[NOTE: The following article will also appear as my regular television column for WILDsound.]
There has been a lot of talk that "FlashForward" (ABC, Thursdays at 8:00 p.m. Eastern) is meant to be the network's successor to "Lost," what with the trippy sci-fi premise and Dominic Monaghan soon joining the cast. After watching the debut episode, which aired last week, I can't say I see the fit. But "FlashForward" has a lot going for it.
You've probably heard the premise by now: Every person in the world (well, nearly every person) blacks out at the same time for 2 minutes and 17 seconds, during which they see a vision of themselves in April 2010. As you can imagine, such an event can wreak havoc: planes fall out of the sky (including Air Force Two, carrying the vice president), cars crash, patients die on operating tables, and even someone walking up a staircase can fall to his death. And that's just the passing out element of the event. Seeing the future can be equally horrifying, whether it's a recovering alcoholic witnessing himself back on the bottle (like FBI agent Mark Benford, played by Joseph Fiennes), a wife seeing herself in the company of another man (like Mark's wife, Olivia, played by Sonya Walger, of "Tell Me You Love Me"), or a groom-to-be not having any vision at all (like Mark's partner, Demetri Noh, played by John Cho of "Star Trek" and the "Harold and Kumar" films), which leads him to believe he is going to die.
So "FlashForward" has a doozy of a premise. But does it turn that striking idea into good television? Mostly. You can see the sensibilities of executive producers Brannon Braga (who got his start working on the "Star Trek" series, beginning with "Next Generation," before moving on to "24") and David S. Goyer (the writer of several "Batman" films) all over "FlashForward," and it makes for an often compelling but sometimes odd fit. Goyer's sensibilities would appear to be several shades darker than Braga's, whose shows have been more direct.
Let's start with the positives. Fiennes, who has spent his post-"Shakespeare in Love" years going back and forth between doing theater and playing B-movie baddies for the paycheck (think Heather Graham's seducer and tormentor in the nudity-fest "Killing Me Softly"), puts both skills to good use as the classic troubled hero, an obviously devoted husband and father who, just as obviously, struggles with his demons, including his alcoholism. (One of my pet peeves is when an actor agrees to do a part even though he can't pull off the accent, so I am happy to report that Fiennes makes for a completely plausible American.) Cho is great as his partner, and Walger, while not the most convincing trauma doctor in the world, does a good job conveying how Olivia's vision has upended her stable world. And Courtney B. Vance was seemingly born to play tough-but-beloved authority figures, like his FBI commander Stanford Wedeck, who, in a light-hearted moment, says he was "in a meeting" in his flash-forward, before we see that he was reading the newspaper while on the toilet.
The story was engaging once it moved past the awkward character introductions necessary in pilots. The writers do a great job of keeping you focused not just on the global event, but on the lives of its main characters. Yes, they definitely go for the easy schmaltz a bit too often (Mark and Olivia's TV-approved adorable daughter; Olivia saving an injured 8-year-old boy; the event happening just as Olivia's colleague, Bryce Varley, played by Zachary Knighton, was about to commit suicide on the Venice pier; Mark and Olivia's model-gorgeous babysitter, who is in flagrante delicto with her boyfriend at the time of the event), but the story kept you on the edge of your seat, leading to two chilling moments at the end (one, which should have been predictable, having to do with a gift Mark is given by his daughter, still was effective).
But on the negative side, the schmaltz left "FlashForward" feeling far less weighty than "Lost." That can be a good thing, in that the underlying myth and sci-fi elements will seemingly be more accessible than the dense, hard-to-follow, fanatic-following-friendly plot twists of "Lost," so "FlashForward" should be less intimidating for potential viewers. But it can also be a bad thing, when it is just too much. Nearly every scene is jammed with a less-than-subtle, emotion-directing score, which I found exceptionally distracting. And the show is directed in a way to play up the soapy elements of the story, a great example being the long, multiple-pullback shots of Mark and his daughter when she gives him the gift. It not only felt like the last shot of an episode (there was still more to go), but it bordered on a parody of the emotional pre-commercial-break revelation we've seen on lesser programs. Throw in some stilted dialogue, and the whole thing feels kind of manipulative, going for a heavy-handed assault on the audience's emotions rather than letting the actors and the stories take viewers along on their own.
