Extreme Social Climbing: An Advance Review of USA's "Royal Pains"

I'll admit that I was a bit wary of USA's new summer series, Royal Pains, prior to watching the 90-minute pilot episode.

After all, Royal Pains' cutesy title, oddball casting, and fluffy subject matter could have made this either an unwatchable hot mess or a winning summer series that's equal parts dry wit, flashy environs, and winsomely quirky characters.

Fortunately, having watched Royal Pains' first episode, which airs tomorrow night on USA, I am happy to say that it's the latter. Royal Pains, which stars Mark Feuerstein (Defiance, 3 Lbs.) as disgraced doctor Hank Lawson, is exactly the sort of thing you want to be watching on those long, hot summer nights. It's the television equivalent of snacking on a Popsicle: cool, sweet, and relatively fat-free.

Royal Pains, written by Andrew Lenchewski (UC: Undercover) and directed by Jace Alexander (Burn Notice), tells the story of promising Manhattan ER doctor Hank Lawson (Feuerstein) who, after opting to save the life of a young kid while a vital hospital patron lay dying, is booted out of the hospital... and his relationship with his bitchy fiancee. With nowhere to go and money quickly disappearing from his bank account (thanks to said fiancee and lawyer fees stemming from malpractice), Hank drifts inside himself and becomes little more than a sad sack has-been sitting in his own filth and watching an endless loop of trashy daytime television and 80s flicks.

Enter Hank's younger brother Evan (Joey's Paulo Constanzo) who can't bear to see his brother throw his life away. He convinces Hank to join him in the Hamptons for the weekend and mingle with the beautiful people at a decadent party thrown by an elusive and eccentric billionaire named Boris (played with aplomb by the one and only Campbell Scott), where he promises ice flown in from Antarctica, supermodels mud wrestling, and sushi rolls made with diamonds. (One of my favorite lines in the pilot involves Evan promising a "diamond fight" among guests; the other is a rip at "fractional ownership.")

It's an orgiastic event where--depending on your point of view--everything goes horribly wrong... or goes right for the first time for Hank in months. At the party, Hank is called upon to save the life of a woman who appears to have overdosed on some recreational drugs. Or so the callous concierge doctor would seem to believe, until Hank steps in and correctly diagnoses the damsel in distress, realizing that she's having a fatal reaction to pesticides on some flowers she sniffed in Boris' rose garden. Hank saves the day... and word quickly spreads like wildfire through the well-heeled hamlet that Hank is the new go-to concierge doctor in town.

It's a situation that Hank is more than reluctant to finesse, despite social-climbing CPA Evan's protestations that this is their ticket to the high-society and out of the run-down beach motel where they're currently staying. Rich people in the Hamptons do not use the local hospital (it's there for the bridge and tunnel crowd that comes in for the weekend and the service-industry locals) and they want someone available 24 hours a day for all of their medical needs: a concierge doctor at their beck and call.

It's an arrangement that also works well for adorable, whip-smart Hampton Heritage Hospital administrator Jill Casey (Gossip Girl's Jill Flint) who would rather treat patients seeking actual emergency medical care than raving lunatics who would seek to jump the patient queue when one of their breast implants leaks. (Which is exactly what happens, I might add, to Christine Ebersole's society dame Mrs. Newberg in the pilot episode.) Jill can allow the hospital to prioritize its patients while Hank can make house calls. They both win.

Everyone seem to be conspiring in one way or another to keep Hank captive in the Hamptons. Besides for the obvious spark between him and Jill, there's the hefty gold bar that Boris gives to Hank as payment for his assistance at his party (and the offer of his estate's guest house), the attentions of said damsel in distress (in the throes of Nightingale Syndrome), and the arrival of well-prepared physician's assistant Divya (Reshma Shetty), an ambitious PA who has an SUV overflowing with pricey medical equipment and the need to prove herself.

The solution seems obvious, despite Hank's bizarre (and at times illogical) refusal to take over the mantle of concierge doctor to the Hamptons' elite. In the pilot episode alone, he tackles a number of medical cases but none quite so dire as that of hemophiliac rich kid Tucker (Californication's Ezra Miller), who crashes his dad's pricey Ferrari and then tries to conceal from Hank the extent of his injuries.

It's a rare medical series that can deftly balance romantic comedy, buddy comedy, and actual medical emergency yet Royal Pains does so with a flair that's helped by the delightful casting of the zany Costanzo as Hank's brother Evan. In the hands of a lesser actor, Evan could have been a one-note walking punchline but Constanzo imbues him with a hell of a lot of heart, even as he attempts to deceive nearly everyone he comes in contact with and walks away with nearly every scene in the process. He's the consummate hanger-on, a beggar at the feast whom you want to love despite his many flaws.

The rest of
Royal Pains' cast is equally nimble. Virtual unknown Shetty is a real find as the uber-ambitious Divya, all slick angles and posh Anglo-Indian accent. And Flint wows from the moment she appears on-screen, offering Hank not only a love interest but a grounded voice of intelligence and reason in a world that's built around wealth and excess. (I'm also hoping that Miller's Tucker sticks around for a bit in the series.)

In fact, my only real disappointment is with Feuerstein himself, who doesn't quite manage to charm the way he should as Hank Lawson. Yes, Hank is meant to be a stiff outsider who is ill at ease with the trappings of wealth being thrust at him but Feuerstein himself seems to bristle, lacking the charisma and charm necessary to pull off this role. The strength of the supporting case manages to uphold the energy and zing of Royal Pains' pilot but I couldn't help thinking the entire time that there were far more magnetic actors who could have given Hank more energy and verve.

Likewise, Alexander's direction of the pilot goes for the obvious rather than attempting to push the envelope in terms of visuals. Many of the shots are predictable and staid and don't service the flair and beauty of the location. (Though, I'll admit that I do love that swooping fast-motion overhead shot of the beach manses.) Additionally, some of the wittiness of the script's banter gets lost from time to time, with well-turned dialogue getting buried amid some poor direction.

Still, these are minor quibbles when presented with a finished product that offers escapist fun and infuses the medical drama with a hefty dose of comedy. Royal Pains is a guilty pleasure that you don't really have to feel all that guilty about enjoying. Rather than offer you some empty calories, there is some real pleasure here, thanks to the revolving door of talented guest stars, the rich supporting cast, and the mirth of the social calendar in the Hamptons.

Diagnosis: Royal Pains might not be the most inventive or original series ever to hit the small screen but it has an engaging energy and a winning group of quirky characters that make it a fun and frothy summertime treat. Well worth checking out, even if you can only afford to stay in the Hamptons for the weekend.



Royal Pains premieres June 4th at 10 pm ET/PT on USA.

Channel Surfing: Stephen Moyer Talks "True Blood," Madeline Zima Suits Up for "Heroes," Rehearsals to Begin on Final "Gavin & Stacey" Season, and More

Welcome to your Wednesday morning television briefing.

E! Online's Watch with Kristin caught up with True Blood star Stephen Moyer, who plays vampire Bill Compton on the HBO supernatural drama, to talk about Season Two, which kicks off on June 14th. "There's no getting away from the fact that Bill is a vampire. He can't wish to be anything else, because he's a vampire, but he's a vampire who wants to live a human life," said Moyer about his character. "Actually, in fact, he wishes not for a human life, but for a moral life. It's not that he doesn't want to feed on blood, it's that he doesn't want it to involve killing—but in his first season he kills as many people as the murderer. That was something that was very present in our minds. He has that blood lust, he has that very strong sense of right and wrong. If somebody f--s him off, he's going to take them out. He's torn. He's not going to do it just for the sake of it. But if somebody hurts him or hurts his family or hurts his loved one... they're history. [Chuckles]. I like that." As for Bill's relationship to telepathic waitress Sookie Stackhouse (Anna Paquin), Moyer said, "I think that they love each other more than they have loved anything ever. Speaking from Bill's point of view, she's given him reason to live again." (E! Online's Watch with Kristin)

Californication's Madeline Zima has been cast in a recurring role on Season Four of NBC's Heroes, where she will play Gretchen, described as "an edgy outsider and college roommate to Claire (Hayden Panettiere)," who is heading to college next season. (Hollywood Reporter)

Rehearsals are set to start next Monday on the final season of British comedy series Gavin and Stacey, which will start shooting on June 15th. James Corden, who co-created the series with Ruth Jones and co-stars alongside her, didn't rule out further writing collaboration with Jones after wrapping the third and final season of Gavin and Stacey. "It's an emotional time because we're saying goodbye to these characters that we love. So the whole thing is very sad and I just hope it can be as good as possible," said Corden. "You know, when we wrote the words, 'This really is the end, the end', we were both a bit welled up and we looked at each other and we were sure that's it. I just hope it's good enough. Ruth and I, we'd like to write something else again but we're inevitably not going to spend as much time locked in a room together." (BBC Radio 1 Newsbeat)

USA is said to be close to handing out a pilot order for espionage thriller Covert Affairs, from writers Matt Corman and Chris Ord. Project, from Universal Cable Prods, executive producers Doug Liman and Dave Bartis, and Dutch Oven, focuses on Annie Walker, a linguist and CIA trainee who is "summoned to headquarters and given assignments assisted by blind tech expert [Auggie] Anderson. While she believes she'd been recruited for her language skills, it might be an elusive former boyfriend her CIA bosses are after." USA has very quietly engaged the services of a casting director and is beginning to reach out to agents about potential candidates for the roles of Annie Walker and Auggie Anderson. (Hollywood Reporter)

Comedy Central has ordered a second season of Important Things With Demetri Martin, with ten new episodes expected to launch early next year. (Variety)

Gregg Henry (The Riches) has joined the cast of HBO comedy series Hung in a recurring role, where he will play Mike, an assistant coach at the high school where Thomas Jane's character coaches basketball. Elsewhere, Courtney Ford (Cold Case) has joined the cast of Showtime's Dexter in a multiple-episode story arc where she will play a reporter. (Hollywood Reporter)

NBC will launch primetime talk show The Jay Leno Show on Monday, September 14th at 10 pm ET/PT. The network will use the season finale of America's Got Talent to help launch the series, which takes over the 10 pm hour across the week. It's also thought possible that the network could launch its Thursday night comedy series that week as well but the network hasn't confirmed any plans to that effect. (Variety)

FOX has quietly moved the air date for its two-hour sci-fi telepic Virtuality (originally a two-hour backdoor pilot) from the Fourth of July to Friday, June 26th at 8 pm ET/PT. (Televisionary)

BBC One controller Jay Hunt has said that she will seek out innovative home-grown drama series rather than hand over primetime slots to acquired American series. The network currently airs FX's Damages in a latenight slot. "It is very unlikely that we will show U.S. series in primetime. It is nice to have Damages in the mix. The show is hugely valued by a very small audience, but it is a very small audience," said Hunt speaking at the Broadcasting Press Guild on Tuesday. "Part of what the charter (the BBC’s constitution) commits us to is to find the best of world television and showcase it ... but my main job in drama is to spearhead real innovation and creativity in original British production." (Variety)

Bravo has announced that Las Vegas will be the setting for Season Six of culinary competition series Top Chef. Host Padma Lakshmi and head judge chef Tom Colicchio, along with judges Gail Simmons and Toby Young, are all set to return for Season Six. There's no official launch date for Season Six but it's widely believed that Top Chef will return this fall. (via press release)

TLC will offer a sneak peek at new docusoap Masters of Reception, from executive producers Kelly Ripa and Mark Consuelos, Charlie Corwin, and Milojo Prods., on June 12th. The series, which follows a New Jersey family-owned catering business and its clients and events, will return this fall with five one-hour installments. (Variety)

Stay tuned.

