Domo Arigato, Mr. Sheriff Roboto: An Advance Review of the Return of Syfy's "Eureka"

Throughout its run, Eureka, which returns tonight to Syfy with the first of its back ten episodes of Season Three, has more or less offered a safe haven on television: a rather cozy yarn about a quirky town of scientists whose inventions often improve--as much as threaten--the lives of the populace of this idyllic berg.

That very relaxed, homey feel that so many of Eureka's fans gravitate towards often results in a decided lack of tension in the plots. And, you know what, that's okay. Not every series needs to be as mercilessly bleak as, say, The Shield. There's a place for a more homespun series that offers a winsome charm and snugness like Eureka.

Season 3.5 of Eureka picks up right where we last saw Jack Carter (Colin Ferguson) and the other assorted denizens of Eureka, with Jack cast out of his role as town sheriff, Jack's star-crossed would-be lover Allison (Salli Richardson-Whitfield) pregnant with her dead husband's child, and a surprised Henry (Joe Morton) taking over as mayor of Eureka.

I had the opportunity last week to watch the first two episodes of Season 3.5 or Eureka ("Welcome Back Carter" and "Your Face or Mine") and was struck by the way that the series continues to go its own way, refusing to conform to expectations about serialized plotting or losing its inherent optimism and aw-chucks allure.

This is a series that really shouldn't work and yet it does, even when it introduces some blatantly obvious solutions to the procedural mystery of the week (always involving some random scientist) or puts its lead through a physical and mental test of endurance that's jettisons him from the overarching plot. Even when Carter's not on screen, Colin Ferguson's presence is felt, an after-effect of his overwhelming charisma. Hell, even the introduction of a new sheriff in town--Men in Trees' Ty Olsson as robotic Sheriff Andy--does nothing to diminish Ferguson's hold on the viewers.

I have to say that I loved Olsson's turn as Andy here. He gives the robotic small town cop the appeal of a grinning copper straight out of Mayberry, only more impervious to destruction. That his first case would coincide with Carter's decision to leave for Eureka for good is the icing on the cake. Just when Carter thinks he's out... Despite being stripped of his clearance, Carter and Jo (Erica Cerra), who quits her gig when she's passed over for promotion in favor of a robot in a box, investigate the cause of the strange gravity wells popping up all over Eureka, a fact that Sheriff Andy doesn't seem too bothered about. (I do have to say that I was surprised by the reveal of the just who is behind the mystery.)

And Cerra herself gets a chance to shine when she holds down the season's second episode ("Your Face or Mine"), which is directed with skill by Ferguson himself. The Jo-centric episode features DNA-modification, virtual karaoke, a torch song from a smoking-hot Cerra, and some rather unexpected twists involving both Zane (Niall Matter) and Fargo (Neil Grayston).

All in all, Eureka isn't groundbreaking television but it does offer something that's definitely lacking in an era of gritty drama: an opportunity to escape to a happy, simpler time where small towns weren't filled with seedy underbellies of depravity and crime and where robots patrol the streets, fighting crime with a warm smile and a firm handshake. Or something like that, anyway.



Eureka kicks off Season 3.5 tonight at 9 pm ET/PT on Syfy.

Channel Surfing: Jon Heder Lands Comedy Central Series, ABC Drops "Gravity" in August, Gregory Smith Mines "Copper," and More

Welcome to your Friday morning television briefing. I was lucky enough to see an advance screening of upcoming film Julie & Julia last night and urge all you film-loving foodies to head out and watch it when it's released. Just make sure you eat beforehand!

Comedy Central has ordered ten episodes of an untitled multi-camera comedy series starring Jon Heder (Blades of Glory, Napoleon Dynamite). Project, about an unemployed IT specialist who returns to his smalltown to move in with his parents and younger brother, will be written by Will Ferrell, Adam McKay, and Chris Henchy. Series hails from Debmar-Mercury and Gary Sanchez and will have an initial run on Comedy Central; if it scores with audiences, another 90 installments will be automatically picked up with Comedy Central having the first window while Debmar-Mercury will sell the series into first-run syndication at the same time. (Variety)

ABC has announced that it will launch FTVS' internationally produced drama series Defying Gravity, which it acquired last week, on August 2nd at 9 pm with a two-hour premiere. The week after, Defying Gravity will move into its regular timeslot Sundays at 10 pm ET/PT. Series, which stars Ron Livingston, Laura Harris, Malik Yoba, Christina Cox, Florentine Lahme, Paula Garces, Eyal Podell, Dylan Taylor, Andrew Airlie, Karen LeBlanc, Zahf Paroo, and Maxim Roy, revolves around four male and four female astronauts from five countries who are on a mysterious six-year international space mission. Action will flash between their current mission and their rigorous training in the past. (via press release, Variety)

Gregory Smith (Everwood) will star opposite Missy Peregrym in Canadian police drama Copper, which will air Stateside on ABC. Smith will play Dov, a recent graduate from the police academy who attempts to make his way as a rookie cop. Elsewhere, Taylor Kinney (Fashion Show) has been cast as a regular on NBC's medical drama Trauma, where he will play Glen, an EMT that joins the rapid response team. (Hollywood Reporter)

SPOILER: Production on Season Four of HBO's sensational drama series Big Love begins August 13th and producers are on the hunt for two new recurring roles next season. Producers are looking to cast the roles Christie, the problem child daughter of Barb's sister Cindy who has been sent to Mormon Disciplinary Camp several times and who finds a seething jealousy towards new cousin Cara Lynn, and Dale, an closeted gay Mormon who is a partner at a big eight accounting firm and who becomes the new trustee of the Juniper Creek assets. (Spoiler TV)

The Chicago Tribune's Maureen Ryan has a absolutely fantastic piece on the power of San Diego Comic-Con and its enduring appeal. (Chicago Tribune's The Watcher)

MTV has given a series order to teen comedy Hard Times, which revolves around an unpopular fifteen year old whose, er, endowment is revealed in front of the whole school during a prank and instantly finds popularity. Project, written and executive produced by David Katzenberg and Seth Grahame-Smith, is being compared to a teen version of HBO's similarly-themed Hung. (Hollywood Reporter)

Syfy's launch for drama series Warehouse 13 drew 3.5 million viewers, making it the third most watched network series debut behind Stargate Atlantis (4.2 million) and Eureka (4.1 million). (Broadcasting & Cable)

E! Online's Watch with Kristin is reporting that Catherine Bell isn't leaving Lifetime's Army Wives anytime soon. "I'll tell you this. I'm still in South Carolina, and I was filming the show this morning," said Bell via telephone. "Frank and Denise struggle for a while. It's not over. There are some really, really wonderful scenes coming—there's going to be some more communication about this... There's some really cool stuff coming up where you see a different side of him and their relationship. There's some positive stuff. He's a big teddy bear, and Frank adores Denise. He's going to change a bit this season. You're going to see a different side of him, that's very exciting." (E! Online's Watch with Kristin)

Stay tuned.

Every Heart Sings A Song: An Advance Review of Two Upcoming Episodes of FOX's "Glee"

"If I'm going to sing like someone else, then I don't need to sing at all." - Billie Holiday

Confession: I wasn't crazy about the pilot episode of FOX's Glee, which the network aired in May as a teaser for a full series launch, kicking off this fall on September 16th.

But I'm an open-minded guy. So when FOX invited me to screen two episodes of Glee that will air this fall--the season opener ("Showmance") and the series' third episode ("Preggers")--I happily accepted the invitation in order to see if the series had fallen more in line with my own expectations of what it should be like.

I'm happy to say that it has.

These two episodes of Glee, each written and directed respectively by series creators Ryan Murphy and Brad Falchuk, have a better balance of darkness and light, humor and pathos, and an abundance of dry wit that I found a better fit than the pilot episode. (Hell, it's rather hysterically raunchy at times.)

Which isn't to say that Glee strays into the bleakness of Nip/Tuck territory because it doesn't. Tonally, these two installments display a better balance of cheerfulness and angst than displayed in the pilot episode and it's a balance that better suits my own cynical vantage point.

Assisting in this delicate tightrope walk is the supremely talented Jane Lynch, who embodies the sinister Sue Sylvester with a, well, gleeful abandon. I felt that Sue was too shallowly drawn in the pilot and was bordering on cartoonish, but I take that back completely after seeing Lynch's bravura performance in these episodes. Her Sue Sylvester is a seething morass of complex emotions, bitter vendettas, imagined slights, and raw ambition.

Sue moves more towards the forefront of the series, becoming an even bigger celebrity in their small town (look for a local news spot on the benefits of caning) as she makes bare her own motivations for wanting so terribly to succeed. I won't give any specific plot points away but I will say that Sue complicates things not only for Matthew Morrison's Will Schuester but for the Glee Club as a whole and her path to their destruction takes an intriguing and Machiavellian route that brings back a face from the pilot in a rather unexpected way.

That is, if the Glee Club doesn't implode from within first. There are some new tensions within the group that threaten to derail the work that the kids and Will have attempted to achieve in such a short time and Sue masterfully preys on everyone's weaknesses with cunning precision. The effect not only reveals their shortcomings and fears but also further deepens the characters.

As for the kids, they have their own issues to work out, including some rivalries that begin to rear their ugly heads among several members of the group, even as they attempt to lure in some new members by using sex as a recruitment tool, culminating with the painfully hilarious use of Salt 'n Pepa's "Push It." (Yes, folks, this must be seen to be believed.)

Elsewhere, look for Chris Colfer's Kurt Hummel to steal the series in a major way and make it impossible for you to stop singing Beyonce's "Single Ladies (Put A Ring On It)" round the clock. I'm told that each episode of Glee will focus on a different character and I think that's a very good thing when you have as diverse an ensemble cast as this one. The third episode puts the emphasis squarely on Kurt and the result is a sweet, funny, and surprising installment involving unitards, football, and dance routines.

And Will has enough on his plate including a romantic rivalry with Ken Tanaka (Patrick Gallagher) over adorable OCD-prone counselor Emma Pillsbury (Jayma Mayes), a second job, his manic (and maniacal) wife Terri (Jessalyn Gilsig), and dissension in the ranks of New Directions.

Will, er, Will keep it together? Will New Directions fail to move forward? Will Sue's plots come to fruition? Is Terri nuttier than a fruitcake? That would be telling but suffice it to say that there are some rather unexpected twists to come, including some major shockers that will have people very surprised by what's still to come.

