And so it was a blessing in that way, a mixed blessing because we were late coming on back to our fans, but, you know, I think that that little interim period where we weren’t writing when we were just sort of protesting and showering and such that we could have this time to breathe into the characters and the stories even more than we would have if we had just gone on our straight route. You know, I think the show would have been great, but I think what we have now is like beyond great.”

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Grissoms’s Last “CSI” A Rough Day for Wallace Langham

If you’ve seen the commercial promoting William Petersen’s final episode of “C.S.I.” (and if you’ve had a TV tuned in to CBS at any point in the last few weeks, you can’t possibly have missed it), then you know that the character of lab tech David Hodges earns an emotional moment with Gil Grissom, proclaiming, “The bad guys will win more if we don’t have you.”

Having seen Grissom’s farewell in its entirety, I can tell you that the entire scene between Grissom and Hodges is so great that you’ll find yourself wondering who Wallace Langham had to bribe to get such a wonderful moment in such a momentous episode.

“Every day’s a gift here at ‘C.S.I.,’ I’m telling you,” says Langham, with a grin.

In all seriousness, the show’s writers came up with the idea of Hodges’ emotional farewell to Grissom, and they couldn’t wait to tell Langham about it. “The character that they thought would be the most devastated about Grissom leaving would be Hodges, so they let me play that out,” said Langham. “And I tried to be as human as I possibly could in the context of Hodges, because he doesn’t always get those opportunities. He never gets within ten feet of an emotion. That part wasn’t necessarily that hard to play, but it was still weird for me, just because, as Hodges, I don’t really get to play it that often!”

As it happens, however, the shoot turned out to be a rough one for Langham for reasons beyond those of Petersen’s departure.

“It was a really tough day to shoot for all the usual reasons,” said Langham, “but, sadly, my father was passing away…and, actually, after we had finished filming, I got the call that he had died. It wasn’t a surprise, but…you know, I knew that would be the day, oddly enough. Once I got the call where they said, ‘Okay, you’re going to be shooting on the 10th,’ I just had a feeling. I thought, ‘Okay, the irony of life has always served me well,’ and true to form, it was a very heavy day on all levels.”

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