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Showing posts with label " TV. Show all posts
Showing posts with label " TV. Show all posts

Tuesday, January 5, 2016

KCRW's THE SPIN-OFF: Recapping 2015, The Year of #PeakTV and More



On the latest edition of KCRW's The Spin-Off, Joe and I chat with Variety's Elizabeth Wagmeister about the year in TV:

When John Landgraf, the head of FX, gave us the phrase "Peak TV" over the summer, he spawned a lot of debate and a massive number of think pieces. But seriously. There is a TON of TV out there. Can the industry sustain it? And does all this content come with a price?

Last year we talked about the industry hesitancy to take on certain social issues. This year, the landscape has changed for the better as shows took on everything from abortion to gun control to mental health issues to transgender awareness. Does this improvement relate back to Peak TV?

In the end-of-show downloads, we share some of the shows from 2015 you may have missed in all the content clutter.

Listen below!

KCRW

Monday, February 10, 2014

THE SPIN-OFF: Listen to the February Edition of KCRW's Monthly TV Podcast




For the February edition of KCRW's The Spin-Off, the monthly podcast all about the TV business, Joe Adalian, AJ Marechal and I tackle three hot topics:

Big Changes in Late Night: As Jay Leno leaves The Tonight Show the whole chess board in late night is shifting. Jimmy Fallon and Seth Meyers will take on new shows, but these days with competition from The Daily Show, The Colbert Report -- not to mention, competition from your DVR -- do the broadcast late night shows matter as much as they once did?

The Olympics and NFL: Once again the Super Bowl did huge ratings numbers. Not surprising as the NFL seems to be the only sure thing on TV these days. Now CBS has lined up a deal to share the broadcast of the NFL Thursday night games with CBS, hoping to get a piece of the live sports pie. This month we'll see if the big dollars NBC spent to get the Olympics will prove worth it.

Bubble Shows: Traditionally, this is the time of years when shows with middling ratings will be considered teetering on the bubble between cancellation and renewal. But these days the definition of the bubble show has changed. It's the era when ratings are influenced by DVR delayed viewing and networks are willing to hold onto shows that may get few viewers but hit a key demo.

We also go around the room to discuss one more hot topic that's on the top of our minds this month. Listen below!

Friday, February 7, 2014

One Last Night in Burbank: A Teary -- and Rainy -- Farewell for Jay Leno

Leno
The rain in Burbank seemed fitting Thursday night, as Jay Leno and "The Tonight Show" said farewell to the city. Leno hosted for 22 years on the (now former NBC) lot, while the show had been produced there since Johnny Carson moved to L.A. in 1972.

I was in a media screening room to watch the finale and summed it up for TVGuide.com:

Kicking off the monologue, Leno promised that this was his last show "for real. I don't need to get fired three times. I get the hint. I get the hint." Later, he added, "I got to tell you, the outpouring from people. It's really been touching. Today Anthony Weiner sent me a photo of his penis looking sad."

Final guest Billy Crystal serenaded Leno with a joke-filled tribute and then introduced a cavalcade of celebrities to sing their own verses, including Jack Black ("If Fallon tanks you'll be back here next year"), Kim Kardashian, Los Angeles Clippers player Chris Paul, singer Sheryl Crow, The Big Bang Theory's Jim Parsons, Carol Burnett and Oprah Winfrey.

In a pre-taped piece, Kevin Bacon, Steve Carell, Bob Costas, Bill Maher, Matt Damon, Mark Wahlberg, Kevin Hart, Charlie Sheen ("Buy NBC and fire everybody") and Dana Carvey gave their advice on what Leno should do next. And President Obama, in the piece, joked that he had no hard feelings about Leno's swipes — and planned to name the host "the new ambassador to Antarctica."

With wife Mavis in the audience, Leno choked back tears as he gave his farewell. "This is the hard part," he said, halting several times to regain composure. "We wouldn't be on the air without you people. This has been the greatest 22 years of my life. I am the luckiest guy in the world."

Leno noted that his parents and brother died early in the show's run. After that, "the folks here became my family. People say, 'Why don't you go to ABC or Fox? But I didn't know anybody over there. These are the people I know... I'm excited for Jimmy Fallon. It's fun to be the old guy and see where the next generation takes this institution. It really is time to go."

Read the full story here, and my exit interview with the host here.