All in all, if these two upcoming installments are any indication, Glee has found its footing among some fancy footwork, imaginative obstacles, and a winning juxtaposition of dark comedy, teen angst, and a technicolored heightened reality where anything would seem to be possible. It's made a grinning Glee convert of me and I can't wait to see what happens next.

Glee returns to FOX this fall on September 16th.

Spellbound: Illusion, Surprise, Mystery and Spectacle on "Top Chef Masters"

I can't tell you how excited I was that Top Chef Masters finally returned to the airwaves last night after a far-too long two week hiatus.

The series has become a highlight in my telly-viewing week and last night's episode of Top Chef Masters ("Magic Chefs") was no exception as the four latest master chefs--Anita Lo, John Besh, Mark Peel, and Douglas Rodriguez--has to prepare a dinner for actor Neil Patrick Harris and his friends at Los Angeles' famed Magic Castle using the four elements of stage magic: surprise, illusion, spectacle, and mystery.

I was a guest at the Magic Castle, a private club for professional magicians, about two weeks ago and fell in love with the quirky charms of the place, a former mansion turned clubhouse and multi-staged venue where magic reigns supreme. It was only fitting then that our master chefs should have this unique location to use as a backdrop for their most magical meal yet.

So how did the cheftestants do? Let's discuss.

Before the magic-themed dinner, the masters had to fight their way through the Quickfire Challenge, a repeat of a favorite Top Chef challenge in which the chefs have to prepare a perfectly cooked egg with one hand tied behind their back.

The challenge, which recalls both Georges Auguste Escoffier and the more humbling aspects of this culinary competition series, really did put these chefs through their paces. I was surprised to see just how many of them really did underestimate the challenge at hand and didn't really consider timing or plating in advance. An egg is a delicate thing at the best of times and the thin line between a perfectly cooked oeuf and an overcooked one is transparent at best.

I have to say that I was majorly impressed with Mark Peel for attempting to make fresh pasta in such a brief time span as this... much less with one hand tied behind his back, a real Herculean feat if there was one. His dish was a truly ambitious one then: fresh duck egg pasta with an egg and olive oil cream sauce. I feel it would have been a hell of a lot more successful if he managed to get the olive oil in there and had more of a contrast with the fresh herbs. But still impressive.

Less impressive with John Besh, who completely underwhelmed with a slow-cooked egg in a miniature crock pot... that wasn't actually cooked. Besh, whom many pegged as a major player in this competition, scored only half a star for his single egg serving that was still uncooked on one side and lacked any components. Sad, really.

Douglas Rodriguez, on the other hand, prepared perfectly cooked scrambled eggs with ham and an open-faced corn cake that showcased precision, thoughtfulness, and an understanding of the task at hand. But it was chef Anita Lo who wowed the judges with her artful preparation of soft scrambled eggs and shiitake mushrooms with truffle oil and oyster sauce served in the eggshell. Just a dazzling display of ingenuity, playfulness, and art, really, and no surprise at all that Lo walked away with the top spot. That she constructed this amazing dish with one hand is what truly inspires. Well done, Anita!

As for the Elimination Challenge, the chefs would have to create dishes that embodied one element of magic, whether it be illusion, mystery, spectacle, or surprise, and serve it at the Magic Castle to guest judge Neil Patrick Harris and a collection of actors and magicians. Given that Harris is reputed to be a major fan of magic, I expected to see more enthusiasm from the How I Met Your Mother actor but he seemed rather low-key and quiet throughout the proceedings, which struck me as odd.

First up: Mark Peel's Mystery, which was a thai snapper en papillote served with garlic mashed potatoes and leeks. Heightening the mystery of what was in the parcel, Peel also offered up a ceramic spoon of scallion oil and Oassi sake. This dish could have easily backfired if the fish were overcooked (no way to check it without tearing into the pouch, after all, and Peel had let them sit before they went out into the dining room) but the result was a lovely surprise: perfectly cooked fish with gorgeous leeks and creamy mash, heightened by the slightly bitter flavor of the scallion oil.

John Besh's Surprise went a little askew though he did have the forethought to remember his surroundings and play up the theatricality of the setting, crafting a little magic of his own with a fresh horseradish and creme fraiche sorbet that he attempted to solidify using liquid nitrogen. This was a real gambit as it's hard to pull off a liquid nitrogen tableside serving. The Bazaar at the SLS Hotel here in LA does liquid nitrogen-frozen cocktails and it is hard work and time-consuming. Besh should have kept whisking for another five minutes at least to give the sorbet some body and solidity. As for the rest of the dish, he offered up three miniature servings: salmon tartare with a frozen cauliflower blini, salmon roe with the aforementioned sorbet and dill fronds, tempura-fried lobster wrapped in smoked salmon with micro-greens. The judges loathed the frozen blini, with James Oseland complaining that it gave him brain freeze. Ouch. The lobster, however, was perfectly cooked and the most successful of the three offerings.

Douglas Rodriguez's Spectacle tried to bring the pomp and circumstance one might expect from the magic but didn't quite hit the mark with his sterno-flamed coconut shells which did offer some spectacle but also some danger to eating his course. It was also a little too ambitious, to boot, with four preparations of duck on a single plate: there was an oyster ceviche with duck broth, empanada with foie gras and figs, a seared duck breast with butternut squash puree, and a duck soup with young coconut. Way too much going on on the plate, an overabundance of ingredients, and some confusion.

Finally, Anita Lo's Illusion, a crackling sand-based seascape that held up a braise daikon with kombu caviar that resembled a perfect scallop... but actually contained a steak tartare in its pearly depths. The addition of a shellfish stock in a small bowl added some salt and flavor to the tartare when poured over the top. Once again, I thought Lo did an incredible job of going beyond the brief to really wow in terms of presentation and flavor and she absolutely nailed the "illusion" part of the challenge. It was such a dead ringer for a scallop yet conceals such a different story on the interior that I would have been amazed if she didn't walk away with a spot in the champions round.

Sure enough, the judges felt the same way about Lo's Illusion, a perfectly crafted dish that captured the requisite magic and transformed a lowly daikon into a centerpiece of illusory power. I can't wait to see what she comes up with next...

What did you think of this week's episodes? Were the judges fair to give John Besh such low scores? Did you think Anita Lo deserved the top prize? What did you think of the chefs' performances? And was Neil Patrick Harris uncharacteristically quiet? Discuss.

Next week on Top Chef Masters ("Miniaturize Me"), four new master chefs--Michael Chiarello, Lachlan Mackinnon-Patterson, Nils Noren, and Rick Moonen--are tasked with reinventing junk-food classics and then later, they create three-course mini-meals for 100 guests. Plus, Flipping Out's Jeff Lewis and Jenni Pulos guest star.

BBC One Unveils Fall Schedule, Including "Doctor Who: The Waters of Mars" and New Season Of "Gavin & Stacey"

BBC One announced their fall line up of programs today, which includes the third (and likely final season) of the award-winning comedy series Gavin & Stacey and the latest Doctor Who special starring David Tennant (entitled "The Waters of Mars").

Also on tap for UK viewers this autumn: a slew of other programming that includes a new adaptation of Jane Austen's Emma, starring Romola Garai (Atonement), Jonny Lee Miller (Endgame, Melinda And Melinda), Michael Gambon (Harry Potter, Cranford), Tamsin Greig (Black Books, Green Wing), Robert Bathurst (Cold Feet), and Jodhi May (Einstein And Eddington, The Amazing Mrs Pritchard); the return of Peter Moffat's BAFTA-award winning thriller Criminal Justice, starring Maxine Peake, Matthew Macfadyen, Denis Lawson, Steven Mackintosh, Eddie Marsan, and Sophia Okonedo.

Also announced: family drama Framed starring Waking the Dead's Trevor Eve and Torchwood's Eve Myles; period legal drama Garrow's Law; fashion drama Material Girl, starring Being Human's Leonora Crichlow, Doctor Who's Dervla Kirwan, and Love Soup's Michael Landes; five-episode sci-fi series Paradox; and an adaptation of Andrea Levy's romantic novel Small Island from Paula Milne.

Below you'll find the official descriptions of both Doctor Who: The Waters of Mars and Gavin & Stacey's third season as well as a one-minute clip from Doctor Who: The Waters of Mars, which is expected to air in the UK in November.

Doctor Who – The Waters Of Mars

David Tennant returns as The Doctor in The Waters Of Mars, the second of four Doctor Who specials being screened on BBC One this year. He is joined by his cleverest and most strong-minded companion yet, Adelaide, played by acclaimed British actress Lindsay Duncan.

Adelaide is head of the Mars Base and doesn't take kindly to an uninvited appearance by The Doctor. Peter O'Brien, star of Neighbours, Flying Doctors and Casualty, also guest stars as Ed, Adelaide's second in command.

The Waters Of Mars is written by Russell T Davies and Phil Ford and is directed by Graeme Harper.



Gavin & Stacey

With four British Comedy Awards, two Baftas and a South Bank award to its name, Gavin & Stacey returns for a new series on BBC One.

As Gavin starts his new job, the move to Barry Island means big changes for the whole family. Pam and Mick have to adjust to an empty nest while Gwen's got a full house again. Stacey is in her element, but will this finally be the solution to the couple's long-distance problem? And how will Gavin take to living in Wales?

Smithy questions their friendship along with his own role as father – and with Dave Coaches on the scene and now engaged to Nessa, will Smithy find himself pushed out of the frame? How will life in a caravan work out for Nessa and her soon-to-be husband Dave?

Written by James Corden and Ruth Jones, Gavin & Stacey stars Mathew Horne, Joanna Page, Ruth Jones and James Corden, with Alison Steadman, Rob Brydon, Larry Lamb and Melanie Walters. Guest stars include Julia Davis, Adrian Scarborough, Steffan Rhodri and Sheridan Smith.

Channel Surfing: Miracle Laurie to Return for "Dollhouse" Season Two, Syfy Hunts for Next Big Space Opera, Terry Kinney Lured by "Mentalist," and More

Welcome to your Thursday morning television briefing.