Pilot Inspektor: An Advance Review of ABC's "The Middle"

My favorite thing about ABC's new comedy series The Middle might just be youngest son Brick, played with unapologetic realness by Atticus Shaffer.

I had the opportunity a few weeks back to watch the full pilot episode of The Middle, which launches on ABC this fall on Wednesday evenings, and was instantly enchanted by Shaffer's adorably awkward Brick, a boy who continually refers to his mother as his "hero" (but not quite for the reasons you might think), who whispers to himself because it makes him feel good, and who embodies all the bizarre quirks and foibles that many of us carried around for a bit in childhood.

Created by Eileen Heisler and DeAnn Heline of NBC's Lipstick Jungle, The Middle tells the story of the Hecks, a very average middle-class family living in Middle America... or the middle of Indiana to be precise. If I'm being honest I'll say that I've been more or less in love with this winsome script for the past few years; the project itself has been developed several times over and was even shot as a pilot with Ricki Lake two development seasons ago. (The aforementioned Shaffer is the only cast holdover.)

Now the series stars Patricia Heaton (Back to You) as the oft-put-upon Frankie Heck, a suburban wife and mother who tries to keep her kids and husband in line and keep chaos at bay while she works as a (rather unsuccessful) car salesman. Her husband Mike (Scrubs' Neil Flynn) is the manager of a local quarry and approaches the workplace-related injuries with the same lackadaisical manner one might address a child's skinned knee. Eldest son Alex (Frozen River's Charlie McDermott) is a typically sullen teenage boy, one with a penchant for walking around in his boxers and nothing else. Middle child Sue (Eden Sher), meanwhile, doesn't seem to have any noticeable talents but that hasn't stopped her from trying out for a variety of school teams and clubs with painfully expected results. (Her pummel horse jump is a master class in gut-wrenching embarrassment.) And then there's the adorably bizarre Brick whose ticks are endearingly off-putting. ("Sorry...")

They're the type of family who considers quality time eating dinner and begrudgingly catching each other up on their days during the commercial breaks on Dancing with the Stars. In other words, the Hecks are just like a zillion other American families, albeit with some more fully realized neuroses.

If the above sounds a bit like FOX's own family comedy Malcolm in the Middle, you'd be right. Both The Middle and Malcolm in the Middle (which even sound alike) dealt with the everyday messiness of family life with a heightened sense of reality that made our own days seem relatively normal in comparison.

Like the family preserved for eternity on Malcolm in the Middle, the Hecks have a mother struggling to keep things together, a father whose parenting style can be described kindly as laissez-faire, a troubled older son, and a oddball younger son. (Just sub the brainiac Malcolm for a skills-deficient Sue and change the POV from the middle kid to the harried mother and you're set.)

Which doesn't diminish the charms of The Middle at all. As I mentioned before Shaffer absolutely kills as Brick, who springs it on his poor, overworked mother that she will have to create a superhero costume and turn up at his school for a book report... the day before she's meant to be there. (Hint: it's why he kept whispering that Frankie was his "hero.") Frankie, meanwhile, contends with a ghastly driver's license picture that makes her seem haggard (she colors her grey hair with a black magic marker as a result) and a host of problems from each of her kids. Sue lands a spot in show choir... with some added painfulness this time around.

I'm not a huge fan of Patricia Heaton in general, which is a real shame as Frankie Heck is a fantastic female character. Heaton seems nearly manic with her performance and it's jarring at times with the messy sweetness of the overall pilot and I wanted her to calm down a little more from the outset, even if Frankie is a mess internally. Flynn is as fantastically nuanced as ever and the kids are all well-cast.

But the standout performance really is the inimitable Atticus Shaffer, who gives The Middle much of its zing and freshness. Rarely has there been a television kid with such perfect timing (watch the scene where he shills a car for his mother's potential sale) and such oddness in one package.

Ultimately, The Middle is a cute and rather sweet half-hour about the trials and tribulations of the average American family in an age of bad credit, massive unemployment, and energy-sapping technological development. It's also about how even in the most mundane of situations, there's humor, joy, and love to be found in just about every home.



The Middle will air Wednesdays at 8:30 pm ET/PT this fall on ABC.

FOX Moves Up Ron Moore's Two-Hour Telepic "Virtuality" By a Week

FOX has now shifted the world broadcast premiere of the two-hour sci-fi telepic Virtuality, from Battlestar Galactica's Ronald D. Moore and Michael Taylor and director Peter Berg, from its July 4th airdate to Friday, June 26th at 8 pm ET/PT.

The film, originally meant to be a two-hour backdoor pilot for an ongoing series, stars Nikolaj Coster-Waldau (New Amsterdam) as Commander Frank Pike, the head of the crew of interstellar vessel Phaeton who find escape from the mundanity of their ten-year journey by venturing into virtual worlds, where--thanks to a glitch in the system--they are seemingly attacked by a malevolent figure.

FOX describes Virtuality's themes with the following: "The two-hour movie raises fascinating questions about the lines (or lack thereof) between reality and virtual reality. What would you do if you were faced with the prospect of going on a 10-year space journey to another planet in order to save an Earth ravaged by global warming, food shortages and degradation? Would you be more apt to go if you had a way of slipping away into your own simulated virtual-reality to pass the time? Would you be able to distinguish this new reality from your old one? What if something started going horribly wrong on your voyage – would you turn back, even with a worldwide audience back on Earth anxiously awaiting news of their planet’s salvation? Or would you continue, uncertain of whether your own life, virtual or otherwise, was in imminent danger?"

The official description of Virtuality and the full cast list from FOX can be found below.

**FOX MOVIE OF THE WEEK SPECIAL**
—“VIRTUALITY”—(8:00-10:00 PM ET/PT)
CC-HDTV 720p-Dolby Digital 5.1

THE CREW OF THE PHAETON EMBARKS ON A 10-YEAR JOURNEY
THROUGH OUTER SPACE TO SAVE THE EARTH
IN THE ORIGINAL SCIENCE-FICTION THRILLER “VIRTUALITY”
FRIDAY, JUNE 26, ON FOX

Nikolaj Coster-Waldau (“New Amsterdam”) stars

The crew of the Phaeton is approaching the go/no-go point of their epic 10-year journey through outer space. With the fate of Earth in their hands, the pressure is intense. The best bet for helping the crew members maintain their sanity is the cutting-edge virtual reality technology installed on the ship. It's the perfect stress-reliever until they realize a glitch in the system has unleashed a virus on to the ship. Tensions mount as the crew decides how to contain the virus and complete their mission. Meanwhile, their lives are being taped for a reality show back on Earth in the World Broadcast Premiere of VIRTUALITY airing Friday, June 26 (8:00-10:00 PM ET/PT) on FOX. (FM-0904) (TV-TBA)

Cast: Nikolaj Coster-Waldau as Commander Frank Pike; Sienna Guillory as Rika Goddard; James D’Arcy as Dr. Roger Fallon; Ritchie Coster as Dr. Jimmy Johnson; Erik Jensen as Dr. Jules Braun; Omar Metwally as Dr. Adin Meyer; Kerry Bishe as Billie Kashmiri; Joy Bryant as Alice Thibadeau; Nelson Lee as Kenji Yamamoto; Jose Pablo Cantillo as Manny Rodriguez; Gene Farber as Val Orlovsky; Clea Duvall as Sue Parsons; Jimmi Simpson as Virtual Man

Sharpen Your Knives: Talking with the First Four "Top Chef: Masters" Contestants

True confession: I've been suffering from some painful Top Chef withdrawal since the last season wrapped up.

Fortunately, Bravo realized that many of us have been craving another culinary competition and next week will launch spin-off series Top Chef: Masters which will pit 24 of the country's most celebrated chefs against one another in a battle of wills and skills that will leave only one standing as they fight for bragging rights and a donation to the charity of their choice.

I had the opportunity to catch up with Hubert Keller, Christopher Lee, Michael Schlow, and Tim Love, the first four contestants on Top Chef: Masters last week via a press call to see what they had to say about the series' grueling Quickfire and Elimination Challenges and just how they fared on the chopping block. (Meanwhile, look for an advance review of the first episode of Top Chef: Masters next week.)

"The charity part was absolutely first and foremost," said chef Michael Schlow of Boston's Radius, speaking about why he joined the cast of Top Chef: Masters. "I think you know all of the chefs that are involved in the show will say that. Plus you know it's an honor to be asked to be on a show that's titled Top Chef: Masters. It's a top-rated food program -- the regular Top Chef program is a top-rated food program in the country, and so I think we're all flattered to be asked. I mean we want to represent our cities and our towns. And so the idea of not only doing this for charity but getting a chance to hopefully showcase some of our talents in a fun setting with our friends, it was enough for me, and it was a great opportunity."

But what about the risk factor of pitting well-known and established chefs against each other? Weren't the contestants at all worried about that?

"As far as the risk factor goes, yes, you know you get on any reality TV show, there's a lot of risk involved and I think all of us kind of were biting our cheese a little bit to find out how it was going to be edited because we obviously don't know that until the episode comes," said Tim Love of Fort Worth's The Lonesome Dove Western Bistro and The Love Shack. "But I think it turned out to be really great. And of course I'm sure you can tell from the episode, we all enjoyed hanging out with each other. And anytime you can get together with some of your colleagues like that in a different setting, it always makes for a lot of fun. We see each other at food and wine festivals and things like that, but to get together and make an episode with three other great chefs like these guys that I worked with, it was a great honor."

Famed Fleur de Lys chef Hubert Keller concurred.

"It's true there is risk involved that I think all of us having our own restaurants and business and everything, I think we're running risks everyday, right?" said Keller. "So I think it's part of our lifestyle also that when something is up, when [you get into] something, yes, actually we do take risks and it's all about what we're doing. And otherwise for me also since I was participating as a judge in three different seasons in the past and the first Top Chef was also filmed at Fleur de Lys in San Francisco, I must say it's something that I could not have turned down."

"I think we're all going to beat this question down the same way," said Chris Lee of Manhattan's Aureole. "I mean for me it was definitely because of the charity, was the real one reason why I decided to do it. I thought there would be a risk, but I kind of went in there light-minded or light-hearted about the whole thing and just trying to keep a good, positive attitude with it and just did what I did. If I looked stupid I tried to have a sense of humor."

