Category: TV Dramas (Page 138 of 235)

TCA Press Tour, Day 4: TNT

The USA Network has made a name for itself as the best place on the basic cable dial to find new dramatic series, but given TNT’s current slate, it’s beginning to look as though USA had better start watching their ass; they’ve already got two solid entries in “The Closer” and “Saving Grace,” and now that they’re bringing in “Raising the Bar” and “Leverage,” things are looking even more impressive.

“Raising the Bar” is the latest contribution from Steven Bochco, the man who brought you such television classics as “Hill Street Blues,” “L.A. Law,” “NYPD Blue,” and…yes!…”Cop Rock.” (Hey, he likes it.) As you may have guessed from the show’s title, Bochco is returning to the judicial system again, and he’s bringing another fantastic ensemble with him, including Mark-Paul Gosselaar (“NYPD Blue”), Jane Kaczmarek (“Malcolm in the Middle”), Gloria Reuben (“E.R.”), and J. August Richards (“Angel”).

“This is a show that’s not just about criminal attorneys or prosecutors,” clarified Bochco. “It’s a show about the judicial system. We wanted to access legitimate points of view, not just from the defense side or the prosecution side, but from the judge’s point of view as well; we felt that we really needed to have a consistent representative voice for the series.” Enter Kaczmarek, who’ll be playing a judge for the second time in her career…though she’ll be a little less animated this time. (Her previous judicial role was as Judge Harm on “The Simpsons.”)

Seeing Gosselaar in the cast isn’t as big a surprise this time as it was when Bochco hired him for “NYPD Blue” back in 2001, but Bochco stands by his decision then and now. “Mark-Paul is one of the small, handful of best actors that we have in television today,” he said. “I hate to talk about a guy who is sitting here, but Mark-Paul has a big heart, and it’s been evident in his work ever since we got together, so when David and I started working on “Raising the Bar,” we always had Mark-Paul in our heads as an image for this guy. I’ve never worked with anybody who gives more of himself to the work process. He’s a wonderful professional; the ego gets checked at the door. That’s very refreshing.”

After he shook off the compliments, Gosselaar addressed Bochco’s comments, revealing that his first encounter with the legendary producer was when he auditioned for Bochco’s short-lived ABC series, “Philly.” “I knew the name,” he said, “(but) I had never seen an episode of ‘NYPD Blue.’ I didn’t see ‘Hill Street.’ So I just did my work, and then I remember him saying right in the room, ‘You are good.’ He had such an honest quality about him. To say that to an actor…I didn’t know how to take that. And then from that, I didn’t get ‘Philly,’ but three weeks later, he said that he would think about another character on ‘NYPD Blue,’ and half a year later, I was on that show. I’m in shock from that meeting, that he is able to see a quality in an actor and take him through a process. I feel like I blossomed and developed on that show to do the work that I’m doing now. He creates an environment that allows actors to do that, and you feel safe being with him. That’s what he does.”

Okay, enough back-patting. Let’s talk about the show itself.

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TCA Press Tour, Day 3: HBO

Okay, kids, we’ve got a lot of stuff to cover here, so let’s start off by just hitting the highlights of the initial HBO panel, which was simply the network’s programming group president Richard Plepler and co-president Michael Lombardo opening up the floor to questions.

* The next season of “Big Love” is shooting now and will hopefully land on the air in the first quarter of 2009.

* Larry David is currently filming a Woody Allen movie, but he’s planning to get back to “Curb Your Enthusiasm” once he’s finished with that, so fingers crossed for Season 7 in late 2009.

* There are six completed episodes of Linda Bloodworth-Thomas’s “12 Miles of Bad Road” floating around, but HBO has decided that the series isn’t right for them, so it’s anyone’s guess if, when, or where we’ll ever see it.

* There is enormous interest by Warner Bros./New Line to do another “Sex and the City” movie, and they’re trying with HBO’s help to put that together.

* David Chase is on vacation in France, but if he wants to do a “Sopranos” movie, HBO would be “delighted to explore that.”

* Pilots have been greenlit for “Treme,” dealing with post-Katrina New Orleans, “The Washingtonian,” based on a Jessica Cutler book, and one-hour drama about 1920s Atlantic City that’s written and executive-produced by Terry Winter, with Martin Scorsese also executive-producing.