Leno, of course, drove a different car to the studio every day. Here was his parking spot last night:

Leno

Friday, January 10, 2014

MIKE ON RADIO: Talking Midseason TV with Kevin & Bean



New Year, new TV shows! I joined KROQ's Kevin & Bean this week to talk about some of the new shows and hot TV stories of the moment (including the late night transition and why there are too many shows on Sunday night). Click below to download the Wednesday edition of K&B and listen!

Kevin and Bean

Thursday, September 29, 2011

Thursday Night at 'The Soup'

The Soup

Thanks to my pal Diane of popular TV blog The Surf Report, who invited me along last Thursday as she attended another taping of E!'s "The Soup." The show continues to impress and amuse as it takes down some of the silliest stuff televised on reality, local TV, talk shows and newscasts. And then there's the gift of Joel McHale.

McHale, of course, is busy these days as the star of NBC's "Community," but manages to somehow still juggle a busy standup schedule, movies, and his other, weekly job as host of "The Soup." McHale's in contact with the show all week, giving notes on the script that he'll eventually perform.

The Soup

Then, on Thursdays he heads to the Wilshire Courtyard HQ of E! after shooting "Community" all day. McHale glances at a script, then stands in front of the large green screen and pretty much hits his comedic marks. Three segments and a few surprise guests later, the taping is done. McHale even sticks around to sign autographs and pose for pics with the small (100 or so) audience -- which on our night included the owner of the new Chick-fil-A franchise in Hollywood.

We chatted for a bit after with Joel -- I couldn't tell if he remembered me from moderating the "Community" panel at Comic-Con or not, but I let it slide. Nice also finally meeting executive producer K.P. Anderson, who also oversees the other "Soup" spinoffs (such as G4's "Web Soup"). They make the show look easy, but it's clearly a well-organized, well-produced enterprise.

The Soup

Friday, August 26, 2011

Retro Friday: The Birth of Monday Night Football



It was 1970... the NFL and the AFL had just merged... and ABC introduced the revolutionary "Monday Night Football" franchise. (ESPN has aired it since 2005.) Check out this groovy, oh-so-70s promo to help promote it.

Tuesday, August 16, 2011

Live with the Cast and Producers of 'Phineas and Ferb'

Phineas Ferb panel
Photo: Frederick M. Brown/Getty

Thank goodness for "Phineas & Ferb." The Disney Channel cartoon rivals adult-oriented primetime toons like "Family Guy" for clever asides and witty references. (As a matter of fact, one of the "Phineas" creators even spent time on "Family Guy" before setting out to recreate that vibe, without the raunch.)

"Phineas & Ferb" is easily the most-viewed TV series in our household -- by virtue of the fact that it seems to be perpetually on in our home. (I believe we have about 13 episodes on Tivo at the moment.) It's a show that my kids can appreciate, but I honestly think more of the jokes are geared toward adults.

And that's by design. Creators Dan Povenmire and Jeff 'Swampy' Marsh spent 16 years trying to turn "Phineas & Ferb" into reality -- were looking to create an evergreen series that targeted several generations.

The concept -- two stepbrothers creating mini-adventures each and every day of summer vacation -- has proved to be fertile ground. Just last week the boys built a truck stop diner on top of the family RV. They’ve milked cows on the moon. They’ve built a biodome. They’ve opened the trendiest restaurant in town. They’ve built a teleporter, discovered the lost city of Atlantis, traveled inside their sister’s stomach, traveled back in time to the Jurassic Age and circled the globe after being inspired by Clay Aiken and Chaka Khan.

It all began with episode one in 2007, when the boys built a rollercoaster in the back yard. Four years later, it’s not just the biggest thing to ever come out of Danville and the Tri-State area – yes, even bigger than Love Handel and one-hit wonder Lindana. "Phineas and Ferb" is a huge Emmy-winning success for Disney. Just two weeks ago the Disney Channel Original Movie "Phineas and Ferb: Across the 2nd Dimension" attracted the best ratings of any basic cable movie this year.

I had the opportunity to moderate a panel this past Saturday at the Paley Center's 2011 Paley Fest: Family Edition, featuring Povenmire and Marsh, as well as voice stars Vincent Martella (Phineas), Ashley Tisdale (Candace), Dee Bradley Baker (Perry the Platypus), Alyson Stoner (Isabella), and Mitchel Musso (Jeremy).