"Of course your staff always wants you to bring home you know the win and whatnot," said Love. "But the risk really is nothing compared to the reward when you go into something like this where you go in for a charity, you got an opportunity to make some money that will make a change in somebody else's life. It's really kind of cool. And the competition itself really for me kind of took a backseat and the fact that we're there you know to make a good show and we're there to compete with our colleagues and I think everybody that enters the competition is pretty much a winner, otherwise they wouldn't have chosen us. And everyday, as I said before, we get judged everyday in our restaurants. So being judged by others is really not, and I don’t mean to speak for everybody, it's really not I think new for anybody."

"The way I'm entering the competition was definitely not something to prove ourselves," admitted Keller. "I think we did enough in our career, where we are today. So as an example, every restaurant that we have or we're running or chefs, right, we are not proving ourselves but we are definitely competing, right, with the other peers in different cities, different restaurants. So I just saw it more on that way on basically entering to compete, because competition, that's what we do in our profession, like with our restaurants. But it's not to prove ourselves; I think that was not the goal of that."

Still, everyone's a critic, right? So why invite even more criticism by participating on a series that showcases that constant appraisal?

"We actually discussed this on the set a couple of times," admitted Schlow. "And what we said, and we actually had said it at probably one of the episodes, was everybody is a critic. Just because you might not have a pen in your hand, you're still a critic. And what Hubert was saying a little bit earlier about the risk and – that we put ourselves out there every single night you know we're inviting criticism or commentary anyway. I think unfortunately the term criticism always moves in negative. It doesn’t, it just means you're forming an opinion good or bad."

"And the reality is, is that with the Internet and all the blogs and everything else, in Chowhound, in Yelp, in Grub Street, there are a lot of critics out there that may not be professional critics but they have their opinions," continued Schlow. "And you know you have to listen to everybody. As we said, on the set, luckily for all of us you know 99.9 times out of a hundred, the criticisms and the critique are good, but there is always that one or two times that you may say you know we prepare something and the guests don't like it."

So which one of these famed masters will move on to the next round? You'll have to tune in next Wednesday to find out. In the meantime, find out more about the first four contestants below.

Meet Tim Love:



Meet Hubert Keller:



Meet Chris Lee:



Meet Michael Schlow:



Top Chef: Masters premieres Wednesday, June 10th at 10 pm ET/PT on Bravo.

Channel Surfing: Brian Austen Green Heads to "Hill," "Who" is Getting Married, Famke Janssen Returns to "Nip/Tuck," and More

Welcome to your Tuesday morning television briefing.

Entertainment Weekly's Michael Ausiello is reporting that Terminator: The Sarah Connor Chronicles' Brian Austen Green is said to be in "advance talks" to join the cast of the CW's One Tree Hill next season. Should the deal close, he'll be playing Clayton, a Jerry Maguire-esque sports agent representing Nathan (James Laferty) on Season Seven of One Tree Hill. "They're ironing out a few issues," an unnamed insider told Ausiello, "but it's pretty much a done deal." The Hollywood Reporter describes the character as "a brash sports agent who represents Nathan Scott's (James Lafferty) basketball interests and has become a close friend, ally, business partner and advisor to him while also enjoying the spoils that come from being a wealthy, handsome single guy." (Entertainment Weekly's Ausiello Files)

SPOILER! According to a report in Britain's paper The Sun, the final David Tennant Doctor Who special will feature three weddings, with Rose Tyler (Billie Piper), Martha Jones (Freema Agyeman), and Sarah Jane Smith (Elisabeth Sladen) all set to marry. According to unconfirmed reports, Rose would be wedding the half-human duplicate of the Doctor in a parallel universe and Martha would be marrying Rose's former sidekick Mickey Smith (Noel Clarke). As previously reported, Tennant will be dropping by spin-off The Sarah Jane Adventures on the eve of Sarah Jane's own wedding. True? Or just wishful thinking? Stay tuned. (The Sun)

Famke Janssen will return to FX drama Nip/Tuck for its seventh and final season. Series creator Ryan Murphy announced that Janssen would reprise her role as transsexual Ava Moore via the series' fan forum. "Just finished the last [Nip/Tuck] script today -- the 100th episode," wrote Murphy in a post to the forum. "The end. Very strange. But I thought I would confirm something here on the forum, since you've all been so great and loyal: Ava Moore (Famke!) returns for the final two episodes." Janssen was last seen on the series in Season Two. (Entertainment Weekly's Ausiello Files)

The Primetime Emmy Awards will shift one week earlier this year, to September 13th. The move comes after CBS announced that they will air an NFL doubleheader that afternoon, which could have affected the start time of the Emmys telecast. Instead, CBS opted not to take a chance and moved the Emmys one week earlier. (Variety's Award Central)

CBS Television Studios has signed a two-year overall deal with Carol Barbee (Jericho, Swingtown), under which she will remain on board as an executive producer/showrunner on CBS' upcoming medical drama Three Rivers. She also executive produced the CW drama The Beautiful Life but will be handing over showrunner reins on that drama to Mike Kelley. (Hollywood Reporter)

NBC's renegotiation talks with Law & Order: Special Victims Unit stars Chris Meloni and Mariska Hartigay are said to be "moving in the right direction," according to Entertainment Weekly's Michael Ausiello. (Entertainment Weekly's Ausiello Files)

Disney Channel has ordered a fourth season of Hannah Montana and renewed Sonny With a Chance for a second season. Production on Season Four of Hannah Montana, which stars Miley Cyrus, is slated for early 2010. (Variety)

Discovery Channel has revived reality franchise Monster Garage and ordered a new Detroit-set series MG: Motor City, the pilot of which "will feature the team taking a Ford Model T and transforming it into a dragster." A deal for a host has yet to be closed. (Broadcasting & Cable)

Just days before the launch of Season Three of Burn Notice, cabler USA has promoted Alex Sepiol to VP of original scripted series programming. Sepiol, who reports to Jackie de Crinis, had overseen production on both Burn Notice and In Plain Sight. (Variety)

Broadcasting & Cable's Claire Atkinson talks with writer/executive producer Ray Romano about his new TNT dramedy Men of a Certain Age, which will launch in December. "We have more freedom with language and content, but there's not a lot of difference really," said Romano about the move to cable. "It's important to keep these guys as real as possible. There's a little less censorship, and you have fewer people with their hands in the mix, which is also good. It's similar except for my salary and the budgets. That's fine, though; I'm not doing it for the money. I don't want to tell them that." (Broadcasting & Cable)

VH1 has ordered a third season of Celebrity Rehab with Dr. Drew, featuring Mackenzie Phillips, Dennis Rodman, Tom Sizemore, Heidi Fleiss, Mindi McCready, Lisa D'Amato, Mike Starr, Joey Kovar, and Kari Anne Peniche. Eight episodes are slated to air in early 2010. (Variety)

Stay tuned.

Pilot Inspektor: An Advance Review of CW's "Melrose Place"

If you're like me, you remember watching episodes of the original Melrose Place with a zeal bordering on near obsession.

After all, this was a nighttime soap where anything--and in fact, everything--was possible: from apparent returns from the dead to jaw-dropping plot twists (Kimberly removing that wig, anyone?) to bombs going off right in the namesake apartment building that housed most of the characters.

So I'll say then that expectations were high for the CW's revamp of Melrose Place, which the netlet will launch later this fall. Would the new incarnation of Melrose Place live up not to only one of Los Angeles' most tony streets but also to the original series, which pushed the envelope in terms of over the top plots?

I had the opportunity a few days ago to watch the full pilot episode of Melrose Place, written by former Smallville producers Todd Slavkin and Darren Swimmer and directed by Davis Guggenheim, and sadly I have to say that I was pretty disappointed by what I saw.

Perhaps it was this new series' overly contrived set-up--a dead body discovered floating in the apartment complex's iconic pool that echoes that of Melrose Place spin-off Models Inc. and the death of Melrose's own Brooke Armstrong (Kristin Davis)--the fact that the producers clearly felt their script couldn't convey the emotions necessary to tell their story that they overloaded the episode with so much music that every thirty second span seemed to be filled with a snippet from yet another song, or the inexplicable return of Sydney Andrews (Laura Leighton) to the land of the living.

So just what did I think of the new Melrose Place's pilot episode? Let's discuss. (Beware: there are MAJOR SPOILERS ahead.)

Viewers of the original Melrose Place have been scratching their heads trying to fathom just how Sydney could be alive and running the apartment complex after she was last seen getting run down... on her wedding day, no less. (No, no one ever accused the original Melrose Place of subtlety.) I will say that the actual chain of events is slightly glossed over but Sydney's seeming resurrection is dealt with head on as we're told that Sydney didn't actually die that day but instead faked her death (for reasons yet untold) with the help of her one-time lover Dr. Michael Mancini (Thomas Calabro, who reprises his role here).

I'm not quite sure why Sydney wanted out of married life so badly but it seems that she and Michael had elaborately staged her death in order to... Again, I'm not quite sure what Sydney got out of the arrangement or why she would come back now to Los Angeles and move in to the building where she used to live, using her real name, and take over management responsibilities while living in an apartment her tenants have dubbed "the penthouse."

But, just like the first time around, Sydney's second chance at life is fraught with complication. In this case, it's the fact that no sooner do we see Syd again in the flesh, than does she wind up murdered and floating in the swimming pool. Shock, horror!

Everyone in the apartment complex is a suspect but no one seems all that distraught by the fact that their landlord was killed a few feet from them. Certainly, they're not too shaken up that they don't throw a party right next to the spot where Sydney was killed... less than twenty-hour hours after her murder, despite the twenty-somethings' claims that Sydney was a friend. (Also strange: only one of them is actually questioned by the police.)

These twenty-something tenants aren't all that well-developed in the pilot episode and it's pretty unclear just why they considered the bitchy Sydney a friend. (Some poorly constructed flashbacks seek to fill in the blanks about their past encounters with Syd.) They are the sort of upwardly mobile Angelenos that pack the bar nightly at any number of LA hotspots. Bisexual publicist Ella Simms (Supernatural's Katie Cassidy), who is clearly meant to exude the icy/hot bitchiness of the original series' Heather Locklear, shared a contentious relationship with her former mentor Sydney, who was looking to have her evicted, and gives an alibi for the prime suspect. Elswhere, hotshot sous chef Auggie Kirkpatrick (All My Children's Colin Egglesfield) is harboring a certain blood-stained secret about the night Sydney got killed, despite the fact that he owes his career to the murdered woman yet was clearly avoiding her the last few weeks.