* David Milch is working on a pilot called “Last of the Ninth” about New York City Police Department in the 1970s, which means that the likelihood of a “Deadwood” movie happening is slim to none.

* Both “In Treatment” and “Tell Me You Love Me” will be returning.

* The network’s upcoming miniseries, “Pacific Theater,” executive-produced by Tom Hanks, Steven Spielberg, and Gary Goetzman, just wrapped principal photography, and should air in either late ’09 or early ’10.

* Coming soon: “Number One Lady Detective,” based on the series of books by Alexander McCall Smith.

* Also coming soon: “Hung,” a half-hour comedy with Alexander Payne directing.

* Chris Rock will be doing his fifth HBO concert on September 27, 2008.

So there you go. Not a bad slate of stuff to keep you looking forward to for the next several months…and that’s not even counting the shows that earned their own panels.

First up: Ricky Gervais.

Though many Americans remain unaware of this fact, Gervais has stretched his career beyond television and film into the world of stand-up comedy. (His possession of the ability to do hilarious stand-up will come as no surprise to anyone who’s become addicted to the podcasts he’s done with his longtime writing partner, Stephen Merchant, and their associate, the inexplicable Mr. Karl Pilkington.) There are actually three DVDs worth of Gervais’ stand-up available in the UK – “Animals,” “Politics,” and “Fame” – but, to date, his Stateside fans have been given little opportunity outside of YouTube to investigate his facet of his work. Thankfully, HBO stands ready to change this by filming his performance next week at the Wamu Theater at Madison Square Garden, for air in the very near future. (The venue, according to Gervais was chosen because “I’ve just bought an apartment right near it, so I can walk.”)

Despite being one of the most distinctively British comedians working today, Gervais assured us that he won’t really have to change a great deal in his act for American audiences. “I obviously take out cultural references you wouldn’t get,” he admitted, “but I think it’s as simple as changing sort of stones for pounds. There’s nothing that I think an American audience wouldn’t like. It’s purely cultural references that might not be mutual. The things I pick on are probably global…and, you know, America, by its definition in the world, is pretty global, anyway. It’s a huge part of the world. Particularly the English-speaking world. I pick on the comedy classics. You know, Hitler, famine…

“What I do is, I have a bag of observations that I think might be funny, and I jot them down. I probably start with about half an hour, and that becomes an hour, and the other half an hour is sort of ad-libs and additions over the course of a
tour. The audience chooses the best bits for you. It’s a process of natural selection. So over a hundred dates, they’ve chosen your best hour. You thought it up and you said it, but they’ve sort of done the difficult bit for you.”

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TCA Press Tour, Day 2: A&E

Well, I guess we now officially have a recurring theme within my postings, since this will be the third time I’ve made a comment approximating this one, but can anyone still remember when the majority of the programming on A&E still focused on arts over entertainment? It’s been quite some time, I think we can all agree…though I’m all ears if you’d like to try and defend “The Two Coreys” as art. But I’m trying to keep an open mind about A&E’s new dramatic series, “The Cleaner,” partially because I’ve liked Benjamin Bratt since his days in “Law & Order,” but mostly because I can’t help but be curious about a show which has been described as a cross between “Intervention” and “The Equalizer.”

Producer Jonathan Prince tackled one question right off the bat for those who’ve been annoyed by all the bleeps that have peppered the “Sopranos” reruns on A&E. “There will be no bleeping,” he assured us. “The battle…you guys as writers would love this, the battle of how many shits per script are allowed. You can have two shits, one bullshit, no horseshits, one ass, no asshole. And there’s a rule. It’s math, I think. It’s sort of, you know, in memory of George Carlin, we now know what you can and cannot say on A&E, and we are finding out along the way, but I think you would find that this is less sanitized than what happened to ‘The Sopranos.’ Our content never goes quite to that place.”

Well, now that we know that, what’s the show actually about? In a nutshell, it’s about a guy named William (played by Bratt) who transforms his life by taking control over his addictions and using his story to help others, but what I find particularly interesting about the show is the refusal to confirm or deny the existence of any higher power that might (or might not) be helping him along the way.