Dollhouse creator Joss Whedon will write and direct the second season opener of the FOX drama. Meanwhile, Miracle Laurie--who played November/Mellie in Season One of Dollhouse WILL be returning for the sophomore season... in some form, anyway. "All I know for sure is that I'm coming back next season," Laurie told the Baltimore Sun. "I don't actually know in what form I'll be back. The writers are kind of teasing me…everybody knows but me." (Baltimore Sun, Twitter)

io9 speaks to Syfy vice president of original programming Mark Stern about the channel's rebrand and its promise to find the next big space opera along the lines of Battlestar Galatica or Firefly. "The next thing that I really want to do is find the next great space opera; it's been a long time," said Stern. "And we have Stargate, but that's really not that show. And Caprica isn't really that show. So where's the next Star Trek or Farscape? Let's find one of those... We don't want to do something that is the same old. You don't want it to feel recycled. So that's the challenge of doing that. I'm a huge fan of Firefly, and shows that take that idea and take that part of the genre and reinvent it in a whole new way. I'd love to find our version of, not specifically Firefly, but similar to what Joss [Whedon] tried to do with that in terms of, "lets recast the Western in space." Love that idea, and I love that show. What's another way to approach that?" (io9)

The Unusuals' Terry Kinney has been cast in Season Two of CBS' The Mentalist, where he will recur as Sam Bosco, "a by-the-book California Bureau of Investigations agent who heads up the division overseeing the Red John case." According to Entertainment Weekly's Micheal Ausiello, Bosco is an ex-lover of Lisbon (Robin Tunney) as well as her mentor and "[t]he two share a deep, dark secret!" (Entertainment Weekly's Micheal Ausiello)

In other Dollhouse-related news, The Chicago Tribune's Maureen Ryan reports that the missing thirteen episode of Dollhouse's first season, entitled "Epitaph One," will be available for download on iTunes beginning August 11th. The episode will NOT be available via Hulu. (Chicago Tribune's The Watcher)

CSI creator Anthony Zuiker's Dare to Pass shingle has signed a new two-year first-look deal with CBS Television Studios, under which he will develop scripted and unscripted series. "Making a one-off TV show is not going to sustain a real business anymore," said Zuiker. "It starts with a great TV show, but then becomes a 24/7 experience. It's Web, mobile, gaming. From device to device to device." (Variety)

FOX has given a script commitment with a penalty to an untitled dramedy project, from Greg Malins (How I Met Your Mother) and mystery novelist Harlan Coben, about a psychotic former private investigator with a lack of inhibitions (the result of a bullet wound to his frontal lobe) who teaches a university criminology class in Los Angeles and solves crimes with his graduate students. Project hails from 20th Century Fox Television, where Malins has an overall deal. (Hollywood Reporter)

Bravo has announced an August 26th start date for Top Chef: Las Vegas and unveiled the seventeen contestants competing for the title next season as well as the guest judges, who include such notables as Natalie Portman, Wolfgang Puck, Daniel Boulud, Tyler Florence, Penn & Teller, and Nigella Lawson. (Televisionary)

Eric McCormack (Trust Me) will guest star in an upcoming episode of NBC's Law & Order: Special Victims Unit. He'll appear in next season's second episode as a handsome sugar daddy. (Entertainment Weekly's Ausiello Files)

More off-net sales for NBC comedy 30 Rock following a deal between NBC Universal Domestic Television Distribution and FOX and Tribune station groups on an all-barter basis, with the series launching in fall of 2011. 30 Rock will be "double-run six days a week in access and late-fringe time periods," with NBC Universal getting three minutes of ad time and local stations getting four minutes. (Broadcasting & Cable)

Lifetime has unveiled the identities of the contestants for Season Six of Project Runway, which makes its long-delayed debut on the cabler on August 20th following a protracted legal battle with rival cabler Bravo. (Hollywood Reporter)

Lifetime has acquired rerun rights to CBS' The New Adventures of Old Christine after it closed a deal with studio Warner Bros. Television for roughly $350,000 per episode for the series as well as a barter agreement that will see the cabler hand over 90 seconds of advertiser time. Series will debut on Lifetime in fall 2010. (Variety)

BBC America has announced the US premiere date for Season Three of teen drama Skins, which will kick off on Thursday, August 6th at 9 pm ET/PT. (via press release)

NBC opted to shift its newest reality series The Great American Road Trip to Mondays at 8 pm, less than 24 hours after it launched the series. Repeats of America's Got Talent will take over the Tuesdays at 8 pm timeslot. (Futon Critic)

Stay tuned.

(Watch) What Happens in Vegas: Bravo Announces Cast, Launch Date for "Top Chef: Las Vegas"

Best news of the day: Bravo has announced a launch date for the sixth season of Top Chef, entitled Top Chef: Las Vegas, and it's a hell of a lot earlier than I anticipated.

Cabler Bravo announced this morning that it will kick off the sixth season of the culinary competition series on Wednesday, August 26th at 10 pm ET/PT and announced the seventeen-member cast for Top Chef: Las Vegas.

Meanwhile, judges Tom Collichio, Gail Simmons, Toby Young, and host Padma Lakshmi are all on board for the Vegas-based edition and we can look forward to such guest judges as Natalie Portman, Wolfgang Puck, Daniel Boulud, Tyler Florence, Penn & Teller, and Nigella Lawson. (Yes, you read that correctly: NIGELLA LAWSON!!!)

UPDATE: The full press release from Bravo, along with official bios for the Top Chef: Las Vegas contestants and video, can be found below.

Video: Chef Introductions
Get introduced to the chefs that will be competing on this season.



Video: The Judges on the Sixth Season
The judges share their thoughts on this exciting season in Las Vegas.



THE "STEAKS" ARE HIGHER IN SIN CITY ON BRAVO'S
"TOP CHEF: LAS VEGAS" WED. AUGUST 26 AT 9 PM ET/PT

17 New Chefs Rack It Up Along With Guest Judges And Stars
Natalie Portman, Wolfgang Puck, Daniel Boulud, Tyler Florence,
Penn & Teller And Nigella Lawson

NEW YORK – July 8, 2009 – What happens in Vegas won't stay in Vegas. The sixth season of the No. 1 food show on cable, Bravo's Emmy and James Beard Award-winning series returns with "Top Chef: Las Vegas," premiering Wednesday, August 26 at 9 p.m. ET/PT. The 17 new chef'testants take on Sin City this season to see if they have what it takes to become Top Chef. And for the first time ever – the series has a set of brothers competing against each other.

This season captures Sin City's high stakes and high rollers in addition to exploring what Vegas has to offer beyond the Strip. Some of the top names in food, movies and entertainment including Wolfgang Puck, Todd English, Natalie Portman, Daniel Boulud, Penn & Teller, Hubert Keller, Laurent Tourondel, Tim Love, Michelle Bernstein, Tyler Florence, Charlie Palmer, Paul Bartolotta, Nigella Lawson and Jerome Bocuse will be featured this season on "Top Chef: Las Vegas."

Once again returning to the kitchen, cookbook author, actress and host Padma Lakshmi presides over the judge's table alongside head judge Tom Colicchio, renowned culinary figure and chef/owner Craft Restaurants, and judges Gail Simmons, of Food & Wine magazine and Toby Young, food critic and best-selling author of the book How to Lose Friends and Alienate People.

"Las Vegas has become a culinary destination – some of the world's best chefs and restaurants are here – so it's only fitting that our newest season was the best yet," said Colicchio. "You'll be surprised by the quality of chef'testants we discovered this season. They really raised the bar."

The Emmy-nominated Magical Elves return to produce "Top Chef: Las Vegas." Dan Cutforth, Jane Lipsitz ("Top Chef Masters," "Project Runway," "Top Design"), Liz Cook and Casey Kriley serve as executive producers. Nan Strait serves as co-executive producer.

The 17 "Top Chef: Las Vegas" chef'testants will be whittled down week by week as they compete to outshine their competition. The winning chef will receive $100,000 furnished by the makers of the Glad family of products, $100,000 of merchandise provided by Macy's, a feature in Food & Wine magazine, a showcase at the Annual Food & Wine Classic in Aspen and will earn the title of "Top Chef." The M Resort Spa & Casino served as the production location for "Top Chef: Las Vegas."

Following are the 17 new "Top Chef: Las Vegas" chef'testants:

-Ash Fulk, 29 – Hometown: Pleasant Hill, Calif.; Resides in New York City
-Ashley Merriman, 32 – Center Sandwich, N.H.; Resides in Seattle, Wash.
-Bryan Voltaggio, 33 – Hometown: Frederick, Md.; Resides in Urbana, Md.
-Eli Kirshtein, 25 – Hometown/Resides in: Atlanta, Ga.
-Eve Aronoff, 40 – Hometown/Resides in: Ann Arbor, Mich.
-Hector Santiago, 41 – Hometown: San Juan, Puerto Rico; Resides in Atlanta, Ga.
-Jennifer Carroll, 33 – Hometown/Resides in: Philadelphia, Pa.
-Jennifer Zavala, 31 – Hometown: Cromwell, Conn.; Resides in Philadelphia, Pa.
-Jesse Sandlin, 30 – Hometown/Resides in: Baltimore, Md.
-Kevin Gillespie, 26 – Hometown/Resides in: Atlanta, Ga.
-Laurine Wickett, 38 – Hometown: Rochester, N.Y.; Resides in San Francisco, Calif.
-Mattin Noblia, 29 – Hometown: Biarritz, France; Resides in San Francisco, Calif.
-Michael Isabella, 34 – Hometown: Little Ferry, N.J.; Resides in Washington, D.C.
-Michael Voltaggio, 30 – Hometown: Frederick, Md.; Resides in Los Angeles, Calif.
-Preeti Mistry, 33 – Hometown/Resides in: San Francisco, Calif.
-Robin Leventhal, 43 – Hometown: Sun Valley, Idaho; Resides in Seattle, Wash.
-Ron Duprat, 40 – Hometown: Mare Rouge, Haiti; Resides in Hollywood, Fla. and Naples, Fla.

Bravo's "Top Chef" offers a fascinating window into the competitive, pressure-filled environment of world-class cookery and the restaurant business at the highest level. The series features seventeen aspiring chefs who compete for their shot at culinary stardom and the chance to earn the prestigious title of "Top Chef." Each episode holds two challenges for the chefs. The first is a quickfire test of their basic abilities and the second is a more involved elimination challenge designed to test the versatility and inventiveness of the chefs as they take on unique culinary trials such as working with unusual and exotic foods or catering for a range of demanding clients. The challenges not only test their skills in the kitchen, but also uncover if they have the customer service, management and teamwork abilities required of a Top Chef. The competing chefs live and breathe the high-pressure lifestyle that comes with being a master chef and each week someone is asked to "pack up their knives" and go home.