Considering only one episode has aired, though, it's only fair to acknowledge that "FlashForward" will have every chance to find its footing and settle on a tone that is more in keeping with its dynamite premise. The debut nabbed nearly 13 million viewers, so the show is off to a good start. Leading into ratings juggernaut "Grey's Anatomy" probably helped, so the pressure will be on for "FlashForward" to keep the viewers it was able to attract. If I had a flash-forward to April, I have a feeling it would reveal "FlashForward" to be one of the most successful new programs of the season.
Wednesday, September 30, 2009
Thursday, September 24, 2009
"Cougar Town" and "Accidentally on Purpose": More than Just Women with Younger Guys
[NOTE: The following article will also appear as my regular television column for WILDsound.]
Sitcom veterans Courteney Cox and Jenna Elfman are back on prime time network television, and based on how their characters are conducting their love lives, Chandler and Greg would be shocked. Beyond the older woman-younger guy themes, though, "Cougar Town" (ABC, Wednesdays at 9:30 p.m. Eastern) and "Accidentally on Purpose" (CBS, Mondays at 8:30 p.m. Eastern) don't have a whole lot in common, reflecting the sensibilities of their networks more than their central plot device.
"Cougar Town," the new sitcom created by Bill Lawrence (the mastermind behind "Scrubs"; he co-wrote and directed the "Cougar Town" pilot), fits perfectly into ABC's wheelhouse. A single-camera comedy (like "Scrubs") that tries to take serious subject matter and combine it with wacky comedy (like "Scrubs"), but which also challenges the audience with its quick-cut, circuitous storytelling (like "Scrubs"). That formula often adds up to critical gushing (like I have done regularly about "Scrubs") and low ratings (like "Scrubs"). ABC has been the network most likely to take chances like this, seemingly reveling in programs, both in comedy and drama, that are high-quality but tough sells (like "Scrubs").
But "Cougar Town" has a secret weapon: A genuine sitcom star, one who spent 10 seasons on one of the most successful comedy series of all time (definitely not like "Scrubs"). If Cox can bring any kind of audience along with her, Lawrence and ABC might have a well-earned -- if surprising -- hit on their hands. Or, at least what passes for a hit nowadays with sitcoms, which really just entails bringing in a respectable audience that is strong in the advertiser-coveted demographic.
Despite the fun I had with the "Scrubs" comparisons, "Cougar Town" is really quite different in tone and feel, largely, I suspect, due to the presence of Cox, who is more than capable of taking the lead in a sitcom (after 10 years of sharing time with her five co-stars on "Friends"). Here, she plays real estate agent Jules, recently divorced from her ne'er (e'er, e'er, e'er) do well aspiring golf pro husband, Bobby (Brian Van Holt). Jules is trying to figure out how to navigate the dating scene as a 40-year-old woman, preferably without totally mortifying her high school-aged son, Travis ("Aliens in America"'s Dan Byrd, hopefully not finding himself in another well-received, low-rated, canceled-after-one-season sitcom).
Jules is not off to a great post-divorce start. As the premiere episode unfolds, we see that her young co-worker Laurie ("Freaks & Geeks" alumnae Busy Philipps) has made advertisement lawn signs for Jules using a sexy photo taken when they were drunk, and the placards soon become objects of theft for a besotted junior high school student. And it only goes downhill from there, as Jules causes a neighborhood kid to crash his bike when she flashes her bathrobe at him (she's wearing a bra and panties underneath), all to make a point to her newly divorced neighbor, Grayson (Josh Hopkins of "Swingtown"), who beds a succession of willing twentysomethings (he tells one as he leads her to her morning taxi, "It's not a walk of shame if I do it with you").
Meanwhile, Jules's long-time best friend (and next-door neighbor), Ellie (Lawrence's wife, Christa Miller, "Scrubs"), feels like she's losing Jules to Laurie, because Ellie is stuck at home with her baby boy (named Stan, prompting Laurie to ask her, "Stan? What is he, 60?") and her annoying husband, Andy (Ian Gomez of "My Big Fat Greek Wedding").
"Cougar Town" is funny, and in more ways than one. Cox has plenty of opportunities to exhibit her gift for physical comedy, whether it involves hunting and chasing her junior high school admirer or, as she does in the opening of the pilot, exploring every possible flabby portion of her body, from her elbows to her belly (the first of three times in the pilot that Cox strips down to next to nothing). She also does a great job with Lawrence's patented clever dialogue. (Her speech to Laurie, who wants her to go out more: "I have to act my age. I mean, one night out on the prowl, and the next thing you know, I'm at a Jonas Brothers concert wearing a mini skirt, sporting some giant collagen hot dog lips.")