Meanwhile, medical student Lauren Yung (Sarah Connor Chronicle's Stephanie Jacobsen) finds herself in a bind when her father can no longer afford to pay her tuition and is propositioned by a patient's son (Without a Trace's Adam Kaufman) to sleep with him for five thousand dollars. Manboy Jonah Miller (Swingtown's Michael Rady) is a wannabe film director who pays the bills by shooting parties; he proposes to his live-in girlfriend Riley Richmond (Cloverfield's Jessica Lucas), an elementary school teacher, but she doesn't immediately jump at the shot at marrying him despite their five blissful years of dating. (Rady's sadsack romantic Jonah is clearly meant to be a substitute for Andrew Shue's wide-eyed Billy Campbell.)

Rounding out the cast is eighteen-year-old Violet Foster (7th Heaven's Ashlee Simpson-Wentz) who has just arrived in Los Angeles and refers to herself rather ominously as a "good girl" even as she swipes a framed photograph of Sydney at her makeshift memorial in the courtyard. (Hmmm, could the flame-haired Violet be Sydney's daughter perhaps?) And then there's the bad boy David Breck (Shark's Shaun Sipos) who happens to be Sydney's on-again-off-again lover, the brooding son of Michael Mancini (Calabro), and... an art thief?!? This latter reveal is a little ludicrous, even for the notoriously over the top Melrose Place, especially as David doesn't seem clever enough to tie his own shoelaces without help, much less pull off high-stakes solo heists.

The original Melrose Place wasn't exactly known as Emmy bait but it had an energy and verve that made it addictive viewing. Here, Slavkin and Swimmer's script seems rather sodden and, as I mentioned previously, the overabundance of music threaded through every single scene makes me question whether these showrunners trust in the audience to know which emotion the dialogue and action are attempting to evince. We get that the proposal scene between Jonah and Riley is meant to be upbeat and romantic without having a pop track blaring in the background, which it does in EVERY scene.

I will give credit to Melrose's actors, who do their best with the mediocre material that they've been given here. In particular, Jacobsen and Rady come off as likable and sympathetic and their characters are given the most shading, even as Rady's Jonah makes an incredibly unbelievable decision to turn down six figures to write a script after he catches a producer making out with his daughter's teenage friend at a party. The original Melrose Place succeeded not because of the earnestness of its first batch of episodes but because, once it found its footing, it pushed its flawed characters to sometimes make the wrong decisions. Here, there's an off-putting cuteness that's totally at odds with the ongoing murder subplot, the art thievery, and the potential prostitution.

To me, this Melrose Place is a pale shadow of the original series, filled with some mightily one-dimensional characters that attempt to recapture the spark of the 1990s version's characters and update the action for a celebrity-obsessed youth culture that watches the channel's own Gossip Girl and 90210. But it tries way too hard to shoehorn in some mawkish sentimentality instead of just having fun with the concept. Furthermore, I'm not really convinced that Swimmer and Slavkin are the right showrunners for this series, based on the tonal inconsistencies of the pilot and the lackluster scripting.

Sure, the original Melrose Place took a bit of time to find its path (aided, of course, by the arrival of Heather Locklear to stir things up among the sleepy cast) but this version seems to be television-by-the-numbers. Yes, Melrose's producers have thrown in a murder, some sex and scandal, and some mystery but there's still something that feels underwhelming and dispiriting about this update and not at all like organic, compelling, and ultimately addictive television. It might be young, but I can't shake the feeling that this Melrose Place already needs a face-lift.



Melrose Place will air Tuesday nights at 9 pm ET/PT this fall on the CW.

Touching Dead Things: Double Negatives, Alive-Again Avengers, and Window Dressing on "Pushing Daisies"

I saw the final three episodes of Pushing Daisies back in April but that hasn't stopped me from getting excited (and saddened) all over again now that ABC is airing the last three unaired installments this month on Saturday nights. (You can read my original advance review of Daisies' swan song here.)

This week's delightful episode of Pushing Daisies ("Window Dressed to Kill"), written by Abby Gewanter, picks up where we last saw the gang at the Pie Hole: with Olive and Ned dangling precipitously off of a branch over a rather yawning chasm. Fortunately, neither the dashing Pie Maker nor the delicious Pie Waitress perish though the near-death encounter is not without complication, thanks to Ned's unforeseen usage of a certain double negative, which infuriates the love-struck Olive to no end.

Furthermore, Ned's decision to become just an ordinary guy who makes pies and doesn't touch dead things and bring them back to life leads to a parting of ways among the group when Emerson decides to investigate the mysterious death of the Dickers' Department Store window dresser, leading him to team up with Chuck, the "Alive-Again Avenger" to solve the crime while Ned tries on a life of mediocrity as Clark Kent, rather than Superman.

But this is Pushing Daisies, after all, and things have a way of working themselves out in rather unexpected ways. In this case, it's the reappearance of Olive's childhood kidnappers, Jerry Holmes (Richard Benjamin) and Buster Bustamante (George Segal), on the scene along with Olive's ardent admirer Randy Mann (David Arquette). And a very large stuffed rhinoceros.

So what did I think about this episode of Pushing Daisies on a second viewing? Grab yourself a slice of pie, make yourself a wig or mutton-chops from some animal pelts, and let's discuss "Window Dressed to Kill."

First, I just want to say that I was absolutely blown away by the sheer amount of guest stars that Bryan Fuller and Co. were able to pile into this single installment. In roughly forty-odd minutes, we were treated to memorable turns by such actors as George Segal, Richard Benjamin, David Arquette, Willie Garson, Diana Scarwid, Wayne Wilderson, Sam Pancake, and Constance Zimmer. Some series don't manage to get this many compelling guest turns in an entire season, much less in a single episode and it's a testament to Daisies' off-kilter charms that so many small-screen luminaries jumped at the shot to tread the streets of Papen County.

I loved the fact that we didn't see the group split down its usual lines with Chuck and Ned investigating a facet of a particular case while Emerson follows a lead and Olive gets stuck at the Pie Hole. Instead, writer Abby Gewanter gives each of the series' leads equal weight and pairs them off with Emerson teaming up with sidekick Chuck to take the murder case while Ned and Olive go on the run with the escaped cons. That Ned and Olive do so whilst pretending to be betrothed (much to the chagrin of poor Randy Mann) only adds to the fun. (I especially loved the scene where Chuck pretends to be various members of the Devotee crowd in order to get Emerson paid and where Olive bursts into a snow-swept rendition of "Hello" at Lily and Vivian's house.)

Olive's simmering love for the Pie Maker has proven to be one of the series' most enduring subplots and this episode confronts it head on, with Ned acknowledging that he loves Olive... as a friend and gives her the kiss she's been waiting for this whole time. But she also realizes that she'd rather not have Ned than only have him as a pretend fiance in the end. It's a real transformative moment for Olive that's juxtaposed beautifully with the flashbacks to her childhood plotting and her life-long belief that she has to lie in order to try to obtain affection. For a series that has delved into the childhood root causes of our protagonist's adult lives (and their psychological issues), Olive coming clean to her not-really-kidnappers and Lily and Vivian was a fantastic moment of self-actualization for the lovelorn Olive Snook. (Let's hope that she does find love with the clearly head-over-heels Randy Mann.)

For Ned too, the entire false engagement was an effort to try on a disguise of his own, to pretend just for one day that he was Clark Kent and not Superman: that he had a "normal" relationship with a woman that he could touch and kiss (without her, you know, dying again forever) and that he was nothing more than a man who made pies. In playing house with Olive, Ned gets the chance to see a life without "the cape," without his paranormal ability or its inherent complications.

But ultimately Ned realizes that he is Superman and not the "tall, clumsy" Kent. Like Clark, he might wear a disguise concealing his awesome abilities but Superman is who he really is, cape and all. He'll take the winter hand-holding with Chuck (thanks to some glove-clad hands) and the "plot holes" that come along with it because she knows and accepts the real him.

I also loved seeing Chuck and Emerson attempt to solve a gruesome murder case (or a string of murders case) using "hustle" rather than Ned's supernatural stroke and this week's case was a luscious blend of kooky characters, over-the-top window displays, and some nice bait-and-switches involving the super-talented Erin Embry (Rachel Cannon) responsible for Dicker's department store windows... and Coco Juniper (Constance Zimmer) "to a lesser extent." Plus, we got to see Olive use some window dressing of her own to spirit away her errant kidnappers/father figures under the guise of restroom-seeking nuns, thanks to the help of the Mother Superior (Diana Scarwid).

All in all, yet another fantastic installment of Pushing Daisies that makes me remember why I fell in love with this brilliantly original series in the first place... and why I'm heartbroken all over again that ABC has decided to snip these beautiful Daisies.

Next week on Pushing Daisies ("Water and Power"), Emerson gets a lead in his daughter Penny's whereabouts when he investigates the murder of millionaire Roland Stingwell and fingers Penny's no-good mama, Lila Robinson (guest star Gina Torres) as the prime suspect; Randy Mann (guest star David Arquette) attempts to romance Olive.

BBC America Announces Official "Torchwood: Children of Earth" Air Date, Kicks off BBC America HD

Just a few days after unveiling the world premiere of the new trailer for Torchwood: Children of the Earth, the third season of the Doctor Who spin-off series, the digital cabler has announced an official launch date for the Russell T. Davies-scripted event series.

BBC America will premiere Torchwood: Children of Earth on July 20th at 9 pm ET/PT. The third series, comprised of five serialized episodes, will air across five consecutive nights that week.

The timing of Torchwood's return to the schedule is linked to the launch of BBC America HD, a high-definition simulcast of the BBC America channel, which will also bow on July 20th to digital cabler subscribers.

"BBC AMERICA is a truly unique channel in the cable landscape," said Garth Ancier, President of BBC Worldwide America in a statement. "We bring viewers some of the best programs on television and now with the option to experience them in HD, they’re going to be even better. The launch of BBC AMERICA HD coupled with the existing VOD channel, BBC AMERICA On-Demand, expands the opportunity for viewers and distributors to access the best of British entertainment."

The week of July 20th will see not only the launch of BBC America HD but a slew of new programming intended to capitalize on the HD feed, such as the aforementioned Torchwood: Children of Earth, the latest Doctor Who special ("Planet of the Dead") starring David Tennant and Michelle Ryan, and the launch of supernatural drama series Being Human.

The full press release from BBC America announcing the launch of BBC America HD and Torchwood: Children of Earth can be found below.

BBC AMERICA HD LAUNCHES JULY 20 WITH A SPECIAL SCI-FI WEEK
- U.S. Premieres of Torchwood: Children of Earth, Doctor Who: Planet of the Dead and Being Human to Air in HD -

New York, NY - Monday, June 1, 2009 - BBC Worldwide launches BBC AMERICA HD on July 20 with the high-definition simulcast of BBC AMERICA. BBC AMERICA HD kicks off with an extraordinary week of sci-fi U.S. premieres - the return of the channel’s highest rated series, Torchwood, the latest Doctor Who special, Planet of the Dead, the BBC AMERICA co-production, Being Human and the thrilling season finale of Primeval, Season 3.