This season, BravoTV.com is taking a page from one of "Top Chef''s" most beloved challenges and is reinventing the classics. Fans will find the "Top Chef Fantasy Game," "Memory Match," "Rate the Plate," and blogs from judges and contestants old and new. But this season, BravoTV.com is also bringing some changes – "Top Chef: New York's" Italian Stallion Fabio Viviani will be host to this season's "Top Recipe," where viewers learn to cook each episode's winning recipe. Two new webisode series will also debut – "Guest Judges: Strip'd" where fans can get more intimate with guest judges, learning about their personal styles and backgrounds; and a new series with the chefs out on the town in Las Vegas, where viewers get a peek into the chefs' lives outside the kitchen.

"Chef" fans can also visit m.bravotv.com from their web-enabled phone for exclusive content including contestant and judge Q&A's, photo diaries, foodie faves, video clips, wallpapers and ringtones. Fans who text CHEF to 27286 can join the Top Chef mobile fan club and receive behind-the-scenes dish and exclusive interactive content from the chef'testants, hosts and judges. A new exclusive mobile video series hosted by Toby Young pits the Las Vegas contestants against each other to win the "Slice & Dice Showdown." Contestants are grouped into two teams and led by brothers Bryan and Michael to compete in foodie challenges and earn points culminating in the ultimate dessert bake-off.

"Top Chef" has steadily increased audiences season-to-season, debuting in March 2006 to critical acclaim and ratings success, returning with season two in October 2006 which averaged over two million total viewers, then season three which premiered on June 2007 finished out the season averaging over 2.5 million viewers. Most recently season four which premiered in March 2008, averaged over three million viewers and finally, season five, "Top Chef: New York," was the series' highest rated season ever, averaging almost three million adults 18-49 and almost four million total viewers, according to Nielsen Media Research. Additionally, the season five finale was the highest rated telecast ever for the series among adults 18-49 and total viewers (with almost five million).

Top Chef: Las Vegas premieres Wednesday, August 26th at 10 pm ET/PT on Bravo.

Mind of the Modern Man: "Peep Show" Might Just Be the Best Comedy Series Not on US Telly

I'm not quite sure why British comedy series Peep Show hasn't caught on like gangbusters here in the States.

Created by Jesse Armstrong, Sam Bain, and Andrew O'Connor, Peep Show stars comedic duo David Mitchell and Robert Webb (of That Mitchell and Webb Look fame) as two flatmates who haven't quite come to grips with their adulthood, their manhood, or their tenuous grip on reality.

BBC America aired the first two seasons of the painfully hilarious series a few years back and then stopped showing the series for some reason, even as it went on to film three additional seasons, with a sixth expected this fall and a seventh on track for next year. (Hulu, meanwhile, is currently streaming the first season of this hysterical series.)

This summer, I decided to sit down and watch Peep Show's entire five season run so far on DVD, the spoils of a trip over to the United Kingdom, in part to see if it was as good as I remembered and to find out what had happened to Mark (David Mitchell) and Jez (Robert Webb) since I last saw them.

I breezed through all five seasons of Peep Show this summer with gleeful abandon. If you know anything about the series (and if you don't, I've included the first two episodes in full below), you know that it hails from the same school of painful humor as the original British version of The Office. You can't help but wince and indeed cringe (and sometimes watch from behind your fingers) even as you're laughing uncontrollably.

Because each episode is told from the alternating point of view of both Mark and Jez, it's hard not to sympathize with their predicaments as we're privy to their innermost thoughts and fears... and odd little (or not so little) eccentricities. In another series, we might find their behavior abhorrent or even criminal; here, it's par for the course as we're dragged along for the ride, forced to hear the boys justify their mad ideas to themselves.

As for Mark and Jez themselves, they are an odd couple from the classic book of odd couples. Mark is a fastidious credit manager at JLB Credit, a man whose idea of living it up is to follow wheat toast with a slice of white toast ("the pudding," he calls it) and pining after his co-worker Sophie (Olivia Colman). Jez is a wastrel wannabe musician with a penchant for drug-induced mischief and a terrible, terrible taste in women, whether it be their married neighbor Toni (Elizabeth Marmur), the wealthy but manic Big Suze (Sophie Winkleman), or manipulative American flirt Nancy (Rachel Blanchard).

One might think on the surface that Jez is the true sociopath of the bunch but over the course of five seasons Mark engages in a host of bizarre behavior that makes one question his very sanity... or his grip on social convention. Together, they are a morass of immoral thought, action, and impulse. Yet it's hard not to fall for them, even as they squabble over anything and everything. They can be the best of friends (witness their El Dude Brothers routine) or the very worst of enemies (keep an eye out for an episode in which Jez keeps a stomach flu-suffering Mark a prisoner).

There's a surreal and heightened quality to the series that makes it a real treat, even as it satirizes the mundane elements of everyday life. What other series would have its protagonist peeing in the desk drawer of a rival (only to try to cover up the evidence) and have him terrorized by hooded juveniles in the streets?

Peep Show feels both contemporary and timeless in a way. Mark and Jez are very much living in our material-obsessed world but the humor that's derived from the awkward and uncomfortable situations they find themselves in (often of their own making) is universal. Who can't remember the sting of unrequited love? Or recall the sensation of having done something terrible while under the influence of some excessive indulgence? Or sympathize with the wracking guilt experienced after engaging in some morally complicit behavior?

Yet the real fun of the series is watching Mark and Jez stumble blindly into those very situations, often with the help of their so-called friends and colleagues. (Super Hans, I am looking right at you.) Even as you scream at the pair to stop whatever it is they are doing, the humor on Peep Show has a way of escalating at an alarming rate, taking you from merely uncomfortable territory to a downright squeamish kingdom of painful hilarity. Writers Bain and Armstrong have an uncanny knack for pushing these situations past their seeming breaking point to create a comedy that's often shocking in its scale.

But don't take my word for it. Watch the first season of Peep Show on Hulu and experience one of the very best comedies to come out of Britain in recent years and possibly the best series that's--very oddly--not currently on the air in the States. Once you peak into the depraved minds of Mark and Jez, you might not want to leave your house again, both for fear of who you might run into on the street and also because, like Super Hans, you'll want another fix straightaway.

Peep Show: "Warring Factions" (Season One, Episode One)



Peep Show: "The Interview" (Season One, Episode Two)



Peep Show returns to UK screens this fall with a sixth season on Channel 4.

Talk Back: Syfy's "Warehouse 13"

Enchanted combs. Houdini's wallet. A warehouse filled with arcane objects with mysterious power.

I'm talking of course of Syfy's new series Warehouse 13, which kicked off last night amidst the network's metamorphosis from Sci Fi to, well, Syfy.

You read my advance review of the two-hour pilot of Syfy's Warehouse 13 but, now that it's aired, I am curious to hear what you think. (Missed the two-hour pilot? You can watch the whole thing over at Hulu or after the jump.)

What did you think of the partnership between Eddie McClintock and Joanne Kelly's mismatched Secret Service agents Pete Lattimer and Myka Bering? Was it more Philadelphia Story than X-Files? Were you intrigued by the sci fi-lite plot that had these two becoming custodians for a repository of powerful objects with seemingly supernatural abilities? Or were you turned off by the glacial pacing? Are you enamored with Saul Rubinek's manic Artie? Did you find the concept refreshing or repetitive?

And, most importantly, will you tune in again next week to watch?

Talk back here.



Next week on Warehouse 13 ("Resonance"), Pete (Eddie McClintock) and Myka (Joanne Kelly) must team up with an FBI agent (guest star Tricia Helfter) in order to stop a team of bank robbers who have an unusual weapon: a LP record of an unreleased pop song written by a music genius that causes instant bliss in those who hear it, allowing the thieves to take what they want. Back at the Warehouse, Artie (Saul Rubinek) pinpoints the breach and heads to Washington.

Trailer Park: NBC's New "Community" and "Parenthood" Promos

Hoping to catch another glimpse at Community and Parenthood? Look no further.

With fall nearly upon us, NBC has today released new promos for two of its new series, Community and Parenthood, both of which launch this fall on NBC. The promos can be viewed in full below.

(Meanwhile, you can read my glowing advance review of the full Community pilot episode here.)

COMMUNITY:

Greendale Community College would like to welcome you.



Community, Thursdays this fall on NBC.

PARENTHOOD:

Parenthood is... a many-not-always-so-splendoured thing.



Parenthood, Wednesdays this fall on NBC.

Channel Surfing: "30 Rock" Lands Off-Net Sale, Andrea Bowen Returns to Wisteria Lane, Producers Seek Replacement for Lynch on "Party Down," and More

Welcome to your Wednesday morning television briefing.

Liz Lemon still has a lot of life left in her yet. Universal Media Studios was able to negotiate a payout of roughly $800,000 per episode of 30 Rock from two separate off-network deals to Comedy Central and WGN America. Both channels will be able to begin airing the episodes as a weeknight strip in fall of 2011. "Pound for pound, this is one of the funniest shows on TV. The DNA of the show is fabulous," said Comedy Central's SVP of programming David Bernath. "I really believe its biggest and broadest days are still ahead of it on NBC." TBS and E! were also said to have had interest in picking up the off-net rights to 30 Rock. (Variety)

Andrea Bowen is set to reprise her role as Julie when Desperate Housewives returns for a sixth season this fall but Entertainment Weekly's Michael Ausiello is reporting that Bowen will be back in a major way: as a series regular, citing an unnamed insider with Desperate Housewives as a source. "Bowen vanished from Housewives at the end of season 4, a casualty of the show's four-year flash forward," writes Ausiello. "She briefly returned last season when Julie, on break from college, announced that she was dating her 40-year-old professor Lloyd (Steven Weber). It's not clear if he'll be accompanying her back home, but I'm guessing not." (Entertainment Weekly's Ausiello Files)

Meanwhile in other Desperate Housewives news, Maiara Walsh (Cory in the House) has joined the cast of the ABC drama as a series regular, where she will reprise her role as Ana, the "gorgeous and manipulative niece" of Carlos (Ricardo Chavira), who moved in with the Solises last season. She previously appeared in the final two episodes of Desperate Housewives last season. (Hollywood Reporter)