And Cox's interactions with her co-stars work, especially with Byrd. The two have a very funny, very touching rapport, as you know Travis is absolutely humiliated by his mother's antics (he walks in on her while she is going down on a twentysomething boy toy; the next morning he takes the banana she is eating out of her hands and says, "You're not allowed to eat these anymore"), but at the same time, they connect. (An early exchange before Travis goes out with his friend Ryan: Jules, "Home by midnight. And if I ever catch you two drinking and driving I'm going to show everyone that baby picture of you two holding each other's penises. So small." Travis, "You know, Ryan's mom just says goodbye.")
But as funny as "Cougar Town" is, what sets it apart as a program is how Lawrence and Cox have built a character who subverts your expectations based on how films and television have handled newly divorced women in their 40s. Rather than be useless and needy, Jules is more nuanced, generally confused, determined not to be intimidated, but vulnerable just the same. She's not embarrassed to be single or sexual, and she's not ashamed to be caught in an embarrassing situation. When an older potential home buyer with a young trophy wife overhears Jules make a joke about the bedroom being where they'll find the "thousand-year-old husband" dead on his wife, the man calls down to her, "I'm sixty-four," to which an unbowed Jules snaps back, "Great acoustics," turning her faux pas into a selling point. Later, when the geezer overhears her making another crack about his age and tells her he is right above her, Jules calmly responds, "Yes you are," before adding, "Please buy the house."
While from the beginning Jules expresses her confusion of her new role to Laurie (who is always trying to get her to go out and look for men), really, it isn't until her behavior affects Travis that she becomes genuinely more conflicted about it. I think a telling moment occurs at the end of the premiere, after she promises Travis that she'll try not to embarrass him anymore. The second he is out the door, Jules's young lover emerges and they are off to the bedroom to go at it again. Jules loves her son, but it doesn't mean she is not going to try and live her new single life, too. And since she's a genuinely kind person (as we see in the way she takes care of her boorish ex-husband, to whom she pays alimony, as well as Travis, Laurie and Ellie) who in many moments seems comfortable with who she is, we root for her, especially after her speech to Grayson about how scary it is to be 40 and alone, knowing that her looks will fade and she will likely never get remarried (coming, of course, after a very funny moment when she yells across the street to Grayson, while he is with his latest very young conquest, "Stop having sex with babies!").
I hope that Cox's notoriety brings an audience to this quirky comedy. It deserves to be seen.
The very different "Accidentally on Purpose" is more in keeping with CBS's approach to sitcoms, a multi-camera comedy that is far broader than the more realistic situations and sets presented in "Cougar Town." Less like its Monday night cohorts "How I Met Your Mother" and "Big Bang Theory" and more in line with the approach of its other neighbor "Two and a Half Men" (not that it's awful like that show, but that it is broader in its comedy and conventionally filmed and presented, with only a few key locations and exceptionally stagy -- nice word for "fake" -- sets), "Accidentally on Purpose" puts Elfman (of "Dharma and Greg") into the role of Billie, a San Francisco film critic (in the poshest news room in the history of television) who has recently broken up with her wealthy boss (there are wealthy people in the dying newspaper business?), James (Grant Show, another "Swingtown" alum finding a spot on a new sitcom), because he won't propose to her.
Like Jules, Billie's best friend, Olivia (Ashley Jensen, Ricky Gervais's pal on "Extras"), pushes her to go out, and with her sister Abby (Lennon Parham) in tow, they end up at a bar at which a twentysomething "second assistant to a semi-important sous chef" ("Basically, I boil things"), Zack (Jon Foster "Life as We Know It"), and his doofus friends hit on Billie. Billie goes home with Zack, and the two continue on for five weeks, when Billie finds herself pregnant. After about three seconds of thinking about it, she decides to have the baby, since she thinks it may be her last chance. She tells Zack, who says he wants to be a part of the baby's life, and when he loses his room after his friend's brother gets out of prison (he tells Billie, "not violent, drug-related"), she asks him to move into her posh apartment (on a film critic's salary?), but just as friends. No sex involved.
The rest of the pilot of "Accidentally on Purpose" is predictable. James tells Billie he's ready to take their relationship to the next level (he says they can live together, which in his mind means spending some nights at his place, some nights at hers), and before Billie can say anything, Zack shows up and James finds out Billie is pregnant by him. The two nearly come to blows, age jokes are tossed around, and you can't decide if you're more amused or bored by something you've seen a million times before. The truth lies somewhere in the middle.