Since its inception in 1998, BBC AMERICA has seen substantial growth, recently celebrating its highest ratings ever in total live viewers for the first quarter of 2009. The channel is responsible for bringing the BBC’s world renowned news stateside with BBC World News America as well as some of the year’s most buzzed about and critically acclaimed UK shows - from the popular Torchwood and addictive Mistresses to the provocative Skins and charming Gavin & Stacey. It has introduced American audiences to such marquee series as The Office, Top Gear and Ramsay’s Kitchen Nightmares. This unique and high quality programming has aided BBC AMERICA to see an increase in ad sales of almost 40% in the last year. It has also secured the channel two Golden Globes, six Peabody Awards and availability in over 64 million households nationwide.

Garth Ancier, President, BBC Worldwide America says, “BBC AMERICA is a truly unique channel in the cable landscape. We bring viewers some of the best programs on television and now with the option to experience them in HD, they’re going to be even better. The launch of BBC AMERICA HD coupled with the existing VOD channel, BBC AMERICA On-Demand, expands the opportunity for viewers and distributors to access the best of British entertainment.”

The highly anticipated return of Torchwood: Children of Earth will kick off the first of BBC AMERICA’s HD offerings. Told over five consecutive nights starting July 20 at 9:00 p.m. ET/PT, the series re-joins Captain Jack (John Barrowman), Gwen Cooper (Eve Myles) and Ianto Jones (Gareth David-Lloyd) as they are still coming to terms with the death of two of their closest friends. Yet despite their pain, they know they have a job to do. This time they are faced with their fiercest threat to date - one which throws the future of Torchwood and the entire human race spiralling into danger. Battling against the odds, do they stand a chance of saving mankind?

Also airing in HD on Sunday, July 26 at 8:00 p.m. ET/PT is the U.S premiere of the first of the last four Doctor Who specials featuring David Tennant as the tenth Time Lord. In the latest special, Doctor Who: Planet of the Dead, the Doctor (David Tennant) must join forces with the mysterious Lady Christina (Michelle Ryan), when a London bus takes a detour to an alien world. But the mysterious planet holds terrifying secrets, hidden in the sand. And time is running out, as the deadly Swarm gets closer.

On Saturday July 25 at 8:00 p.m. ET/PT, the monster hit, Primeval concludes its third season in high-definition style. As the embattled team continues to fight against unrelenting threats and creatures, Helen (Juliet Aubry) is attempting to stop the destruction of the Earth by traveling back in time to prevent humans from evolving. The team is determined to go back to the future and stop her before she can hurt anyone else but is forced to split up when a fracture in time causes another destructive creature to appear.

The lauded BBC AMERICA co-production, Being Human premieres in HD on Saturday July 25 at 9:00 p.m. ET/PT. A witty and intriguing look into the lives of three twenty-somethings and their secret double-lives – as a werewolf, a vampire and a ghost - the trio do their best to live their lives as normally as possible, despite their strange and dark secrets. But with unwelcome intruders into their world, a threatened revolution from the vampire underworld and constant threats of exposure – on top of the day-to-day issues faced by young people – the only thing they may be able to rely on in their heightened world, is each other.

Channel Surfing: "Better Off Ted" Returns This Summer, Mykelti Williamson Clocks in at "24," Guest Stars Galore for "Warehouse 13," and More

Welcome to your Monday morning television briefing.

ABC is set to bring back Better Off Ted earlier than expected as the network has announced that it will air six unaired episodes from Ted's first season this summer before kicking off a second season of thirteen episodes in early 2010. Better Off Ted will return to ABC's schedule on June 23rd at 9 pm ET/PT, airing behind new reality competition series The Superstars. [Editor: that gleeful squealing sound you're hearing? It's me.] Meanwhile, ABC also announced that it had pulled comedy Surviving Suburbia from its lineup, instead airing back-to-back episodes of The Goode Family this week. (Variety)

Mykelti Williamson (Kidnapped) has joined the cast of Day Eight of FOX drama 24, where he will play the head of CTU New York, Brian Hastings, described as having "a razor-sharp intellect." Williamson, who will be a series regular next season, joins the recently announced Freddie Prinze Jr., Jennifer Westfeldt, John Boyd, and Chris Diamantopoulos. Also joining the 24 cast next season: Lost's Doug Hutchison (a.k.a. Horace Goodspeed), who will play a European terrorist named Davros in a recurring role. (Hollywood Reporter)

Sci Fi has confirmed guest stars for the first season of its upcoming drama series Warehouse 13, launching July 7th. Battlestar Galactica's Tricia Helfer will play FBI Agent Bonnie Belski who clashes with Myka (Joanne Kelly) and Pete (Eddie McClintock); Ivan Sergei (Crossing Jordan) will play an EMT named Ross when Myka and Pete investigate a case involving a local town expressing all of their subconscious desires; Stargate Atlantis' Joe Flanigan will play millionaire Jeff Weaver who is investigated by Myka and Pete when a sculpture he bid on at auction vanishes during a heist; Gossip Girl's James Naughton will play entrepreneur Gilbert Radburn who is investigated by Myka and Pete; Roger Rees (The West Wing) will play MacPherson, a former Warehouse colleague of Artie (Sam Rubinek) who has gone rogue and is now collecting dangerous objects for his own use; Eureka's Erica Cerra and Niall Matter will play Jillian and Gary Whitman, low-level Las Vegas thieves who discover a powerful artifact; Joe Morton (Eurkea) will play prison inmate John Hill, who has become a religious zealot; Battlestar Galactica's Michael Hogan will play Warren Bering, Myka's father, whose life is placed in danger when he receives a dangerous artifact in the mail, and Dollhouse's Mark Sheppard will play Mr. Valda, the "enigmatic representative of the Regents, the mysterious organization that controls Warehouse 13." (via press release)

David Tennant and Patrick Stewart will reunite for a television production of their recent Royal Shakespeare Company performance of "Hamlet," that will air on BBC Two later this year and in the US and Japan in 2010. (Variety)

Reports are swirling that couple Spencer Pratt and Heidi Montag tried to quit NBC's reality competition series I'm a Celebrity... Get Me Out of Here! the very first day they arrived in Costa Rica and allegedly refused to eat the same meals that had been prepared for the rest of the cast and complained about the caliber of their competitors. They wanted to be treated like stars," according to an unnamed source. "[Spencer] literally thought he and Heidi were staying in a Four Seasons, working out and getting a tan." (E! Online's Watch with Kristin)

The Octomom, a.k.a. Nadya Suleman, has signed a deal for a reality television series with production company 3 Ball Prods. The series, which has yet to be sold to an American outlet, will document key moments in the lives of Suleman and her enormous brood and will be modeled after a Danish format that followed the lives of four children from birth to adulthood. (Hollywood Reporter)

DirecTV Group CEO Chase Carey is said to be in talks about replacing Peter Chernin as Rupert Murdoch's Number Two at News Corp. (Broadcasting & Cable)

Brillstein TV has hired former BermanBraum and Warner Bros. Television executive Rachel Kaplan as EVP, where she will work closely with Peter Traugott in developing scripted and unscripted projects for broadcast and cable. (Variety)

Stay tuned.

Link Tank: TV Blog Coalition Roundup for May 29-31

Televisionary is proud to be a member of the TV Blog Coalition. At the end of each week, we'll feature a roundup of content from our sister sites for your delectation.

This week, I reviewed the full pilot episodes of such series as ABC's Eastwick, FOX's Human Target, and ABC's The Deep End.

I also unveiled the new trailer for BBC America's Torchwood: Children of Earth, shared news about the casting of Karen Gillan as the new companion on Season Five of Doctor Who and BBC America snagging the five David Tennant Who specials and the launch date for supernatural drama Being Human, recounted news about John Lithgow joining the cast of Showtime's Dexter, offered up promos for CW's new fall series Melrose Place and Vampire Diaries, and was outraged over plans for a feature film relaunch of Buffy the Vampire Slayer without Joss or the cast of the series.

Plus, I discussed the latest episode of ABC's The Unusuals (and shared why I'd be missing this unique series), reviewed ABC's animated comedy The Goode Family and FOX's medical drama Mental, and appraised the sensational season finale of Starz's Party Down.

Elsewhere in the sophisticated TV-obsessed section of the blogosphere, members of the TV Blog Coalition were discussing the following items...
  • Buzz counted down the top 10 reasons she's keeping her TV on this summer. (BuzzSugar)
  • This week, Sandie interviewed Amy Ryan who plays the adorable Holly on The Office. (Daemon's TV)
  • With the end of the Spring television season recently passed, Scooter hands out the Fifth Annual Scooter Television Awards. (Scooter McGavin's 9th Green)
  • Vance has the scoop on the new kids at Degrassi: TNG, the alums moving on to The CW, ABC, and Spring Awakening and his thoughts on the upcoming TV movie special Degrassi Goes Hollywood! (Tapeworthy)
  • Dan came across this bizarre video of Heroes' Zachary Quinto getting doused with milk. He wants to know what could be done to make the erstwhile Mr. Sylar less sexy in this video. (TiFaux)
  • Matt isn't good at math, but Edie Falco + a drug-addicted, well-intentioned nurse = must-see viewing of Nurse Jackie (TV Fanatic).
  • This week, the TV Addict suggested TV, DVD and Online Video alternatives to help you survive the network's summer offerings, or lack their-of. (The TV Addict)

Reminder: "Pushing Daisies" Returns with New Episodes Tomorrow

Just a quick reminder that Pushing Daisies returns tomorrow evening with a brand new episode.

While Daisies is sadly dead (and even Ned can't bring it back to life with a touch), ABC will be airing the final three unaired episodes of Pushing Daisies Saturdays at 10 pm ET/PT beginning this weekend.

I had the opportunity to see the final three installments of Bryan Fuller's masterpiece back in April and I loved every second of the three gorgeously crafted unaired episodes. (You can read my advance review of Daisies' final three installments here.)

It's with more than a little sadness that Daisies wraps its run but, given the series' own penchant for blending life with death, I urge you to approach these episodes with the excitement and zest that they deserve. (And be sure to come back here each Monday to discuss the latest installment.)

So why not grab yourself a piece of pie (preferably with gruyere baked in the crust), get out the plastic wrap, and settle in tomorrow night for one of the very last adventures with Ned, Chuck, Olive, and Emerson?

Tomorrow night on Pushing Daisies ("Window Dressed to Kill"), Emerson enlists Chuck's help to investigate the murder of a window dresser after Ned declares he's no longer using his "gift" to solve crimes; Olive gets a blast from her past when the two cons who kidnapped her as a child break out of jail.

Pilot Inspektor: An Advance Review of ABC's "The Deep End"

Every once in a while, a pilot comes along that has such a stellar cast that it's heartbreakingly depressing when the pilot itself isn't quite up to snuff.