Among the tidbits:

-- I mentioned how the bumbling Dr. Heinz Doofenschmirtz may be the most-rounded cartoon villain ever. He's divorced and trying to reconnect with his estranged teenage daughter, leading to some (yes, really) touching moments. The producers noted that they battled Disney to actually say the word "divorced" on the show -- execs were worried that it might depress kids whose parents were actually divorced. But the producers believed the opposite: "Phineas & Ferb" is all about blended families and the reality of today's parental units.

-- A theatrical "Phineas & Ferb" movie, including live-action elements, is in the works and still on track to be released in 2013.

-- The busy cast rarely sees each other, and records in their own city on their own time. Events like this one and Comic-Con represent some of the few moments where they've actually been in the same room together.

-- When asked about their favorite episode, many of them go back to the one that started it all: "Rollercoaster."

-- The mouth movement that Perry the Platypus makes when he speaks is based on how actor Dee Bradley Baker contorts his mouth when actually making that sound.

-- Why a platypus? Because there hadn't been one before. The creators shared advice they learned from DreamWorks: When "Shrek" first hit, the studio realized that it could own the phrase "ogre." Everyone knew the word "ogre," but no one could really picture what one looked like. Enter Shrek. Now, when people think "ogre," a picture of Shrek comes to mind. DreamWorks now owns that mental space. Povenmire and Marsh hope they're doing the same with the platypus. Now, when you think "platypus," doesn't Perry come into view?

Friday, August 12, 2011

Get Ready for California DMV: The TV Series



The place you love to hate is being turned into a TV show. Tru TV has ordered the series "California DMV: Field Offices" (working title) from Ashton Kutcher and Jason Goldberg’s Katalyst production company.

"With unprecedented access to several offices and locations, California DMV: Field Offices will provide an eye-opening, behind-the-scenes look at hard-working personnel who deal with everything from issuing licenses and registering vehicles to maintaining accident records and investigating complaints," says Tru TV, which promises a "fast-paced, fun series."

Yes, now officially everything has been done in TV. Good night, folks!

(By the way, you may recall that my last experience with the DMV, in 2008, was pretty positive. Read: What's This? A Positive DMV Experience? from June 2008.)

Thursday, August 11, 2011

'Phineas & Ferb,' 'Fish Hooks' and More at the Paley Center's Family Fest

Paley Fest Family

Ferb, I know what we're going to do this Saturday!

I've moderated a lot of panels in recent weeks, from "Community" to "Falling Skies" and several in between. But I may be most excited about my next panel, this Saturday, when I moderate the cast and crew of Disney Channel's "Phineas & Ferb" at the Paley Center.

The Paley Center's 2011 PaleyFest: Family Edition is like a mini version of the organization's popular "PaleyFest" -- and with shows geared toward tykes and their parents. This year, Disney Channel shows ("Phineas & Ferb," "Fish Hooks," "Kickin' It") take place on Saturday, with Cartoon Network series ("Ben 10: Ultimate Alien," "Dude, What Would Happen," "Adventure Time") on Sunday.

"Phineas & Ferb" could very well be the smartest and most clever animated series to come along in years. It's geared toward kids, yet most of the reference fly right over those little heads and right toward their parents. (In the recent "Phineas & Ferb" movie, for example, some of the kids trade existential philosopher bubble gum cards. I doubt Blogger Kid got it.)

Among those in attendance this Saturday: Jeff "Swampy" Marsh, Cocreator / Executive Producer; Dan Povenmire, "Dr. Heinz Doofenshmirtz" / Cocreator; Ashley Tisdale, "Candace"; Vincent Martella, "Phineas"; Dee Bradley Baker, "Perry the Platypus"; Mitchel Musso, "Jeremy"; and Alyson Stoner, "Isabella."

Later in the day, Disney Channel's newer animated series "Fish Hooks" will also be celebrated -- and moderated by my pal Jon Weisman of Dodger Thoughts fame. On Sunday, my TV Guide Magazine colleague Rob Moynihan will be moderating a Cartoon Network session. So make it a weekend, people!

Tix are $10 for Paley Center members and $15 for non-members. Go to their website here for more info. Where's Perry?

Wednesday, August 10, 2011

Discussing "Law & Order" and Its Brand

Law & Order

Back in April, I took part in a day-long conference at UC Santa Barbara's Carsey-Wolf Center. The topic? The 20-year impact of "Law & Order." ("Law & Order" creator Dick Wolf is the namesake, along with Marcy Carsey, of the Carsey-Wolf Center, natch. So expect a future conference on Carsey-Werner.)