"Accidentally on Purpose" has its comic moments. (Cute lines like, Billie: "What was I supposed to do? Let the father of my child live in a van so he can be hacked up by some crazy drifter?" Olivia: "He lives in a van. He is the crazy drifter.") Elfman is a talented comedian. I liked Parham's funny deadpan delivery. (Billie: "Holy crap, you didn't tell mom." Abby, with a panicked look: "Okay.").
I'm sure I'll continue to watch "Accidentally on Purpose." But it's not at the level of "Cougar Town." Billie (like the rest of the characters on the show) lives up to every cliche that Jules explodes. Not to overthink a silly sitcom (Who am I kidding? That's what I do), but it's almost like Billie is punished for having a sexually-driven relationship with a younger man by getting pregnant, and it's only through making the relationship about more than sex that the bond is validated. In contrast, at the end of "Cougar Town," Jules is about to have an encore with her fling, seemingly guilt- (and punishment-) free.
With sitcoms becoming a dying art, I am always happy to see new half-hour comedies on the air that are actually funny. "Accidentally on Purpose," largely based on the charms of its star, could very well provide some laughs on Mondays after "How I Met Your Mother." But "Cougar Town," thanks to the combination of Cox and Lawrence, and the funny and compelling world they've created, has a chance to be more than that, a worthy successor to Lawrence's "Scrubs," but maybe this time with a larger audience. I would be very happy to see that happen.
Sitcom veterans Courteney Cox and Jenna Elfman are back on prime time network television, and based on how their characters are conducting their love lives, Chandler and Greg would be shocked. Beyond the older woman-younger guy themes, though, "Cougar Town" (ABC, Wednesdays at 9:30 p.m. Eastern) and "Accidentally on Purpose" (CBS, Mondays at 8:30 p.m. Eastern) don't have a whole lot in common, reflecting the sensibilities of their networks more than their central plot device.
"Cougar Town," the new sitcom created by Bill Lawrence (the mastermind behind "Scrubs"; he co-wrote and directed the "Cougar Town" pilot), fits perfectly into ABC's wheelhouse. A single-camera comedy (like "Scrubs") that tries to take serious subject matter and combine it with wacky comedy (like "Scrubs"), but which also challenges the audience with its quick-cut, circuitous storytelling (like "Scrubs"). That formula often adds up to critical gushing (like I have done regularly about "Scrubs") and low ratings (like "Scrubs"). ABC has been the network most likely to take chances like this, seemingly reveling in programs, both in comedy and drama, that are high-quality but tough sells (like "Scrubs").
But "Cougar Town" has a secret weapon: A genuine sitcom star, one who spent 10 seasons on one of the most successful comedy series of all time (definitely not like "Scrubs"). If Cox can bring any kind of audience along with her, Lawrence and ABC might have a well-earned -- if surprising -- hit on their hands. Or, at least what passes for a hit nowadays with sitcoms, which really just entails bringing in a respectable audience that is strong in the advertiser-coveted demographic.
Despite the fun I had with the "Scrubs" comparisons, "Cougar Town" is really quite different in tone and feel, largely, I suspect, due to the presence of Cox, who is more than capable of taking the lead in a sitcom (after 10 years of sharing time with her five co-stars on "Friends"). Here, she plays real estate agent Jules, recently divorced from her ne'er (e'er, e'er, e'er) do well aspiring golf pro husband, Bobby (Brian Van Holt). Jules is trying to figure out how to navigate the dating scene as a 40-year-old woman, preferably without totally mortifying her high school-aged son, Travis ("Aliens in America"'s Dan Byrd, hopefully not finding himself in another well-received, low-rated, canceled-after-one-season sitcom).
Jules is not off to a great post-divorce start. As the premiere episode unfolds, we see that her young co-worker Laurie ("Freaks & Geeks" alumnae Busy Philipps) has made advertisement lawn signs for Jules using a sexy photo taken when they were drunk, and the placards soon become objects of theft for a besotted junior high school student. And it only goes downhill from there, as Jules causes a neighborhood kid to crash his bike when she flashes her bathrobe at him (she's wearing a bra and panties underneath), all to make a point to her newly divorced neighbor, Grayson (Josh Hopkins of "Swingtown"), who beds a succession of willing twentysomethings (he tells one as he leads her to her morning taxi, "It's not a walk of shame if I do it with you").
Meanwhile, Jules's long-time best friend (and next-door neighbor), Ellie (Lawrence's wife, Christa Miller, "Scrubs"), feels like she's losing Jules to Laurie, because Ellie is stuck at home with her baby boy (named Stan, prompting Laurie to ask her, "Stan? What is he, 60?") and her annoying husband, Andy (Ian Gomez of "My Big Fat Greek Wedding").