Following news that Jane Lynch won't be returning for Season Two of Starz's comedy Party Down, E! Online's Watch with Kristin is reporting that producers are looking to cast the role of Lydia, a new series regular who can be any ethnicity other than white and at least 38 years old. In a casting call, Lydia is described as "a recently divorced stage mom who has moved out to L.A. from a small town with her daughter and is very upbeat and optimistic about breaking her daughter into the industry. As a newly single woman adrift in the big city, her thoughts are never far from the matter of reeling in a new man, but things never seem to work out. Her constant love troubles never get her down, it just means more to talk about with her Party Down colleagues..." (E! Online's Watch with Kristin)

FOX has pushed the launch of Season Two of Dollhouse back a week to Friday, September 25th at 9 pm ET/PT and will instead rebroadcast the season premiere of Glee on September 28th. Meanwhile, The Moment of Truth returns on Wednesday, August 5th at 9 pm ET/PT. (Futon Critic)

Lost's producers are looking for your take on the iconic series' theme song (currently consisting of, um, one note) as part of a competition coinciding with the series' Comic-Con panel later this month in San Diego. "The Lost producers want all you musicians out there to compose and submit a Lost theme song," writes E! Online's Jennifer Godwin. "The winning entry will be premiered to 7,000 screaming fans in Hall H during Lost's Saturday panel at San Diego Comic-Con, on the fifth anniversary together of our time together as show and fandom." (E! Online's Watch with Kristin)

BBC One has commissioned and third and final season of drama Mistresses, which will return for a short run of four episodes in order to wrap up the series' storylines. "Mistresses: The Last Act is a final four part special event that will bring the stories of the four mistresses to a dramatic conclusion on BBC1 next year," said BBC drama commissioning controller Ben Stephenson. "Simply and elegantly book ended by a mysterious glimpse into the future, all the four women will be returning - Katie, Trudi, Siobhan and Jessica - with new and sometimes shocking stories." (Broadcastnow)

Bravo has ordered a third season of The Real Housewives of New York City, with production set to begin this fall. (Variety)

Entertainment Weekly's Michael Ausiello is reporting that CBS will kick off CSI: Miami's eighth season with an origin story that shows how the team came together in 1997. "It's my understanding that the episode will be told from the point of view of a comatose Delko (Adam Rodriguez), who flashes back to his first murder case with the Miami-Dade PD," writes Ausiello. "Delko, of course, was critically wounded in the season finale." (Entertainment Weekly's Ausiello Files)

Lionsgate Television has forged a joint venture with Marty Adelstein and Jon Kroll's Lost Marbles that will focus on unscripted programming, specifically new reality formats that they can export to territories around the world. Under the two-year deal, Lionsgate will provide overhead and financing as well as distribution in exchange for a profit stake in any projects Lost Marbles produces. Their first project is an untitled reality series that will pit celebrities against disabled people in a variety of challenges. (Variety)

Stay tuned.

Seeing Red: Televisionary Talks with Deborah Ann Woll of HBO's "True Blood"

Viewers of HBO's Southern Gothic vampire drama True Blood were likely shocked last week when teenage vampire Jessica Hamby nearly walked away with the series when she sauntered languidly into Merlotte's in search of something to crave her hunger, both physically and emotionally.

Set to the haunting strain of Marcy Playground's "Sex and Candy," the scene not only brought Jessica to the forefront of the talented ensemble cast but memorably established the flame-haired actress who plays her, Brooklyn-born newcomer Deborah Ann Woll, as a major force to be reckoned with in the acting community.

I had the chance to catch up with the incandescent Deborah Ann Woll yesterday, where we talked about what's in store for mischievous teenage vampire Jessica Hamby, her character's star-crossed romance with Jim Parrack's Hoyt Fortenberry, and what's coming up for Jessica on Season Two of True Blood.

So get your fangs ready, pour yourself a bottle of B-negative Tru Blood, and let's chat with True Blood's Deborah Ann Woll.

Televisionary: How would you describe Jessica as a character? And has your perception of her changed at all during the course of shooting Season Two?

Deborah Ann Woll: Well, my feeling about Jessica is that she is a profoundly lonely person. Having lived your life in a family where you were not allowed to express yourself or feel real, that must be a very lonely life. And then to be in a lonely life where you can't be with your family, you can't be with the people you knew, and things are happening to you that you don't understand, I think her story is really about finding love and somebody to spend her time with.

Televisionary: How did you get involved with True Blood? Had you read any of Charlaine Harris' novels before you joined the cast?

Woll: I hadn't, no. I actually just came to work last season. They were casting the role of Jessica for just a two or three episode arc and then they decided they wanted to take the character someplace else, so I got to stick around the second season as a regular, which is a dream come true. But I haven't read the books before, I didn't know anything about it when I first got cast.

Televisionary: When you shot that first scene in Season One where Bill actually kills Jessica, did you have any indication at all that this would become a series regular gig?

Woll: Oh, not at all. I had no idea. When we shot the second to last episode and that last episode [of Season One], they probably could have just dropped me. (Laughs) I guess they could have after that second episode I shot, but after that last [one] it was nice to hear I would at least come back in some small way. But it was a huge surprise--and a pleasant one at that--that I was going to get to be a larger part of the story.

Televisionary: What was the audition process like for the series? You've done a bunch of guest starring roles (such as on Life, ER, CSI, My Name is Earl, and The Mentalist) prior to this but was it a grueling process getting cast on True Blood?

Woll: (Laughs) No, this was no different because this was how I came on. I went straight to the directors, the writers, and the producers to see my work. Had the one audition, did the two scenes--the tribunal scene and the cussing scene from Episode Eleven of last season, which is just a lot of fun, rolling around on the floor and I remember I was eating my tears. (Laughs) It was odd in the scene that True Blood is a unique show but beyond that it was the normal audition, casting, shooting process.

Televisionary: What is like then having your first series regular gig be on a series like True Blood that has such a passionate audience?

Woll: I have nothing to compare it to. It's certainly surreal but I am very proud. It's really an honor for the first character that I've been really able to carry through many episodes to work with people who are so experienced and collaborative and have such great ideas themselves. This show wouldn't get put up if it weren't for every single member of the cast, crew, and production. I have a feeling that I'm a little bit spoiled (laughs) as I move onto other projects I might find a job not quite fulfilling as this one is in terms of the people you work with.

Televisionary: What was your first inkling then, when reading those first few scripts for Season Two, that Jessica had transformed into a hugely pivotal character?

Woll: Well, it always surprises me, every single script we get, what we're doing this week, because it is so wild and varied and the great thing about this particular role is that because of the impulse control and the background of the character, she really can do anything. So I would say that I was very surprised and certainly after that second episode when we go to Jessica's house and see her family, it started to dawn on me that this is some really interesting stuff and this character is really original.

Televisionary: There's a scene in the third episode ("Scratches"), where Jessica enters Merlotte's for the first time--set to the tune of Marcy Playground's "Sex and Candy"--that was a character-defining moment for Jessica and announced that she was moving to the forefront of the series. What was it like filming that scene and did the writers or producers prepare you at all for what ended up being such a key role in Jessica's arc so far?

Woll: I don't think we had any idea. (Laughs) That's kind of what happens with art, a bunch of people just get together and suddenly something happens and it works. It works because Jim Parrack is such a good actor and such a good person and is just a delight to work with. It works because Raelle Tucker, who wrote that episode, really gave us an opportunity and has some amazing things to say about humanity. It works because Scott Winant, the director, is a visionary [and because Pat Dempsey who lit it knows what she's doing.] They really made us look spectacular. So it's all these little bits and pieces that come together without you knowing what it's going to do.

But I do remember, I was real nervous about it because it was still early on and I was worried about impressing my bosses and everything like that. And I do remember they took us in for that scene and there's a sign above the bar, right across from the door, that says, "Under 21, Not Allowed." And I just look at that and said, "Hmm. I'm seventeen." And I immediately knew where I was in that moment, which was sort of forbidden and sort of risky but exciting in the same way, something I had never done before, that I'd never been in a bar, that I'd never gone hunting for food or a man. Whatever it was, this was a new experience and I had no idea what I was going to do but I was sure as hell going to try to do something.

Televisionary: How much of that forbidden aspect to do you relate to?

Woll: I definitely like a little bit of darkness, a little edge. I get a little bored when things are maybe too simple or too... expected. The best characters and the best stories are the ones that surprise you. And I really like that with this character Jessica, every single arc you learn something new and she reacts and responds in a way that nobody predicted. You might say, oh, I know when that happens, that's exactly what Jessica going to be like and then you watch and she doesn't do that, she does something else. I think that really makes it fun and a little dangerous because you can't predict or control her.

Televisionary: In a series like True Blood that really amps up the unexpected, Jessica is the most unpredictable element in the mix. One of the more surprising twists this season has been her relationship with Hoyt. Did Alan or the writers tell you about Jessica and Hoyt going into Season Two?

Woll: Jim and I kind of guessed in the same way that a lot of fans had, when he had that line in an episode of the first season about looking for a nice vampire girl his age. So Jim and I had some sort of inkling about maybe this is somewhere they are going to go with it. But we didn't really meet officially and have a conversation until we shot Episode Three ["Scratches"], so I think within five minutes of officially meeting Jim Parrack, we were making out. (Laughs) But he's just such a sweet person that it couldn't have been easier.

We didn't really know for sure but we weren't surprised either, it seemed like a real natural flow. It's such an interesting pairing and one that could either totally bomb and not work at all or it could be a real gem. And hopefully it's gone in the latter direction.

Televisionary: So far this season, we've seen Jessica interact with the darker elements of the series, the vampire community, we've seen her now show up at Merlotte's and spend time with Hoyt. Are there any actors in True Blood with whom you haven't shot a scene at this point that you'd love to work with?

Woll: Oh, boy, so many. I'm the naughty vampire child teenager (laughs), so they keep me locked up for most of this season, I don't get to go very many places. (Laughs) So I haven't gotten to work with many people at all. I'd love to work with Ryan [Kwanten] more; I think he's so funny. That character [Jason Stackhouse], he does it so well; he's just... delightfully dim in a really endearing way. (Laughs) Who else? Goodness, Rutina [Wesley], Nelsan [Ellis]; I don't to work with too many people in Bon Temps, it's mostly the vampires and Sookie and now Jim. But we'll see. Maybe next season--if I survive--maybe I will get to hang out with a couple of other people.

Televisionary: Obviously, you're not going to give that away. We know the series is coming back for another season, so can you tell us in any way if you would be part of the cast for a third go-around?