This development season that pilot would be ABC's The Deep End (formerly known as The Associates... and before that Untitled Dave Hemingson Legal Dramedy), which has gathered together some fantastically diverse talent as Matt Long (Jack & Bobby), Tina Majorino (Big Love), Ben Lawson (Neighbours), Norbert Leo Butz (Dan in Real Life), Leah Pipes (Life is Wild), Billy Zane (Samantha Who?), Sherri Saum (In Treatment), Rachelle Lefevre (Twilight, Swingtown), and Clancy Brown (Carnivale).

The Deep End, from writer/executive producer Dave Hemingson (Kitchen Confidential), follows the personal and professional goings on of a group of ambitious young law associates and their demanding bosses at a cutthroat Los Angeles law firm. The series, from 20th Century Fox Television, was originally developed as a dramedy and previously shot a pilot last development season before jettisoning most of its cast and reformatting as a straight drama, albeit with some soapy Grey's Anatomy-style antics. (I could make some coy joke about lawyers jumping into each others legal briefs here, but I just won't do it.)

We're introduced to the four new associates at Sterling Law, one of Los Angeles' most prestigious law firms: there's Dylan Hewitt (Long), a do-gooder from a blue collar background who turns up ten days late (more on that in a bit), ambitious Midwesterner Addy Fisher (Majorino), womanizing Aussie Liam Priory (Lawson), and rich girl Beth Bancroft (Pipes). All are thrown into the deep end at Sterling. (Hell, one of them is literally thrown into the deep end of a swimming pool at one point, just to hit you over the head with the metaphor.)

They've all been recruited by the quixotic (and hilariously savage) Rowdy Kaiser (Butz), a man just as likely to help you out of a jam as he is to skin you alive, and they find themselves quickly trying to keep up with the demands and foibles of the firm's partners: the ruthless and Machiavellian Cliff Huddle (Zane) who is referred to not-so-lovingly around the office as "the Prince of Darkness," his icy wife Susan Oppenheim (Saum), and the uber-intimidating founding partner Hart Sterling (Brown).

There are a slew of cases for each of the new associates to tackle and, naturally, complications ensue at every turn. After attending a client's bris with Susan, Liam is mistakenly believed to be Jewish by a would-be Israeli client (Big Love's Noa Tisby) until she discovers that he may have misled her a little when things turn physical. Politics could derail Dylan's pro-bono custody case when Cliff takes an interest in the case and sides with the opposing party, a wealthy woman who carried her grandchild in her womb. (Don't ask, really.)

Elsewhere, Addy finds herself arrested when she is pulled in multiple directions by several of the partners and struggles to file a brief at the courthouse in time, while Beth, working on a transfer of power at a major corporation, realizes that the outbound CEO isn't in full control of his faculties, believing her to be his long-dead daughter.

But that's nothing compared to the Grey's Anatomy-style bed-hopping. Dylan swiftly falls for winsome paralegal Katie (Lefevre), herself torn between Dylan's good guy qualities and her ongoing affair with the very married Cliff. Liam hooks up with the Israeli client and beds one of the firm's secretaries. And it turns out there's a sexual history between Liam and Beth that continues to flare up every time there's stress.

All of which could lead to a frothy nighttime soap but there's a decided lack of sense of humor here. Everything is played so straight, without any real fun that it's hard to root for the characters or care about their off-hours pursuits.

In fact, the only actor that seems to be having any real fun with The Deep End at all is Norbert Leo Butz, who imbues Rowdy with a dangerous, mercurial edge. This unpredictable side to his character makes Rowdy a hell of a lot of fun but he seems trapped in another series altogether, one that's more in line with creator Dave Hemingson's original vision for the series, which had a decidedly more humorous bend.

The rest of the actors seem to sadly be sleepwalking through their roles a little bit and none of the characters are all that three-dimensional. If we're going to be spending any extended time with these associates and partners, they had better be quirky and memorable, but instead they come off as slightly stale cliches we've seen on numerous other legal series.

Given that ABC won't be launching The Deep End until midseason, I hope they can take the time to fine-tune the tone of the series and inject more humor and fun to this. It could be a legal dramedy akin to the early years of FOX's Ally McBeal and boasts one of the finest ensemble casts this development season. But as it stands now, I didn't think The Deep End was all too deep, really.



The Deep End launches next year on ABC.

Trailer Park: BBC One and BBC America Unveil New Trailer for "Torchwood: Children of Earth"

"A man who can't die has got nothing to fear."

With less than two months to go until the debut of Season Three of Torchwood, BBC One and BBC America have released a world premiere of the new trailer for the third season of the Doctor Who spin-off, kicking off in July.

The five-night event series--entitled Torchwood: Children of Earth--is written by Russell T. Davies, John Fay, and James Moran and directed by the incomparable Euros Lyn.

Torchwood: Children of Earth stars John Barrowman, Eve Myles, and Garth David-Lloyd, and features guest stars such as Kai Owen, Tom Price, Peter Capaldi (The Thick of It), Lucy Cohu (Meadowlands), Susan Brown (Dalziel and Pascoe), Nick Briggs (Doctor Who), and Paul Copley (The Lakes).

The full trailer for Torchwood: Children of Earth can be found below.



Torchwood: Children of Earth will air on BBC One and BBC America this July.

Who is the New Companion: Karen Gillan Cast Opposite Matt Smith in Season Five of "Doctor Who"

The TARDIS is about to get another traveler.

21-year-old unknown Karen Gillan has been cast in Season Five of Doctor Who, where she will star alongside incoming series lead Matt Smith, who replaces David Tennant as the Doctor when Tennant departs the series later this year.

Filming on Season Five of Doctor Who is set to begin this summer and the series is expected to debut on BBC One next spring.

Gillan is no stranger to Doctor Who, however, and appeared early on in Season Four in the episode "The Fires of Pompeii," where she played a soothsayer on the much-beloved British series. She has previously also appeared in such programs as Rebus, Harley Street, The Kevin Bishop Show, and Stacked and can be seen opposite James Nesbitt in the upcoming feature film Outcast, written and directed by Colm McCarthy.

"We saw some amazing actresses for this part, but when Karen came through the door the game was up. Funny, and clever, and gorgeous, and sexy. Or Scottish, which is the quick way of saying it," said Season Five's lead writer and executive producer Steven Moffat in a statement. "A generation of little girls will want to be her. And a generation of little boys will want them to be her too."

"I am absolutely over the moon at being chosen to play the Doctor's new companion. The show is such a massive phenomenon that I can't quite believe I am going to be a part of it," said Gillan in a statement. "Matt Smith is an incredible actor and it is going to be so much fun to act alongside him – I just can't wait to get started!"

The full press release from BBC One, announcing the casting of Gillan on Season Five of Doctor Who, can be found below.

Doctor Who unveils new companion for 11th Time Lord


The BBC today revealed that the companion for the forthcoming series of Doctor Who will be Karen Gillan.

Twenty-one-year-old Gillan will star alongside new Time Lord, Matt Smith, when the smash hit drama returns to BBC One in spring 2010.

With filming due to begin this summer, Gillan beat off dozens of hopefuls to land one of television's most coveted roles.

Gillan said: "I am absolutely over the moon at being chosen to play the Doctor's new companion. The show is such a massive phenomenon that I can't quite believe I am going to be a part of it.

"Matt Smith is an incredible actor and it is going to be so much fun to act alongside him – I just can't wait to get started!"

Lead writer and Executive Producer, Steven Moffat, added: "We saw some amazing actresses for this part, but when Karen came through the door the game was up. Funny, and clever, and gorgeous, and sexy. Or Scottish, which is the quick way of saying it. A generation of little girls will want to be her. And a generation of little boys will want them to be her too."

Executive Producer and Head of Drama BBC Wales, Piers Wenger, said: "We knew Karen was perfect for the role the moment we saw her. She brought an energy and excitement to the part that was just fantastic. And when she auditioned alongside Matt we knew we had something special. It is a partnership that is ready to take on the universe!"

The new series of Doctor Who comes to BBC One, Spring 2010.

Season Five of Doctor Who, starring Matt Smith and Karen Gillan, will launch in 2010.

Channel Surfing: Helfer, Hogan, Sheppard in "Warehouse 13," "Mad Men" Clashes with AMC Over Ad Break, "Cranford" Returns this Christmas, and More

Welcome to your Friday morning television briefing.

Battlestar Galactica's Tricia Helfer, Michael Hogan, and Mark Sheppard have signed on to guest star in Syfy's upcoming series Warehouse 13, which launches July 7th. Helfer will play a Chicago-based FBI agent on the drama series, while Hogan has been cast as the father of Joanne Kelly's Myka, with her mother played by Hogan's real-life wife Susan Hogan. Finally, Sheppard will appear as an "enigmatic figure who represents the organization that controls the Warehouse." (Entertainment Weekly's Ausiello Files)

Nikki Finke is reporting that cabler AMC has told producers of drama series Mad Men that they will have to shave off roughly two additional minutes of content per episode next season in order to insert more commercial ads, a decision which has angered some staffers on the drama series. "That might not sound like such a big deal, but it's galling given how well the show has done, how carefully it's put together, and how much money it's already making AMC," writes Finke, "and parent company Cablevision which recently announced a $20M 1st-quarter profit, while subsidiary Rainbow Media cited a 7.6% increase in ad sales." AMC executives, meanwhile, blamed the stumbling economy and said that Mad Men doesn't bring in enough revenue. (Deadline Hollywood Daily)

Award-winning period drama Cranford will return to BBC One this Christmas with a two-part special that will feature Dame Judi Dench, Imelda Staunton, Julia McKenzie, Deborah Findlay, Francesca Annis, and Barbara Flynn reprising their roles in a story set one year after the events of the original mini-series. Also set to appear in Cranford's Christmas specials are Jonathan Pryce, Celia Imrie, Lesley Sharp, Nicholas Le Prevost, Jodie Whittaker, Tom Hiddleston, Michelle Dockery, Matthew McNulty, and Rory Kinnear. Filming is set to begin in June. (BBC)

ABC's plans to burn off the remaining episodes of canceled comedy In the Motherhood beginning next week have changed, with the network now shifting the three-week run from Fridays at 9:30 pm ET/PT to Thursdays at 8:30 pm ET/PT starting June 25th. (Futon Critic)

TLC has given a series order to unscripted series Wedded to Perfection and give the series a sneak peek tonight. The series, from Peacock Productions, follows the professional lives of married couple Jung Lee and Josh Brooks, professional wedding planners who launch elaborate nuptials in Manhatan. (Hollywood Reporter)

Cabler TBS has ordered ten half-hour episodes of unscripted latenight series The Very Funny Show, which will feature host Tim Meadows overseeing a series of standup performances at Zanies Comedy Club in Chicago. The series, which will feature such comedians as Bob Marey, Dwight Slade, and Steve Byrne, is set to launch in November. (Variety)

Universal Media Studios has signed a two-year overall deal with writer/executive producer Liz Heldens (Mercy), under which she will remain on board NBC's midseason medical drama Mercy as showrunner and develop new projects for the studio. She was previously a co-executive producer on Friday Night Lights. (Variety)

ABC will launch seven-episode reality series Crash Course this summer, likely in August. Series, from executive producers Arthur Smith and Kent Weed, features five teams as they undertake four extreme driving challenges ranging from driving on two wheels to driving under intense weather conditions, with a team eliminated after each round. Commentary will be provided by Orlando Jones and Dan Cortese. (Hollywood Reporter)

NBC has partnered with reality production company Shed Media to produce the network's upcoming six-episode unscripted series The Marriage Ref with Jerry Seinfeld, slated to debut in midseason on Sunday nights. (Variety)

Showrunner Kevin Abbott (Surviving Suburbia, Roseanne) has sued 20th Century Fox Television, asserting that the studio owes him $1.38 million for "improperly withholding payments and suspending his overall deal during the 2007-08 WGA strike," according to the Hollywood Reporter. Abbot was released from his studio deal during the writers strike but claims that his deal "was markedly different from the contracts of many of his peers" and "specifically protected him from suspension or termination based solely upon a strike." The studio had no comment on the litigation. (Hollywood Reporter)

Stay tuned.