My topic: How "Law & Order" morphed from TV show into a full-fledged brand. (I wrote a story on this topic back in 2001, which is partly why I was asked to join in.)

This was a rare case of actually being on a panel instead of moderating it -- and wow, that's a whole lot easier. I was joined by Cliff Gilbert-Lurie, Senior Partner, Ziffren Brittenham LLP; Warren Littlefield, Founder, The Littlefield Company and former President, NBC Entertainment; Jonathan Nichols-Pethick, Program Director and Associate Professor of Film Studies, DePauw University; Betsy Scolnik, Head of Digital Strategies, Wolf Films; and Ellen Seiter, Professor of Television Studies, School for Cinematic Arts, University of Southern California.

Here's how the panel was pitched:

"Law & Order" is one of the most financially successful series in the history of television. Conceived originally as a modular hour-long drama that could be syndicated in half-hour blocs, it was from the outset a program designed to navigate the shifting sands of the TV business during cable and broadband eras. Panelists explored the distinctive features of "Law & Order" as a network franchise and off-network syndication property. Topics included: production strategies, cost containment, marketing, cross-platform synergies, brand management, target audiences, and intellectual property. Panelists also discussed "Law & Order" within the broader context of network and cable television.
And here's the video from the day:

Law and Order: Changing Television: Session 1: The Brand from Carsey-Wolf Center on Vimeo.

Monday, July 25, 2011

Live from Comic-Con: Monkeying Around with the Cast of "Community"

Community Panel
(Flickr pic by Cody Tuthill.)

Yes, I'm a very, very lucky guy. Not only did I get to moderate the fifth and final "Chuck" panel (watch it here) for Comic-Con this year, but I also got to do the same for season three of "Community." And lemme tell you, the fans were even wilder. My favorite part of the whole Comic-Con? When I led the crowd of 2,000 into a rousing "Pop-POP!" (If you don't watch the show, well, just go Google the name "Magnitude.")

The cast, except Alison Brie, was all there, as was creator Dan Harmon... and yes, the monkey known as "Annie's Boobs." Watch!



UPDATE: Wait a sec, I see that NBC edited out my "Pop-POP" call and response! See it here:

Sunday, July 24, 2011

Live from Comic-Con: "Chuck" Panel Gets Emotional

Comic-Con 2011 - Saturday
(Flickr photo by Ryan Ozawa).

UPDATE: NBC.com has now posted the full Chuck panel from Comic-Con, moderated by me, and here it is!



EARLIER: Thanks to TheTechGuyChris for posting these videos of the final "Chuck" panel, which I had the pleasure of moderating. The crowd was amped, the cast was on and star Zac Levi even got pretty emotional. Parts one, two and three (once it posts) are below.




Tuesday, June 7, 2011

Spotted: CSI Spawns a Cottage Industry



Remember those old TV ads starring Sally Struthers and touting home schooling for trades like gun repair?

Oh, how 1980s of you. These days, via ads on the MTA buses, I notice that the hot new jobs are in the "CSI" field. (See above.) Yes, thanks to good ol' TV, these profit-driven trade schools are churning out a generation of wannabe Marg Helgenbergers and David Carusos. Apparently crime scene investigation is a growth industry?

Sunday, May 15, 2011

UPFRONTS: NBC's New Fall Schedule

New NBC entertainment chairman Robert Greenblatt knows he can't turn the Peacock network around overnight. That's why the executive is resisting the urge to throw two of his hottest properties — The Voice and the new Steven Spielberg musical drama Smash — on the air this fall.

Instead, Greenblatt describes NBC's fall 2011 schedule as building blocks for the future. On Mondays, the network is making its biggest surprise move, turning The Sing-Off (which aired during the holidays in 2009 and 2010) into a two-hour, weekly series and pairing it with new drama The Playboy Club.

Come midseason, The Voice will be back as a two-hour series on Mondays at 8 p.m., leading in to the much-anticipated debut of Smash at 10. Look for NBC to use the Super Bowl to help launch both series.

On Tuesdays, NBC is holding tight, preferring to stick with incumbents The Biggest Loser and Parenthood. The network is taking another gamble on Wednesdays, opening up the night with two new comedies: Up All Night, starring Christina Applegate, and Free Agents, with Hank Azaria. Harry's Law moves to Wednesdays at 9 p.m., followed by Law & Order: SVU.