Woll: I hope so... (Laughs) I certainly hope so. I know with every single script I get, I go, oh goodness, is this the one where I perish? I started looking out for wooden stakes all over the place. (Laughs) But some very dramatic things happen towards the end of the season that put a lot of people in danger and in harm's way. You'll just have to wait and see who makes it.

Televisionary: Can you give us any hints then about what's in store for Jessica later this season? Just a little tease?

Woll: A teaser? Hmmm, I would say that if you took any girl's life, the traumas that she goes through, and then heightened them by about fifty percent, you might to begin to guess at what is going to happen for Jessica this season.

Televisionary: What's been your favorite scene to shoot so far on the series?

Woll: My favorite scene to shoot, a couple of scenes coming up in Episode Seven ["Release Me"]. I mean, Episode Three ["Scratches"] scenes, I loved. We knew walking away from that, even if we didn't know going into it, we knew walking away from that that we had something pretty special and I really loved working on [Episode] Three. There are some scenes in Episode Seven that I really love. Jim and I have been rehearsing together a little bit outside of shooting and that really helped and I think that [Episode] Seven has benefited from that. And [Episodes] Eight and Nine are very interesting too.

Televisionary: If the writers could do anything to Jessica, no matter how crazy, where would you like to see them take her as a character?

Woll: Oh, boy. Hmmm. I don't even know. I mean Jessica has done some pretty terrible things, certainly, and had some pretty terrible things done to her but I think we could lead into her exploring this more violent vampire side. It started out as being sort of an irritating or uncontrollable experience that's now moving into a new experiences for both humans and vampires. I think it would be interesting to see some real violence.

I think Jessica still has a lot of anger and hate in her from her previous life. It would be interesting to see some of that come out and be dealt with in a less subtle way, find a way to explore that more outwardly. To see some of that past resentment and anger, at the way she was treated by her father and turned and given this turn of events by Bill and then having to sort of live what's not an ideal life--an un-life--in his house and seeing how that is dealt with among her new family and friends.

Televisionary: In speaking with you, it's pretty obvious that you're not from the South. You're from Brooklyn, correct?

Woll: Yep, I am.

Televisionary: Did you work at all with a dialect coach to get Jessica's accent?

Woll: I didn't. It was very, very hard for me in the beginning because, coming out as a guest star, I had no time to prepare any kind of an accent, so I very quickly had to listen to a lot of people talk. I got a little dialect CD but that doesn't help me so much; I like listening to real people talk. I did the best I could the first season but obviously when you're having an emotional moment--or any kind of a moment--you want to be thinking about what's going on and not the way you sound. So I think I went in and out a little bit. But this season has felt much better. During the hiatus, I was able to work more on my own and every night, I'd read my science fiction book aloud to myself in a Southern accent and it just became more natural for me and this season just felt much better.

Televisionary: That's funny, because I feel that you actually nail the accent more convincingly than a lot of the other non-Southern actors.

Woll: Thank you! I do feel better about it this season, I put a lot of work into it over the hiatus and I appreciate hearing that. I was telling someone else that part of the trouble I had in the beginning was that I used to have a little bit of a Brooklyn accent or at least a New York accent. I got rid of that many years ago because I wanted to act and it limits you a little bit if you sound like Marisa Tomei all the time. Interestingly enough, that and the Southern accent are kind of similar. You have to drop your r's in some of the same places. When I would slip out of the Southern, I would actually go into Brooklyn, which is really wrong. (Laughs) But now I finally established the difference there so it's not quite so weird if I slip a little bit.

Televisionary: True Blood must keep you rather busy, but do you ever have time to watch anything else on television?

Woll: (Laughs) Um, sure. I'm a real big nerd so I'm a big Animal Planet and Sci Fi Channel kind of person. My favorite TV show of all time is Mystery Science Theatre. I have every single episode that you can get that's available, either through commercially released stuff or fan sites. So I literally watch an episode of Mystery Science Theatre every single night of my life before I go to sleep. It's literally my favorite thing.

Televisionary: Given that you've has started out fairly recently, are there any actors whose careers you'd must like to emulate? Do you want to stay in television or branch out into film or theatre?

Woll: I started in theatre, film is what is relatively new to me. I did theatre for about ten years, not in any huge professional capacity but educationally and in small theatres. I would love to go back into theatre and do more of that. I would love to branch into film. I'd love to do all kinds of acting work, I'm not picky when it comes to that. All of it is an extreme interesting experience. I like women who are character actors but can still play leading women, can still be a romantic lead.

I love old-fashioned movies, so [Greta] Garbo is a hero of mine so I think she's lovely. When you watch her in a time period where things are over the top, she's very beautiful, and subtle and reserved but still very strong. A lot of actors or actresses, you might not know their names but they are kind of in everything and you certainly recognize their faces but they play different roles in everything. Allison Janey would be one as well, I think she's great. Really genuine actors where that is their role, they just want to work the rest of their lives and it doesn't matter if it kills them. Or hopefully that is what kills you in the end: working too hard.

Better that, one would imagine, then being killed by a vampire. One thing is for sure: after seeing Deborah Ann Woll's star-making turn on True Blood as Jessica Hamby, she won't be lacking for work for a long time to come.

True Blood airs Sunday evenings at 9 pm ET/PT on HBO.

Metamorphosis: Sci Fi Transforms to Syfy Today

Imagine Greater.

Cabler Sci Fi has rebranded itself as Syfy as of 6 am ET this morning and has unveiled a new moniker, new branding, new on-air spots, and a tweaked identity, and a two-minute brand film that showcases the channel's series talent. The changes coincide with the launch this evening of Syfy's newest drama series Warehouse 13. (An advance review of the two-hour opener can be found here.)

"Coming off the most successful year in our 16-year history, we wanted to create a brand film that both celebrates the genre and also feels human, relatable, and wildly creative, highlighting the wide array of casts and character who inhabit Syfy’s ever broadening programming landscape," said Michael Engleman, Vice President, Creative, Syfy. "Through this unique creative collaboration, we’re honoring and embracing a powerful global brand with deep roots in the popular culture."

The two-minute brand film, which displays Syfy's new rebranding and identity, along with the press release from the network announcing the film, can be found below.



SCI FI TO UNVEIL FULLY IMMERSIVE AND INTERACTIVE “HOUSE OF IMAGINATION” BRAND FILM MARKING SYFY EVOLUTION

CELEBRATORY HOMAGE TO IMAGINATION SHOWCASES TOP CHANNEL TALENT

PRODUCED BY AWARD-WINNING UK 4CREATIVE TEAM

As part of SCI FI’s brand evolution to Syfy on July 7, a refresh of the look and feel of Syfy will be reflected in a ground-breaking two-minute brand film, “House of Imagination,” that celebrates Syfy’s unique spin on imagination. Stars from Warehouse 13, Eureka, Ghost Hunters, Caprica, Sanctuary, Stargate Universe, and Destination Truth are featured.

Talent participating, in order of appearance, are: Amanda Tapping and Robin Dunne (Sanctuary); Colin Ferguson, Salli Richardson-Whitfield, Joe Morton, Neil Grayston, (Eureka); Lou Diamond Phillips (Stargate Universe); Josh Gates (Destination Truth); Jason Hawes and Grant Wilson (Ghost Hunters); Tracy Morgan (Scare Tactics), Eddie McClintock, Joanne Kelly, Saul Rubinek (Warehouse 13), and Alessandra Torresani (Caprica).

The look and feel of Syfy will be reflected in a groundbreaking two-minute brand film, “House of Imagination,” that celebrates Syfy’s unique spin on imagination, starring talent from Warehouse 13, Eureka, Ghost Hunters, Caprica, Sanctuary, Stargate Universe, and Destination Truth. The film invites viewers into a celebratory house party populated with rooms inspired by the Channel’s original programs and characters. Goldfrapp’s “Happiness” provides the soundtrack for the trip through the never-ending house where anything can and does happen in each one-of-a-kind room. Through high concept visual storytelling, each scene fuses a bold complement of visual effects with practical set design. “House of Imagination” was designed to be modularly deconstructed into a dynamic, long-running campaign of 10 and 5-second network identifications.

The experience will extend digitally into Syfy.com/ImagineGreater beginning July 7, where visitors will have a rich, fully interactive and immersive experience as guests at the house party. Visitors will be able to explore parallax rooms and to discover exclusive content including games, behind-the-scenes and making-of footage, cast interviews, downloadable wallpaper and much more.

Said Michael Engleman, Vice President, Creative, Syfy, the key architect behind the brand film: “Coming off the most successful year in our 16-year history, we wanted to create a brand film that both celebrates the genre and also feels human, relatable, and wildly creative, highlighting the wide array of casts and character who inhabit Syfy’s ever broadening programming landscape. Through this unique creative collaboration, we’re honoring and embracing a powerful global brand with deep roots in the popular culture.”

”House of Imagination” is produced and directed by the award-winning 4Creative (UK-based) team led by director Brett Foraker, who was joined, specifically for this project, by Larry Fong (Director of Photography, Watchmen, 300) and Tino Schaedler (Production Designer, Charlie and the Chocolate Factory, V For Vendetta, The Golden Compass) with visual effects by MPC (Watchmen, Harry Potter and the Order of the Phoenix).

Syfy -- unlike the generic entertainment category “sci-fi” – firmly establishes a uniquely ownable trademark that is portable across all non-linear digital platforms and beyond, from Hulu to iTunes. Syfy also creates an umbrella brand name that can extend into new adjacent businesses under the Syfy Ventures banner, such as Syfy Games, Syfy Films and Syfy Kids.

As the Channel’s footprint expands rapidly around the globe, aiming to reach more than 50 international channels by the end of next year, Syfy meets the need of a globally relevant, trademarkable brand that stands for something unique to the brand in each territory.

What do you think of the brand film? And of the Syfy rebrand as a whole? Does it match your expectations of what the channel should look/feel like? Discuss.

Channel Surfing: Jane Lynch Sticks with "Glee" Over "Party Down," Brian K. Vaughan Leaves "Lost," HBO to Develop "Middlesex," and More

Welcome to your Tuesday morning television briefing.