Tape Delays, Man Crushes, and Octogenarian Crime Sprees: I'm Already Missing "The Unusuals"

I'm really going to miss The Unusuals.

I might be one of the very few people watching this quirky ABC cop dramedy but I have to say that I've enjoyed every single minute of this series from creator Noah Hawley and I think it's a shame that ABC canceled The Unusuals so quickly.

This week's episode ("The Tape Delay"), written by Treena Hancock and Melissa R. Byer, found Walsh and Shraeger organizing a protection detail on a wealthy businessman who had faced a series of mysterious threats, while Banks and Delahoy were on the trail of a octogenarian (guest star Shelley Berman) on a crime spree, Beaumont and Cole tried to get a confession out of a criminal through some elaborate means, Alvarez fixated on his man-crush on Walsh, Beaumont seethed at Walsh for a dream she had, and Delahoy faced some rather unusual (heh) symptoms stemming from his secret brain tumor.

In other words, just another day for the cops at Manhattan's second precinct.

Throughout its short run, The Unusuals has proven a sly and smart character study, deftly balancing some rather odd crimes against, well, some rather oddball cops. It's a police procedural, but it's also a nuanced investigation of the men and women behind the shield, their quirks and foibles, their fears and dreams.

This week's episode proved no different as it forced Shraeger to come to terms both with her judgment in the field (vis-a-vis the businessman who goes missing) and in the office as Walsh convinces her to come clean to her fellow cops about her wealthy background. Walsh believes that as Shraeger is "good police" (a term that always makes me think of The Wire) her coworkers won't care that she comes from the 25th wealthiest family in Manhattan. And, sure enough, when Shraeger gets up on a table at their local hangout and finally tells the cops her deep, dark secret, no one bats an eyelash. Sure, they rib her for it and make Shraeger pick up the next round but you could literally see the weight being lifted from Shraeger's shoulders as she finally bared her soul... and removed the final obstacle that had held her back from truly being a member of the team. (Kudos go to Amber Tamblyn for making Casey Shraeger such a fascinatingly multi-layered character who's at once tough and headstrong and sensitive and feminine.)

The secret shame she had carried around this entire time had vanished but it has its counterpart in Delahoy, who still has not been able to tell anyone about his brain tumor other than shifty medical examiner Dr. Monica Crumb (Susan Parke), who freaks out when Delahoy refers to their lunchtime discussion of his medical condition as a "lunch date." The neat symmetry between ticking time bomb Delahoy (who seemingly can't be killed) and his death-phobic partner Banks, convinced he'll die before he turns 43, has provided the series with a poignant throughline that investigates the knife's edge these cops--and indeed all of us--exist on: here today, gone tomorrow.

Banks has to face up to some of his own issues when he's forced to deal with Tom Speigelman, an 87-year-old man on a city-wide crime spree that's intended to make him feel something after living a lifetime of regrets. Like Speigelman, Banks has lived his own life in soul-quaking fear about dying; too afraid to go anywhere or do anything that might put his mortality in jeopardy. His fixations on things like bullet-proof vests and hand sanitizer prevent him from living in the moment and, well, just living period. In fearing death, Banks has actually given over his life to the very thing he's running away from.

And while I predicted very early on that Walsh and Shraeger's businessman had plotted his own disappearance (and even went so far as to stage a murder and substitute a co-conspirator for his own corpse), I thought it was handled extremely well and I loved the reveal that the shipping container the guy was hiding in with his masseuse mistress wasn't some dank hellhole (out of The Wire Season Two), but rather a gleaming, ultra-white bachelor pad for traveling in style.

And the Alvarez-Walsh subplot--in which Alvarez went out of his way to try to do something outside of work with Walsh--was a nice character moment that revealed just how much outsider Alvarez really wanted to fit in and, well, be Jason Walsh, the ultimate guy's guy (despite his admission earlier in the episode that his mother dressed him as a girl until he was six). Rarely has a "man-crush" been dealt with on television with such humor, sensitivity, and charm.

All in all, yet another fantastic installment of The Unusuals that makes me even more depressed that ABC has axed the series. There's still a few more first-run episodes to enjoy before The Unusuals goes to the precinct in the sky but I have to say that I believe, long after its run has ended, I'll still be thinking about these characters.

Next week on The Unusuals ("The Dentist"), Eddie Alvarez is in charge of the station while Sergeant Brown is away but things don't exactly go to plan; a U.S. Marshall convinces Alvarez to release a perp recently arrested for trying to rob a Chinese restaurant into his custody but, after a fake bomb threat is called in to the precinct, Casey, Alvarez and Walsh discover that the Marshall isn't who he seems to be; Banks decides to stay in his apartment until he turns 43 in order to avoid getting killed.

Channel Surfing: BBC America Snags Five "Doctor Who" Specials, Freddie Prinze Jr. on "24," Whedon Wants Summer Glau on "Dollhouse," and More

Welcome to your Thursday morning television briefing.

BBC America has acquired the US premiere rights to five Doctor Who specials, featuring David Tennant as the Tenth Doctor, and plans to air "The Next Doctor," the 2008 Christmas Special, on June 27th at 9 pm ET/PT. The first of this year's specials, entitled "Planet of the Dead," will follow in July with the three others airing in late 2009 and early 2010. “The outstanding quality of the Doctor Who scripts from Russell T. Davies and the on-screen dynamic that David Tennant brings to the role are a magic combination for our viewers," said BBC Worldwide America president Garth Ancier. "Russell’s spin-off series Torchwood is already our highest rated show on the channel and I know the fans will follow these new specials with equal passion and support. We’re thrilled to bring this iconic show to BBC America, home of the best British sci-fi programming on television." Meanwhile, Doctor Who spin-off Torchwood will kick off its five-episode event third season (Torchwood: Children of Earth) in July. (via press release)

In an unexpected casting twist, Freddie Prinze Jr. (who recently shot the ABC comedy pilot No Heroics) has been cast in Day Eight of FOX's 24, where he will play Davis Cole, a "recently returned Marine who runs CTU Field Ops and wants to follow in Jack Bauer's (Kiefer Sutherland) footsteps." (Also on board: Nazneen Contractor, who will play the daughter of the Middle East leader played by Anil Kapoor.) The casting comes on the heels of that for Chris Diamantopoulos, John Boyd, and Jennifer Westfeldt. (Hollywood Reporter)

With FOX's Terminator: The Sarah Connor Chronicles canceled, Joss Whedon hopes to bring former Terminator star Summer Glau over to his FOX drama series Dollhouse. "If anybody thinks [bringing Summer onto Dollhouse] hasn't occurred to me already then they have not met me. I mentioned it to her before [T:SCC] was canceled. I was like, 'You know, we should get you in the 'house.' But first we have to come up with something that works," Whedon told Entertainment Weekly's Michael Ausiello. "Summer would be perfect to play an active, but she's done that [type of role] a lot. I'd rather see her play someone who talks too much. The most fun I have is when I get somebody who's good and comfortable at doing something, and then I make them do something else. Summer said to me, 'I would like to play a normal girl before I die of extreme old age.'" (Entertainment Weekly's Ausiello Files)

The recasting is already beginning. Just the week after network upfronts, several series have already begun to quietly replace some of their lead actors. ABC's The Forgotten will recast the roles played by Rupert Penry-Jones and Reiko Aylesworth in the pilot episode, the biggest changes likely to be seen on any network project. Other projects that will see cast changes include CBS' NCIS: Los Angeles, which will see the the departure of Louise Lombard as the female lead (which will be recast); CBS' Three Rivers, which will see Julia Ormond not stay on past the pilot installment as the hospital's head of surgery (likewise, Joaquim De Almeida will not return); Richard Coyle's role on NBC's Trauma will be recast; Gillian Jacobs' role on CBS' The Good Wife will be recast now that the actress is booked on NBC's Community; and Amir Talai's role on NBC comedy 100 Questions is also being recast. (Hollywood Reporter)

John Lithgow has been cast in twelve episodes of Season Four of Showtime's Dexter, where he will play Walter Simmons, a.k.a. The Trinity Killer, one of America's deadliest murderers who kills in threes and masquerades as an "unassuming mild-mannered suburbanite." (Televisionary)

Kristin Chenoweth (Pushing Daisies) has been cast as the lead in Lifetime romantic comedy telepic Twelve Men of Christmas, based on Phillipa Ashley's novel "Decent Exposure," about a "down-on-her-luck PR exec (Chenoweth) who uses her media savvy to generate sizzle in a Montana town." (Hollywood Reporter)

Bravo is launching six-episode reality series Miami Social, following the lives of seven interconnected Miami socialites, on July 14th at 10 pm ET/PT. The Miami denizens depicted in the Pink Sneakers-produced series include former Apprentice contestant Katrina Campins and Big Brother contestant Hardy Hill. (Variety)

E! Online's Watch with Kristin catches up with Three Rivers star Alex O'Loughlin to talk about his new CBS medical drama series, launching this fall. (E! Online's Watch with Kristin)

Following allegations that local AT&T employees offered Kris Allen fans free text-messaging services and may have demonstrated how to power vote (a practice strictly forbidden by American Idol voting regulations), FOX has issued a statement in which they stand by the results of the latest American Idol crowning. "Kris Allen is, without a doubt, the American Idol,” said FOX, FremantleMedia North America, and 19 Entertainment in a joint statement. "We have an independent third-party monitoring procedure in place to ensure the integrity of the voting process. In no way did any individuals unfairly influence the outcome of the competition." AT&T, meanwhile, said that the Arkansas employees' actions were not corporately mandated and that these individuals were "caught up in the enthusiasm of rooting for their hometown contestant." "Going forward we will make sure our employees understand our sponsorship celebrates the competition, not individual contestants," said AT&T in a statement. (New York Times)