"Cougar Town" is funny, and in more ways than one. Cox has plenty of opportunities to exhibit her gift for physical comedy, whether it involves hunting and chasing her junior high school admirer or, as she does in the opening of the pilot, exploring every possible flabby portion of her body, from her elbows to her belly (the first of three times in the pilot that Cox strips down to next to nothing). She also does a great job with Lawrence's patented clever dialogue. (Her speech to Laurie, who wants her to go out more: "I have to act my age. I mean, one night out on the prowl, and the next thing you know, I'm at a Jonas Brothers concert wearing a mini skirt, sporting some giant collagen hot dog lips.")
And Cox's interactions with her co-stars work, especially with Byrd. The two have a very funny, very touching rapport, as you know Travis is absolutely humiliated by his mother's antics (he walks in on her while she is going down on a twentysomething boy toy; the next morning he takes the banana she is eating out of her hands and says, "You're not allowed to eat these anymore"), but at the same time, they connect. (An early exchange before Travis goes out with his friend Ryan: Jules, "Home by midnight. And if I ever catch you two drinking and driving I'm going to show everyone that baby picture of you two holding each other's penises. So small." Travis, "You know, Ryan's mom just says goodbye.")
But as funny as "Cougar Town" is, what sets it apart as a program is how Lawrence and Cox have built a character who subverts your expectations based on how films and television have handled newly divorced women in their 40s. Rather than be useless and needy, Jules is more nuanced, generally confused, determined not to be intimidated, but vulnerable just the same. She's not embarrassed to be single or sexual, and she's not ashamed to be caught in an embarrassing situation. When an older potential home buyer with a young trophy wife overhears Jules make a joke about the bedroom being where they'll find the "thousand-year-old husband" dead on his wife, the man calls down to her, "I'm sixty-four," to which an unbowed Jules snaps back, "Great acoustics," turning her faux pas into a selling point. Later, when the geezer overhears her making another crack about his age and tells her he is right above her, Jules calmly responds, "Yes you are," before adding, "Please buy the house."
While from the beginning Jules expresses her confusion of her new role to Laurie (who is always trying to get her to go out and look for men), really, it isn't until her behavior affects Travis that she becomes genuinely more conflicted about it. I think a telling moment occurs at the end of the premiere, after she promises Travis that she'll try not to embarrass him anymore. The second he is out the door, Jules's young lover emerges and they are off to the bedroom to go at it again. Jules loves her son, but it doesn't mean she is not going to try and live her new single life, too. And since she's a genuinely kind person (as we see in the way she takes care of her boorish ex-husband, to whom she pays alimony, as well as Travis, Laurie and Ellie) who in many moments seems comfortable with who she is, we root for her, especially after her speech to Grayson about how scary it is to be 40 and alone, knowing that her looks will fade and she will likely never get remarried (coming, of course, after a very funny moment when she yells across the street to Grayson, while he is with his latest very young conquest, "Stop having sex with babies!").
I hope that Cox's notoriety brings an audience to this quirky comedy. It deserves to be seen.
The very different "Accidentally on Purpose" is more in keeping with CBS's approach to sitcoms, a multi-camera comedy that is far broader than the more realistic situations and sets presented in "Cougar Town." Less like its Monday night cohorts "How I Met Your Mother" and "Big Bang Theory" and more in line with the approach of its other neighbor "Two and a Half Men" (not that it's awful like that show, but that it is broader in its comedy and conventionally filmed and presented, with only a few key locations and exceptionally stagy -- nice word for "fake" -- sets), "Accidentally on Purpose" puts Elfman (of "Dharma and Greg") into the role of Billie, a San Francisco film critic (in the poshest news room in the history of television) who has recently broken up with her wealthy boss (there are wealthy people in the dying newspaper business?), James (Grant Show, another "Swingtown" alum finding a spot on a new sitcom), because he won't propose to her.
Like Jules, Billie's best friend, Olivia (Ashley Jensen, Ricky Gervais's pal on "Extras"), pushes her to go out, and with her sister Abby (Lennon Parham) in tow, they end up at a bar at which a twentysomething "second assistant to a semi-important sous chef" ("Basically, I boil things"), Zack (Jon Foster "Life as We Know It"), and his doofus friends hit on Billie. Billie goes home with Zack, and the two continue on for five weeks, when Billie finds herself pregnant. After about three seconds of thinking about it, she decides to have the baby, since she thinks it may be her last chance. She tells Zack, who says he wants to be a part of the baby's life, and when he loses his room after his friend's brother gets out of prison (he tells Billie, "not violent, drug-related"), she asks him to move into her posh apartment (on a film critic's salary?), but just as friends. No sex involved.