Confirmed: Jane Lynch will NOT be reprising her role as ditzy actress Constance Carmell in the second season of Starz's comedy series Party Down due to her involvement on FOX's Glee, where she plays cheerleading coach Sue Sylvester. Cabler Starz was said to have hoped that Lynch's schedule could have accommodated both series but they were unable to make that happen. "It looks like I can't do the second season," said Lynch of "blessed event" Party Down. "So I'm not happy about that all ... but I'm in Glee, so I'm thrilled about that." No word yet on what Party Down producers will do now that Lynch is unavailable; Jennifer Coolidge appeared in two episodes of Season One as Constance's roommate Bobbie St. Brown, likely due to scheduling conflicts. (Variety)

"Y: The Last Man" creator Brian K. Vaughan won't be returning to the writing staff for the sixth and final season of ABC's Lost.
"Unfortunately he has left for greener pastures," executive producer/showrunner Damon Lindelof told fans during a Q&A session last week. What those greener pastures are remain unknown at this time, although three of his comic book properties--including "Y," "Runaways," and "Ex Machina" are in development for feature film adaptation. During his tenture on Lost, Vaughan wrote seven episodes, including last season's "Dead Is Dead," "Namaste," and "The Little Prince." (MTV's Splash Page)

HBO is developing a drama series adaptation of Jeffrey Eugenides' Pulitzer Prize-winning 2002 novel "Middlesex." The pay cabler has optioned the rights to the novel, which "follows the life of Calliope Stephanides and the epic family history that may hold the answer to her complicated sexual identity." Playwright Donald Margulies will adapt the novel into a one-hour Middlesex pilot script and will executive produce along with Rita Wilson. (Broadcasting & Cable)

It's official: Christian Slater has joined the cast of ABC fall drama series The Forgotten. Slater replaces Spooks' Rupert Penry-Jones as lead character Alex Donovan, a former cop whose daughter went missing and who now works for amateur detective group The Forgotten Network, who focus on murder cases involving unidentified victims. (via press release)

Speaking of ABC, the network has begun to launch its programming on Hulu, now that the deal has been closed between Walt Disney Co. and the other equity partners in Hulu. Grey's Anatomy is now available for streaming on the site, to be followed by Desperate Housewives, Scrubs, Ugly Betty, I Survived a Japanese Game Show, and Superstars. (Variety)

E! Online's Watch with Kristin has several sneak peeks at How I Met Your Mother's Neil Patrick Harris' turn as guest judge on tomorrow night's episode of Bravo's Top Chef Masters, shot at Hollywood's famed Magic Castle (where I was a guest about two weeks ago). (E! Online's Watch with Kristin)

Everybody Loves Raymond's Brad Garrett and Sony Pictures Television are developing half-hour animated comedy Dumb Bunny and Jackass, about the lives of "the most popular cartoon duo in history after their fall from stardom." Project, based on characters created by Bill Kopp, will feature Garrett's voice. (Hollywood Reporter)

Torchwood: Children of Earth kicked off last night in the United Kingdom, grabbing an average of 5.9 million viewers on BBC One (a 25.8 percent audience share), a number that increased in the final fifteen minutes to 6.1 million viewers. The numbers demonstrate the largest timeslot average for the year to date, especially impressive considering that Torchwood previously aired on BBC Three and BBC Two. The third season kicks off Stateside on July 20th on BBC America. (Broadcast)

Also, from the other side of the pond: David Suchet (Poirot), Charles Dance (Bleak House), and Richard Coyle (Coupling) will star in Going Postal, Sky1's latest Terry Pratchett adaptation which is expected to air next Easter. "The fantasy tale of revenge and romance follows the adventures of arch-swindler Moist Von Lipwig," writes Hollywood Reporter's Mimi Turner, "and his love affair with the beautiful and vengeful Adore Belle Dearheart, whose family he has unwittingly ruined." (Hollywood Reporter)

The CW has announced that it will burn off remaining episodes of its short-lived drama series Easy Money this summer beginning Sunday, July 26th, following the burn-off run of fellow MRC-produced drama Valentine. Both series had been canceled by the CW in November. (Futon Critic)

Kathy Griffin will host Comedy Central's upcoming Comedy Central Roast of Joan Rivers, slated to air on August 9th at 10 pm ET/PT. (Hollywood Reporter)

Finally, the Hollywood Reporter talks to Jason Schwartzman about his new HBO comedy series Bored to Death:



Stay tuned.

Secret Agents, Screwball, and Pseudo-Science: An Advance Review of Syfy's "Warehouse 13"

Tomorrow Sci Fi will morph into Syfy, dropping its generic name in favor of a unique term that can be trademarked globally as the channel rolls out its brand to territories around the world.

The metamorphosis of the channel--at least in terms of its name--will coincide with the launch of dramedy series Warehouse 13, which stars Joanne Kelley (Vanished), Eddie McClintock (Bones), and Saul Rubinek (Frasier).

Warehouse 13, executive produced by Jack Kenny and David Simkins, isn't your conventional sci-fi series, but rather a sci-fi-tinged screwball dramedy about two very mismatched Secret Service agents who are forced to work together after they are transferred to a mysterious South Dakota warehouse.

Said warehouse houses all manner of dangerous artifacts and powerful items that are best kept under lock and key. Overseen by punctilious caretaker Artie Nielsen (Rubinek), the Warehouse contains an arsenal of arcane objects that could wreak chaos in the wrong hands. It's his job--and now that of Agents Pete Lattimer (McClintock) and Myka Bering (Kelly)--to safeguard these objects, investigate cases involving possible use of relics, and bring them back to the Warehouse for safekeeping.

McClintock and Kelly are well cast as diametrically opposed Secret Service agents in the style of The X-Files' Mulder and Scully or indeed any of the screwball romantic leads of any George Cukor or Howard Hawks films. McClintock's Pete Lattimer is a guy's guy who tends to shoot first and ask questions later; he's guided by an intuition that approaches something vaguely resembling precognition or clairvoyance. He can seemingly anticipate trouble before it strikes and his investigations tend to go on gut instinct rather than brainy analysis.

His new partner, Myka Bering (Kelly), is his polar opposite. Still reeling from a scandal-inducing battle in Denver that left one agent dead (with whom, shall we say, Myka was intimate) and Myka dealing with the political and emotional fallout, Myka is all icy cold logic, as tightly wound as a clock spring. Her strength and weakness are often one and the same: precise analysis that precludes any navel-gazing.

Intuition, meet rationality.

These two mismatched partners are in fact perfectly matched in every sense of the word. There's a nice spark between McClintock's Pete and Kelly's Myka that sets them up neatly as the ideal sparring partners. But for now, their relationship is strictly professional and they fall into a pattern of wary trust with one another.

The wild card in their midst is, of course, Rubinek's manic Artie, the keeper of secrets who knows the Warehouse like the back of his hand yet still must answer to a mysterious group of overseers, embodied in the pilot episode by Mrs. Frederic (The Shield's CCH Pounder), a woman who seems to move like a wisp of smoke.

The result is something akin to a lighter version of FOX's Fringe, a series that deals with scientific advances and crimes stemming from the use of some rather strange (and often creepy) artifacts of its own, and also recalls the network's own limited series The Lost Room, which also dealt with the collection of arcane objects.

Warehouse 13 takes a more comedic tack, employing some screwball humor and fast-paced banter. It's a warmer series, in every sense of the word, and doesn't have the same bleak worldview or intensely overarching yet strangely localized mythology that Fringe does. (Although, it's worth noting that Warehouse 13 does have a mythology of its own, which will be parceled out over time, and its concept allows the team to travel to various locations each week.) And yet one can't help but want a little more oomph in the plotting, a little of Fringe's wow factor, and a sense of wonderment that's only tangentially touched upon in the opener.

Frustratingly, Warehouse 13's two-hour pilot, directed by Burn Notice's Jace Alexander, often drags at times (sometimes frustratingly so) and the initial case that Myka and Pete find themselves investigating is both confusing and unoriginal. Had it unfolded over the course of a normal-length episode, the effect may not have been the same but a far too long two-hour opener drags out the action past the breaking point.

However, there is the potential for an intriguing series to be found here. The series' subsequent episode--which runs a more typical forty-odd minutes--picks up the pace and softens Myka a little as well. She's not unlikeable in the pilot but she's also got a hell of a lot of jagged edges to her and the series's second episode ("Resonance"), which also features Battlestar Galactica's Tricia Helfer, goes a long way to establishing Myka as a more sympathetic and multi-layered character.

That second episode also helps the series find its footing a bit more easily. It's easy to see the sticky fingerprints of multiple writers (including Brent Mote, Jane Espenson, and David Simkins) all over the pilot episode but the second installment shows the series channeling its own distinctive voice and tone, balancing scientific elements, crime-solving, and inter-character dynamics with equal weight as well as jettisoning the somewhat sluggish pace that characterized the series opener and introducing a mystery element that will likely be solved in subsequent episodes.

I hope that the series' writers explore the unnamed town that sits nearby the Warehouse, an unincorporated settlement that's as creepily off-putting as it is semi-deserted. We're introduced to local boarding house owner Leena (Genelle Williams), a woman seemingly gifted with the ability to read people's auras, in the pilot and I'm hoping that later episodes give Pete and Myka the chance to get to know some of the other locals as well.

Ultimately, Warehouse 13 feels very much like a work in progress, a barely stitched together Houdini's wallet that could in time find its magic but right now seems to need some stronger thread. I'm buoyed by the fact that the second installment is a significantly more enjoyable outing than the first and I'm hoping that the series can bring forth the wow factor that's lost somewhere in the warehouse's vast panoply of shelves.



Warehouse 13 launches with a two-hour pilot tomorrow night at 9 pm ET/PT on Syfy.

Alphabet Soup: "The Unusuals" Creator Noah Hawley Signs Blind Script Deal at ABC Studios

While ABC may have canceled The Unusuals, series creator Noah Hawley has signed an blind deal with ABC Studios to write two new series projects for the studio, according to The Hollywood Reporter.

"For his encore Hawley is looking to employ some of the storytelling elements he used on Unusuals," writes Hollywood Reporter's Nellie Andreeva, "where stories with different characters often intersected in unexpected ways. Also, he plans to continue mixing comedy and drama."

With the cat out of the bag, Hawley himself addressed the ABC Studios announcement on his personal website, where he posted an explanation this morning as to why he would go into business with ABC Studios after the network canceled The Unusuals.

As for the hopes that The Unusuals might end up on a cable network, Hawley downplayed any chances that the series might continue elsewhere.

"While we haven't heard officially from all cable networks, I'd say the lack of a timely response means the chances of The Unusuals continuing on are slim," wrote Hawley. "So I've taken the next step toward getting a show back on the air next fall. I closed a deal with ABC Studios to develop two shows over the next few months. I'm excited to explore in greater depth some of the storytelling devices and tonal shifts I feel we perfected on The Unusuals."