RHI Entertainment has set up a Los Angeles office as it looks to embark on a push into primetime series. Tom Patricia and Elizabeth Stephens will oversee the Los Angeles office and report to Jeff Sagansky, the non-executive chairman of RHI. Patricia will serve as EVP of movies and miniseries, while Stephens has been named EVP of series. "We're a big company," said RHI founder Robert Halmi. "We see this as a great time to strike in this marketplace and take more market share from our competitors. Under Jeff's leadership, we expect to be a player in dramatic TV series." (Variety)

Granada America, the studio behind such hits as Hell's Kitchen, will rename itself ITV Studios, in order to "better reflect the nonscripted shingle's relationship with its U.K. parent." The studio is about to launch NBC's I'm a Celebrity, Get Me Out of Here, which will be hosted by Damien Fahey and Myleene Klass. (Hollywood Reporter)

ABC movies and mini-series maven Quinn Taylor will see his oversight expand to include programming acquisitions, formats, as well as international co-productions that could be acquired and aired on ABC. (Variety)

Travel Channel president and general manager Patrick Younge will leave the channel in January in order to return to London to be with his family. "As tough as I will find it to leave my team at Travel Channel Media, I'm fulfilling a promise I made to my two children, who remained in the U.K. when I joined TCM in 2005," said Younge in a statement. "I have a terrific team here at TCM, and despite these unprecedented economic conditions we are enjoying record ratings, audience delivery and Web traffic. We are also recognized as leaders in social-media marketing, and through innovative programs like the Travel Channel Academy and mobile products like Travel Channel GO, we are extending our reach and revenue into new arenas." (Hollywood Reporter)

Stay tuned.

Serial Boxes: John Lithgow to Play Killer on Season Four of Showtime's "Dexter"

In a rather surprising twist, John Lithgow (Confessions of a Shopaholic) has been cast in Season Four of Showtime drama Dexter.

Lithgow will appear in all twelve episodes of Dexter's fourth season, which launches September 27th, and will play serial killer Walter Simmons, known by his sobriquet The Trinity Killer, one of America's deadliest murderers who kills in threes and masquerades as an "unassuming mild-mannered suburbanite."

Having relocated to Miami, Simmons will cross paths with Michael C. Hall's Dexter Morgan as Dexter assists F.B.I. Special Agent Frank Lundy (Keith Carradine) investigate the three-decades long crime spree of The Trinity Killer.

(Lithgow is no stranger to playing characters with psychotic tendencies; remember his turn as multiple characters in the 1992 Brian De Palma film Raising Cain?)

The full press release from Showtime, announcing John Lithgow's casting, can be found below.

JOHN LITHGOW TAKES ON A KILLER ROLE


AWARD-WINNING ACTOR TO APPEAR IN ALL 12 EPISODES OF SEASON FOUR OF
SHOWTIME’S EMMY®-NOMINATED DRAMA SERIES DEXTER™


LOS ANGELES, CA – (May 27, 2009) – Academy Award®-nominated and Emmy®, Tony® and Golden Globe® award-winner John Lithgow will take on one of his most intense and intriguing roles to date portraying Miami’s latest serial killer in SHOWTIME’s top-rated drama series DEXTER. Lithgow will be featured in all 12 episodes of season four which are scheduled to premiere Sunday, September 27th on SHOWTIME.

Lithgow will play Walter Simmons, an unassuming, mild-mannered suburbanite who has been living a dual life as one of America’s most prolific and deadliest serial killers. Dubbed the “Trinity Killer” because of his proclivity to kill in three’s, he relocates to Miami after being tracked by F.B.I. Special Agent Frank Lundy (Keith Carradine). Brought on to assist in the investigation of Miami’s latest serial killer, Dexter Morgan (Michael C. Hall) becomes fascinated with “Trinity’s” unique killing methods and his ability to evade capture for almost three decades.

John Lithgow is an actor with a broad range of interests and talents in every area of the entertainment industry. He has been working in show business since the early seventies, and has achieved stunning success in wildly varied ventures. He was nominated for Oscars® in back-to-back years for The World According to Garp and Terms of Endearment. For his television work he has been nominated for ten Emmy® Awards, winning four times, one for an episode of Amazing Stories and three times for his lead role in the comedy series 3rd Rock from the Sun. In that show’s six year run, Lithgow also won the Golden Globe®, two SAG Awards®, The American Comedy Award and a Star on the Hollywood Walk of Fame. In 1973, Lithgow won a Tony® Award for David Storey’s The Changing Room. Since then, he has appeared on Broadway nineteen more times, earning another Tony®, three more Tony®-nominations, four Drama Desk awards and an induction into the Theatre Hall of Fame.

One of the most acclaimed series on television, DEXTER stars Michael C. Hall (three-time Golden Globe®-nominee, two-time Emmy®-nominee) as a complicated and conflicted blood-spatter expert for the Miami police department who moonlights as a serial killer. The show has received both an Emmy® and Golden Globe® nomination for best television drama series as well as a prestigious Peabody Award in 2008 and was twice named one of AFI’s top ten television series. The show also stars Julie Benz, Jennifer Carpenter, C.S. Lee, Lauren Vélez, David Zayas, and James Remar.

Season Four of Dexter kicks off on September 27th on Showtime.

Pilot Inspektor: An Advance Review of FOX's "Human Target"

I really wanted to like FOX's new procedural drama Human Target, which launches on the network next year, but found myself wondering about what the series could have been rather than what it actually is.

Based on a DC comic by Len Wein and Carmen Infantino (and later redeveloped into a Vertigo title by Peter Milligan), Human Target tells the story of Christopher Chance (Fringe's Mark Valley), a man who protects those in danger by becoming a literal human shield, a moving target capable of drawing the fire of those out to imperil his well-paying clients.

Chance is assisted in these high-stakes missions by his best friend and business manager Winston (Pushing Daisies' Chi McBride) and a tech-savvy nutcase named Guerrero (Watchmen's Jackie Earle Haley) whose allegiances seem as fluid as quicksilver. But rather than just watch his clients from afar, Chance forces his way into their lives, posing as someone who has access to their every move.

In the pilot episode, written by Jon Steinberg (Jericho) and directed by Simon West (Keen Eddie), we glimpse three such cases involving an array of clients. We're introduced to Chance, in fact, during a hostage situation at a bank where an irate and recently fired employee, Hollis (Desperate Housewives' Mark Moses), is threatening to kill his boss Ken Lydecker and detonate a bomb, killing everyone inside. Chance manages to free Lydecker (and switches places with him in the process), manages to disarm Hollis and shoot him, but doesn't manage to prevent him from detonating the plastic explosive on his vest. It's an explosion that kills Hollis and injures Chance in the process.

Rather than follow the advice of the gruff but well-meaning Winston and recuperate from his injuries, Chance accepts another assignment: to protect an engineer named Stephanie Dobbs (Battlestar Galactica's Tricia Helfer) who is working on California's first bullet train, a train whose upcoming maiden voyage has seemed to coincide with an attempt on her life. Despite Winston's misgivings about Chance's state of mind, Chance agrees to become her human target, posing as her Japanese interpreter on the train's test run in order to unmask her would-be killer.

It's an assignment that brings them back in touch with the shady operative Guerrero (Haley), a man of dubious moral certainty who seems to be working both sides of the equation, providing security here, possibly flexing his knuckles there. Guerrero is one scary guy and Winston is uneasy about partnering with him on the Dobbs case but they have need of Guerrero's particular skill set.

What follows is a pretty straightforward procedural action-thriller, as Chance attempts to keep Stephanie safe from a number of potential murder attempts even as the clock in running out before the state-of-the-art bullet train will derail at 220 mph, thanks to some cost-cutting that Stephanie uncovered during the construction phase. There's a nice sense of frisson between Helfer's icy Stephanie and Valley's Chance but there's little time for any real emotional connection between them, given the nature of the series' episodic formula.

Likewise, it's hard to shake the feeling that there's no real emotional stakes here for the cooly-detached Chance whatsoever. The original pilot script indicated why Chance seems to have a what Winston calls a "death wish" (hint: it involved a missing woman) but without any real information in the shot pilot about just what happened to Chance, Winston's concerns come off as more than a little puzzling, given that we don't really see any indication that Chance is acting out of the ordinary or might be acting with less than his normal professionalism.

Valley, McBride, and Haley are all well-cast in their respective roles but aren't given much to do with any real depth of character. The guest cast, which includes Culp, Helfer, and Danny Glover (who, rather shockingly, turns up in the final scene as a new client) are all fantastic but also seem to be going through the motions of the plot without much nuance in their guest roles. Everything in Human Target, in fact, is very much operating on the surface level and there's a decided dearth of emotional stakes as well as a shocking lack of humor, a real shame given that each of the three leads excels at deadpan humor.

FOX has made a cottage industry of late out of procedural dramas and Human Target does work best as the sort of procedural series one might have found in the 1980s, meaning that it feels a little dated and somewhat creaky. Human Target attempts to be a fun thrill-ride but there's no real hook here, due to the shallowness of the characters and the feeling that we know Chance will not only survive his assignments but nicely wrap up each case by the end of the hour.

But rather than suggest that the producers graft on a serialized plot, I'd instead urge them to deepen Chance's character and give the audience a reason for being invested in his particular situation. The pilot episode doesn't offer us an origin story for Chance and his cohorts, nor does it tell us why the story is picking up at this precise moment in time, which is a major misstep. Stories like this usually benefit from starting at the beginning (seeing Chance and Winston work together for the first time, for example) or by showing us these characters at a precise moment of change and upheaval in their lives.

We're told that Chance has a "death wish," but we don't really see why this is the case, which (as mentioned before) was at least touched on in the pilot script. If Chance is changing his M.O., taking unnecessary risks, and placing himself in danger needlessly, the writers had better show us why he's doing so, what his motivations are, and what's changed in his outlook. It's a disservice to the viewer, to the character, and to the series as a whole to do otherwise.

Human Target could be an action-packed adrenaline thrill-ride but it comes across as a little cold and stiff, thanks to the lack of humor here. Chance and Winston should be quick-witted verbal sparring partners, tossing off colorful quips with the speed of a semi-automatic, but instead they seem more like a bickering old couple. The series needs to be slicker, smarter, and craftier. The identity of the killer in the main assignment this week was painfully obvious to anyone who has ever watched a single television mystery, from CSI to Agatha Christie's Poirot, or read any detective novel. These cases need to keep the audience guessing and keep the action and tension high at all times, even as lightening the mood with some badinage.

Ultimately, unless Human Target can find the fun and funny in Chance's life both on and off assignment (and keep the mysteries of the week engaging, twisty, and surprising), there's no real hook here to keep viewers coming back week after week, making this series a likely target for termination.



Human Target launches in early 2010 on FOX.