NBC will revert to a two-hour comedy block on Thursdays with Community, Parks and Recreation and The Office (30 Rock sits on the bench until midseason). The new sitcom Whitney, starring comedian Whitney Cummings, gets the plum 9:30 p.m. slot behind The Office, while the Maria Bello-led Prime Suspect debuts at 10 p.m.

Chuck moves to Fridays at 8 p.m., followed by new fairy-tale-inspired series Grimm and Dateline NBC.

After Sunday Night Football completes its run, NBC will bring back The Celebrity Apprentice to Sundays and pair it with The Firm, a new drama based on the John Grisham novel, at 10.

Read my interview with NBC's Bob Greenblatt about his new fall strategy here.

NBC's Fall 2011-2012 Schedule
MONDAY
8-10 p.m. — The Sing-Off
10-11 p.m. — The Playboy Club (NEW)

TUESDAY
8-10 p.m. — The Biggest Loser
10-11 p.m. — Parenthood

WEDNESDAY
8-8:30 p.m. — Up All Night (NEW)
8:30-9 p.m. — Free Agents (NEW)
9-10 p.m. — Harry's Law
10-11 p.m.— Law & Order: Special Victims Unit

THURSDAY
8-8:30 p.m. — Community
8:30-9 p.m. — Parks and Recreation
9-9:30 p.m. — The Office
9:30-10 p.m. — Whitney (NEW)
10-11 p.m. — Prime Suspect (NEW)

FRIDAY
8-9 p.m. — Chuck
9-10 p.m. — Grimm (NEW)
10-11 p.m. — Dateline NBC

SATURDAY
Encore programming

SUNDAY
7- 8:15 p.m. — Football Night in America
8:15-11:30 p.m. — NBC Sunday Night Football

Friday, May 6, 2011

Retro Friday: Broderick Crawford Trusts TV Guide



How awesome is this? A black-and-white testimonial from Broderick Crawford, on the set of "Highway Patrol," for TV Guide. Thanks to my dad, who found this on YouTube!

Monday, April 18, 2011

'Law & Order: LA' Takes on the City of Bell Scandal



They've been busy reading the Los Angeles newspapers at NBC's revamped Law & Order: LA. The show is relying on two of the year's biggest L.A.-centric news stories to fuel its narrative over the next two weeks. Tonight, Law & Order: LA will tackle local government corruption — motivated by the well-publicized mess in the City of Bell, a suburb of Los Angeles. Then, on April 25, the show airs its episode based loosely on the mysterious murder of Hollywood power publicist Ronni Chasen.

Read all about it here.

By the way, tonight's City of Bell-inspired LOLA episode comes as the L.A. Times awaits word this afternoon on a potential Pulitzer for its coverage of the scandal.

Tuesday, April 12, 2011

Send Me Your Questions for Ray Romano and Everyone Else Behind TNT's "Men of a Certain Age"

Men of a Certain Age

I wasn't sure what to make of TNT's "Men of a Certain Age" at first. A dramatic comedy on TNT, the "we know drama" network? A much more serious Ray Romano? A much less serious Andre Braugher? A non-quantum leaping Scott Bakula?

Then I checked it out -- and was immediately drawn in. Sure, I'm 10 to 15 years younger than these guys, but I'm fast approaching being a "man of a certain age" myself. And the show's compelling mix of middle age angst and humor (this is from "Everybody Loves Raymond" sitcom vets Romano and Mike Royce, after all) easily makes it my favorite show on TNT.

I'll be moderating a SAG Found ation panel on Tuesday all about "Men of a Certain Age" and featuring stars Romano, Braugher and Bakula, as well as Royce. Got any questions for the stars or creators? Hit me up on email or leave a suggestion below.

"Men of a Certain Age" returns to TNT with six all-new episodes beginning Wednesday, June 1, at 10 p.m.

Thursday, March 31, 2011

Mad Men Returns... in 2012, as AMC, Lionsgate and Matt Weiner Finalize New Deal



By Michael Schneider/TV Guide Magazine


Pour an Old-Fashioned and celebrate: After much delay and plenty of down-to-the-wire drama, Mad Men is a firm go for two, and possibly three, more seasons.

While AMC and creator Matt Weiner engaged in a public war of words on Tuesday, negotiators for Weiner, the cable network and Lionsgate (which produces the show) were busy behind closed doors getting the deal done.