“This pact that William Banks has with whoever was listening on that day when he was at his bottom, he chooses to call it God,” said producer Robert Munic, “(but) it’s not a religious embodiment of that. It’s more of his belief system, his faith in whoever’s out there listening to him, because he doesn’t ever expect to get an answer back when he puts it out there.”

Prince elaborated on the situation by offering an on-set anecdote. “We had a director who said, ‘When Ben’s talking to God, I want to put the camera way above so we can see sort of God’s point of view.’ We said to the director, ‘You can’t do that.’ She asked, ‘Why not?’ We said, ‘Because we’re not sure God’s listening.'”

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TCA Press Tour, Day 2: AMC

At the 2007 TCA Press Tour, the critics were all abuzz about this new show on AMC called “Mad Men.” Some of us had seen the screeners of the first episode or two, some of us had not, but there was absolutely no-one in the house whose curiosity wasn’t piqued about this series which would take place in the early 1960s and examine the life and times of ad men…and, of course, the women who love them. Over the course of the year, “Mad Men” became a full-fledged television phenomenon, bringing new attention to AMC as a place to find top-notch original series (a reputation aided in recent months by “Breaking Bad”), and with the recent release of Season 1 of “Mad Men” on DVD, the excitement over the impending premiere the show’s second season is at a fever pitch.

How disappointing, then, that the show’s creator, Matthew Weiner, is so steadfastly against revealing anything about the upcoming season.

Not that I blame the guy. As much as I love a good spoiler, I can totally understand why a show’s producer wouldn’t want to spill his guts about what we can expect to see in the future, because he wants us to be as surprised as everyone else. But with that said, AMC did provide us with the first two episodes of the new season, and he was even hesitant to discuss the events that take place in those.

So, y’know, basically, the big scoop we can reveal about the second season of “Mad Men” is that there is one.

Okay, I’m just kidding. There’s a little bit that we’ve gleaned about it, and the bit that’s probably going to be the most frustrating for those who like to get their answers quickly is that there’s been a bit of a time shift, jumping ahead slightly rather than picking up immediately after the events at the end of Season 1. There’s a specific reason that Weiner has opted to go this direction, however…well, actually, make that two reasons.

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TCA Press Tour, Day 1: BBC America

When the BBC America panels began, we were pleasantly surprised to be blessed with a heretofore-unmentioned appearance by Ted Koppel, who has joined the BBC World News America team. Granted, Koppel’s appearance was via satellite, and it only lasted for a few minutes (he had to get back to other activities which were, we can reasonably presume, far more important than talking to a bunch of lousy TV critics), but let it be said that the man left an impression one simple exchange…

Reporter: How did all this come about for you? How did you get involved with these guys?
Ted Koppel: Well, I was off in a sleazy back alley, buying pornographic magazines…

And here I thought I couldn’t respect a newsman more than Brian Williams, who was heard to say during last year’s tour how such-and-such “really made my sphincter tighten.” But I think I’ve gotta give the title to Koppel now. (The reporter who asked the question thanked him for that quote, by the way…as well she should have.)

But, really, you have to like a guy like Koppel, anyway, if only because he’s not afraid to speak his mind, an opportunity he was given on a silver platter when he was asked why American viewers were being denied the kind of news coverage being provided by BBC America.

“Well, as you all very well know, that’s the subject of a very long discussion,” he admitted, “but the simple answer is economics. As there have been more and more outlets and the competition has become greater and the audiences have
become smaller and the amount of money that news divisions are making still has to remain high, there’s been a tendency to focus more on that demographic that brings in the largest amount of advertising dollars, and that’s the young demographic…and for reasons I never quite understood, the assumption is that young people don’t care about overseas news. And the other half of the answer is that the bean counters decided that one way to save money for the news divisions was to close down these very expensive foreign bureaus which are not necessarily on the air every day. And so, where in my heyday as a foreign correspondent, ABC, for example, may have had 30 or 35 correspondents, now they’ve got maybe five or six. And that’s the same with NBC and the same at CBS. There are just far fewer correspondents, far fewer bureaus, and that’s the one area in which the BBC remains preeminent.”

Preach it, Ted. Oh, and if you’re wondering, Koppel still considers the Discovery Channel to be his primary employer these days…but given how enthusiastic he sounds about working for BBC America, I’m left wondering how long that will prove to be the case.

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