"As to why stay in business with ABC after they cancelled the show," wrote Hawley, "I'd have to say my relationship with the network was always very positive, and despite the fact that they cancelled the show, they were great supporters of me and my vision for it. I do believe that partnering with ABC Studios to develop shows for the network will put me in a stronger position, and give whatever shows I develop from here on out a better shot at success."

"...So much of the TV game is decided at the corporate level," he continued. "By partnering with the ABC at both the studio and network level, I hope to remove some of the business/political obstacles that doomed The Unusuals."

Hawley went on to urge fans to continue to check his website and personal blog for more information about the projects he's developing at ABC Studios and thanked fans for their ongoing support.

Stay tuned.

Channel Surfing: Team Darlton Talk "Lost" Ending, "Doctor Who" Feature Rumors Swirl, Phifer and Beals Return to "Lie to Me," and More

Welcome to your Monday morning television briefing. Just a few headlines to go over on the first day back after a long holiday weekend.

Lost showrunners Damon Lindelof and Carlton Cuse have promised viewers a definitive ending for Lost when the series wraps its run next year. "We won’t be vague and ambiguous – there will be a lot of answers," promised Lindelof, speaking at a BAFTA event in London. "We feel that if we hold anything back in the final season, it would be bad. Everyone’s come this far and they want a conclusion to the story. We’ve no plans to continue the story of Lost beyond series six. My wife says 'never say never.' I say 'never.'" That final season won't feature time travel elements but will instead feel more like the first season. "There’s a circularity to the show," said Cuse. Just don't look for a happy ending. "Bittersweet comes with the territory," said Lindelof. "The ending we’re aspiring to is fair. As a viewer, whenever you have five minutes left, there’s an intense sadness. The ending of series six will be different from other finales because there will be no cliffhanger." (Broadcast)

Rumors are swirling that Doctor Who executive producer Russell T. Davies and outbound series star David Tennant will be announcing their collaboration on a big-screen Doctor Who outing later this month at San Diego's Comic-Con International. A script for a Doctor Who feature film is said to be "in development" by a BBC Films spokesperson and reports are circulating that Tennant had signed on for a unrevealed "sci fi project," while Davies teased that the announcement of a "special project" would be coming soon. Is it the long-awaited Who film? We'll find out in a few weeks' time. (Digital Spy)

Mekhi Phifer will return to FOX's Lie to Me next season as a series regular and will reprise his role as FBI Agent Reynolds, a liaison between the bureau and the Lightman Group. Meanwhile, Jennifer Beals will recur next season as AUSA Zoe Landau, the ex-wife of Cal Lightman (Tim Roth). (Hollywood Reporter)

Entertainment Weekly's Michael Ausiello is reporting that Chandra Wilson will direct an upcoming episode of ABC's Grey's Anatomy next season, making her the first original Grey's cast member to step behind the camera. (Entertainment Weekly's Ausiello Files)

Broadcasting & Cable's Melissa Grego talks to FX president/general manager John Landgraf, who says that the network is looking to order at least two of its three drama pilots to series and will add up to three new comedy series. Langraf's goal, according to Grego, is to "maintain a mix of six original drama series on the air during any given year (four established players, two more experimental) and ultimately ramp up to four comedies." Meanwhile, don't look for FX to launch any news series pre-watershed. "We don’t do that," Landgraf told Grego. "Our shows are TV-MA." (Broadcasting & Cable)

The Hollywood Reporter's Nellie Andreeva takes a look at Simon Andreae's Incubator, a shingle that has several unscripted series on the air and in development just four years after the producer moved from the UK to LA. Company produces Most Popular and Modern Love for WE, TLC's My Shocking Story, History's Strange Rituals, and Popular Science's Future Of on Science Channel. (Hollywood Reporter)

Steve Cheskin has been named EVP of programming at cabler TLC, where he will oversee development on both coasts as well as scheduling in a newly created position. He ws previously SVP of programming at WE. (Variety)

The latest TV series to feature film adaptation: 1980s action comedy T.J. Hooker, which is being developed as a film by executive producers David Foster, Ryan Heppe, and Rick Husky. Chuck Russell (The Scorpion King) is said to be in talks to come on board as director. (Variety)

Stay tuned.

Link Tank: TV Blog Coalition Roundup for July 3-5

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 proposed that not all culinary-themed television series are created equal, ranking such series as Bravo's Top Chef and Top Chef Masters, BBC America's F Word, Food Network's Chopped, and FOX's Hell's Kitchen in one massive food-related post.

I also offered up my thoughts on the latest episode of HBO's True Blood and an advance review of PBS' Miss Marple, recounted Torchwood star John Barrowman feeling "punished" by the BBC for the reduced episode count, reviewed the Secret Diary of a Call Girl: Season Two DVD set, and offered talk backs for FOX's Virtuality and HBO's Hung.

All this and news about BBC axing Robin Hood for good, the unlikeness of a big-screen Veronica Mars adaptation, Christian Slater circling ABC drama The Forgotten, Tim Minear developing a new Alien Nation series at Syfy, Comic-Con scheduling updates for Syfy, the return of Sons of Anarchy, It's Always Sunny in Philadelphia, and Nip/Tuck at FX this September, Drea de Matteo moving to Desperate Housewives, and Supernatural finding its Lucifer.

Elsewhere in the sophisticated TV-obsessed section of the blogosphere, members of the TV Blog Coalition were discussing the following items...

• Scooter is giving away an Ice Road Truckers prize pack that includes the first two seasons on DVD. (Scooter McGavin's 9th Green)
• The group dance on the So You Think You Can Dance results show was a perfect time to show the differences in camerawork from the Canadian version. Vance shows an example, plus discusses Top 14 week. (Tapeworthy)
• As The Fashion Show reaches its halfway point, Dan discovered the cause of all the chew marks on the show's scenery -- useless co-host Kelly Rowland. (TiFaux)
• Matt can't believe that Showtime has pulled off a half-hour drama. But Nurse Jackie does it well. (TV Fanatic)
• This week GMMR & Ducky posted not one, but two new podcasts for your listening pleasure. Check out our SO YOU THINK YOU CAN DANCE Top 14 podcast as well as our latest summer viewing podcast in which we talk about TRUE BLOOD, NURSE JACKIE, SUPERNATURAL and more. (The TV Talk Podcast)
• Buzz is giving away a trip for two to the So You Think You Can Dance finale! All you have to do is test your SYTYCD trivia knowledge to be entered. (BuzzSugar)

Channel Surfing: "Robin Hood" Slain by BBC, Hulu Plans September Launch in UK, Neil Patrick Harris to Host Emmys, and More

Welcome to your Friday morning television briefing. Hollywood seems more or less shut down already for the Fourth of July weekend, so just a few headlines this morning.

The Beeb has confirmed that it will not be bringing back drama series Robin Hood for a fourth season. The series, which starred Jonas Armstrong in the title role, saw its viewership decline to roughly four million viewers during its third (and now final) season (compared to the 8.6 million who tuned in for the series premiere in 2006). For his part, Armstrong had made it clear that the third season would be his last, stating, "It's been a great thrill, a great ride, but you can't play one part forever." (BBC News)

Hulu has announced plans to launch a UK-based online video service in September and has indicated that it is close to reaching content deals with local broadcasters after offering them equity stakes in the service as well as a share of advertising revenues. Rumors are swirling that Hulu has already approached ITV about a possible stake but that has yet to be confirmed. Service would feature more that 3000 hours of US programming as well as local-grown fare but, due to rights issues, some programs--such as The Simpsons and Heroes--would be unavailable as those rights are tied up elsewhere. (Variety)

Entertainment Weekly's Michael Ausiello is reporting that CBS and the Academy of Television Arts & Sciences has reached a deal with How I Met Your Mother's Neil Patrick Harris to host the 61st Annual Primetime Emmy Awards in September, citing multiple sources. (Entertainment Weekly's Ausiello Files)

The Chicago Tribune's Maureen Ryan takes a look at the metamorphosis on Tuesday of cabler Sci Fi to Syfy and talks to Syfy president Dave Howe about the change, the channel's brand, and its future. "When people understand the rationale, they do get it," Howe told Ryan. "You can’t have a brand called 'Sport' or 'Drama' or 'News.' It’s just not a brand name." "The issue that we’ve always had with Sci Fi is that it only communicates three things: Space, aliens and the future," Howe said later. "That’s the default perception, and that’s a barrier to entry for people who we know like [reality fare such as] Ghost Hunters and Destination Truth..." (The Chicago Tribune's The Watcher)

Access Hollywood is reporting that Rumer Willis will guest star next season on the CW's 90210, where she will play Gia, a student at West Beverly who works on the school paper, the Blaze News, and is described as "a punky cute lesbian who isn’t afraid to speak her mind." Willis will appear in at least one episode of the series next season. (Access Hollywood)

Stay tuned.

Neptune (Not) Rising: "Veronica Mars" Feature Film Update

Looks like that Veronica Mars feature film is probably not happening...

I've been on tenterhooks for the last few months about Rob Thomas' plans for a feature film version of his short-lived (and much missed) UPN/CW series Veronica Mars.

On the one hand, I'd be the first in line to go back to Neptune and catch up with super-sleuth Veronica, watch her drop some witty bon mots, and solve some crimes, but I wondered whether there really was a massive public interest in, you know, paying to go see Veronica Mars on the big screen.

After all, the sensational Kristen Bell-led series was canceled due to low ratings and, as much I adore Veronica Mars, it did work best as a complex, ongoing serialized drama series.

It turns out that Warner Bros and executive producer Joel Silver feel more or the same way, according to series star Kristen Bell, who spilled the dish to Entertainment Weekly's Michael Ausiello at the recent Saturn Awards.

"I don't think it will ever happen, and here's why: [Series creator] Rob Thomas and I had a powwow, and we were both 100 percent on board," said Bell. "We took our proposal to Warner Bros. and Joel Silver told us that there is no enthusiasm [there] to make a Veronica Mars movie, and that is unfortunately a roadblock we cannot compete with."

"Maybe if we bombard them with letters?" suggests Bell. "Maybe [then] they will change their tune."

What say you? Should a letter campaign be started to show Warner Bros. that there is support and appetite for a Veronica Mars feature film? Or is it time to bid farewell to Neptune forever? Discuss.