The deal keeps Weiner on board for seasons five and six, while his new long-term deal with Lionsgate allows for a potential season seven,

"I want to thank all of our wonderful fans for their support," said Weiner. "I also want to thank AMC and Lionsgate for agreeing to support the artistic freedom of myself, the cast and the crew so that we can continue to make the show exactly as we have from the beginning.  I'm excited to get started on the next chapter of our story.”

It wasn't an easy negotiation. Although a deal to keep Weiner and the show on AMC came close to fruition last week, a handful of sticking points slowed things down – and things got ugly Monday, after those issues were revealed.

Among Weiner's objections: AMC's move to trim the show from 47 minutes and episode to 45 minutes (which is still above the now-industry standard 43 minutes). The executive producer also wasn't pleased with AMC's move to cut costs by trimming the number of series regulars (particularly actors who don't appear in every episode) or the network's request to highlight more product placement.

But under the deal announced Thursday, insiders confirmed that AMC will air a full 47-minute season opener and season finale of Mad Men. Weiner will also be given the leeway to produce all 13 episodes at 47 minutes – but AMC will have the option of trimming those episodes down to 45 minutes. (Full 47-minute episodes will still be available on other platforms, such as VOD, and on home video.)

Insiders also said that there is "no mandate" to cut cast members (all series regulars will be returning for season five) and that that product integration will simply be more "transparent" and under Weiner's advisement.

AMC and Lionsgate had been locked in a battle for months over the two additional seasons. At issue: Although a critical hit and the show that put AMC on the map, Mad Men is not a huge ratings draw – and boasts a hefty production cost (as much as $2.5 million). Weiner also doesn't come cheap: The executive producer, who's synonymous with the show, will bank around $10 million per season.

Complicating matters further: Rainbow Media, AMC's parent, is preparing to be spun off from owner Cablevision into a separate entity.

"This is a giant corporation fight between Lionsgate and Rainbow/AMC," one source familiar with the negotiations said prior to the deal.

AMC added to the fire on Tuesday by issuing a release confirming the season five pickup – even though it had already been announced – and telling reporters that Mad Men wouldn't return until 2012 (believed to be in March). Despite AMC's decision to push Mad Men into next year, while sources close to Weiner (who wanted to stick to a 2011 timetable) said the exec producer still had every intention of delivering episodes by late summer or early fall.

But that would have been too late for AMC, which has other programs already on the Sunday docket for fall – including season two of The Walking Dead (which is now AMC's top-rated series). Unfortunately for Mad Men fans, AMC is holding to that early 2012 date.

With AMC paying Lionsgate for the show, it was up to the network to find a way to make a deal work. That's why insiders on AMC's side believed the demands weren't outrageous, such as bringing the show's length in line with other dramas and finding ways to be more open about the kind of product integration that the show already does.

Weiner spoke to the fan site Basket of Kisses on Wednesday, telling the blog that "I had nothing to do with this delay and it is not about money. I am fighting for the cast and for the show."

Weiner said negotiations didn't begin in earnest until three weeks ago, and dismissed the reported $10 million-per-season figure. "I've brought the show in on budget. I’ve been a good producer," he told the blog.

Reaction was mixed in the creative community. Sons of Anarchy creator Kurt Sutter, in his typical brash style, disagreed with Weiner's objections: "You can't ask a network for 10 million, then bitch when they want to expand their ad revenue source. Whore or saint, pick one."

But Tim Goodman, the TV critic for The Hollywood Reporter, was firmly planted on Team Weiner: "AMC was a second rate movie channel (and that's being generous) until Mad Men put it on the map… Pay the man."

"AMC’s original programming began with a mission to create bold storytelling of the highest quality, and 'Mad Men' was the perfect expression of that commitment," said AMC president Charlie Collier. "We've been proud to support this show from the day we read Matt's ground-breaking pilot script and have loved building it with Matt and Lionsgate into the cultural phenomenon it has become. For everyone involved in the show and its passionate fans, we are thrilled to announce that the series will continue on AMC under the exceptional vision of Matt Weiner."

Added Lionsgate TV president Kevin Beggs: "We are proud to continue our successful relationships with AMC and the brilliantly talented Matt Weiner, whose vision has created one of the most distinguished series on television. We also appreciate the passion and patience of 'Mad Men' fans around the world who have been awaiting this good news, and we believe they will be rewarded with many more seasons of this extraordinary and groundbreaking series." 



Wednesday, March 30, 2011

Still In Limbo, "Mad Men" Lands L.A. Conservancy Honors


January Jones, as Betty Draper, at the Dorothy Chandler Pavilion -- which doubled as an Italian hotel in "Mad Men."

While the world awaits news of a deal between AMC, Lionsgate and Matt Weiner that would bring "Mad Men" back for three more years, the Emmy-winning show continues to earn accolades. This time, it's from the Los Angeles Conservancy, which is set to honor "Mad Men's" devotion to mid-century accuracy.

"Mad Men" has landed the organization's 2011 Preservation Award in the Media category. Here's why:

Though set in New York, Mad Men is produced in Los Angeles and has used local midcentury sites as filming locations. The show wove historic preservation into a Season 3 storyline about Madison Square Garden, as one of the admen protested the demolition of the iconic Penn Station.

Creator and executive producer Matthew Weiner has gone even further in supporting historic preservation. He hosted opening night of last year’s Last Remaining Seats series and spoke out in support of our efforts to preserve La Villa Basque restaurant, a 1960 hidden gem in Vernon.

Mad Men had filmed key scenes in Season 4 episode “The Suitcase” at the restaurant because of its pristine condition. When new management began removing original elements of the restaurant in a plan to “make it more Mad Men,” Mr. Weiner urged them to keep La Villa Basque intact.

For catapulting 1960s culture into the mainstream, showcasing Los Angeles’ treasures of sixties architecture, and taking a stand on real-life preservation issues, the Conservancy is proud to honor Mad Men and Matthew Weiner with its 2011 Media Award.

Here at Franklin Avenue we've chronicled the use of Los Angeles locations in "Mad Men" -- check out some of those posts here.

The awards will be handed out at a luncheon on Thursday, May 12 at the Millennium Biltmore Hotel in Downtown.

Monday, March 30, 2009

The "ER," About to Be Shut Down For Good



Has it already been 15 years since "Friends" and "ER" both hit the airwaves? Yep, fall 1994. I was still in college, and too busy to watch the first seasons of either show.

But come fall 1995, I was working at the TV trade pub Electronic Media in Chicago -- and the entire office was obsessed with "ER." Some were infatuated with George Clooney. Others loved the Chicago setting (even if it didn't actually shoot in Chicago, "ER" crews came to town several times a year to shoot exteriors). And the fast-paced storytelling hooked pretty much everyone.

Our art director, Susan, even began putting together a weekly "ER" quiz on Friday mornings. The winner got their name added to a paper trophy that went around the office; Clooney even signed it during one of his Chicago "ER" visits (Susan and a few others pulled some strings to visit the set).

As time wore on, Susan made the "ER" tests tougher and tougher. I began to take notes during each episode. Whenever any action took place on screen, I'd feverishly write down anything I saw on screen: What time was it on the wall clock? How many characters were in the room? What were a few pieces of key dialogue?

It was everything the networks hoped to have in a hit TV show. Loyal fans invested in a weekly event. "ER" regularly posted 40 shares, helping NBC dominate Thursdays (and before we knew it, the entire week).

Eventually, though, I got out of the "ER" habit. I continued to watch for a few years after I left Electronic Media for Variety... but as the original, core "ER" cast left, I began to tune out as well. I do remember paying special attention to the departure of Anthony Edwards' character, Dr. Mark Greene.

As he was dying of cancer, Dr. Greene took his daughter and headed to Hawaii, where he grew up as a military brat. For obvious reasons, that story resonated with me. (Here's a fictional TV character, after all, who would have attended the same high school as me. Trippy.)

I recently tuned in for the first time in years, in order to catch the return of Clooney, Juliana Margulies, Eriq LaSalle and Noah Wyle. It was like old times -- well, sorta. The 40 shares are long gone, and we're all 15 years older.

This weekend, Maria and I attended the "ER" finale party, held at Social Hollywood. It was a big affair -- cast members past (LaSalle, Wyle) and present (Angela Bassett, John Stamos) celebrated, along with showrunner John Wells and studio and network execs. It felt like the end of an era -- 10 p.m. shows are dropping like flies -- and the party itself, while not lavish, was a throwback to pre-recession times. But considering how important "ER" has been though the years for the network and studio, it was the least they could do.

R.I.P., "ER"!