The rest of the pilot of "Accidentally on Purpose" is predictable. James tells Billie he's ready to take their relationship to the next level (he says they can live together, which in his mind means spending some nights at his place, some nights at hers), and before Billie can say anything, Zack shows up and James finds out Billie is pregnant by him. The two nearly come to blows, age jokes are tossed around, and you can't decide if you're more amused or bored by something you've seen a million times before. The truth lies somewhere in the middle.
"Accidentally on Purpose" has its comic moments. (Cute lines like, Billie: "What was I supposed to do? Let the father of my child live in a van so he can be hacked up by some crazy drifter?" Olivia: "He lives in a van. He is the crazy drifter.") Elfman is a talented comedian. I liked Parham's funny deadpan delivery. (Billie: "Holy crap, you didn't tell mom." Abby, with a panicked look: "Okay.").
I'm sure I'll continue to watch "Accidentally on Purpose." But it's not at the level of "Cougar Town." Billie (like the rest of the characters on the show) lives up to every cliche that Jules explodes. Not to overthink a silly sitcom (Who am I kidding? That's what I do), but it's almost like Billie is punished for having a sexually-driven relationship with a younger man by getting pregnant, and it's only through making the relationship about more than sex that the bond is validated. In contrast, at the end of "Cougar Town," Jules is about to have an encore with her fling, seemingly guilt- (and punishment-) free.
With sitcoms becoming a dying art, I am always happy to see new half-hour comedies on the air that are actually funny. "Accidentally on Purpose," largely based on the charms of its star, could very well provide some laughs on Mondays after "How I Met Your Mother." But "Cougar Town," thanks to the combination of Cox and Lawrence, and the funny and compelling world they've created, has a chance to be more than that, a worthy successor to Lawrence's "Scrubs," but maybe this time with a larger audience. I would be very happy to see that happen.
Sunday, September 20, 2009
NBC Makes History with "The Tonight ...", er, I Mean "The Jay Leno Show" in Prime Time
[NOTE: The following article will also appear as my regular television column for WILDsound.]
If you tuned into the premiere episode of "The Jay Leno Show" on Monday (NBC, Mondays through Fridays, 10:00 p.m. Eastern), you might not have realized that you were witnessing a seminal moment in television history.
No, I don't mean the show itself. Despite a lot of claims to the contrary, "The Jay Leno Show" is essentially the "The Tonight Show," with some cosmetic changes thrown in to let the audience know it's nominally a new program: Leno and his guest sit in Tom Snyder-like easy chairs rather than the host taking the power position behind a desk. The stage is adjacent to the audience now, allowing crowd members to swarm Leno when he emerges to do his monologue. The set is a bit glitzier, as if it had to get gussied up for prime time. And the order of things is slightly mixed up (on Monday, "Headlines" was last, after the musical performance).
But, in substance, nothing has really changed from May when Leno bade farewell to "The Tonight Show." There is a monologue, regular comedy features (like "Headlines" and "Jaywalking"), celebrity guests and musical performances (Monday's music segment was really good, featuring Jay Z, Rihanna and Kanye West), and Kevin Eubanks continues to lead the band.
It seems unlikely to me that anyone who didn't like Leno as the host of "The Tonight Show" will suddenly embrace his new prime time venture, nor do I think any of the comic's fans will like the 10:00 p.m. version of the program any less. It's not like the jokes are any different. If you thought Leno's "Tonight Show" monologues leaned too heavily on predictable shots at easy targets (as I did), then you will likely feel the same way about the opening of "The Jay Leno Show." If you found features like "Headlines" banal (as I did), nothing has changed just by moving the bit to the 10:00 p.m. hour. And if you weren't a fan of Leno's approach to interviews (as I wasn't), putting the guest in more comfortable seating likely won't change your mind.
That said, if you were a fan of "The Tonight Show," there is no reason you should be any less pleased with "The Jay Leno Show." "The Tonight Show" booked the most prestigious guests of any talk show on television (thanks to its L.A. location and solid ratings), and while CBS and ABC have banned their prime time stars from appearing on "The Jay Leno Show," the rule doesn't apply to A-list movie stars (like Tom Cruise and Halle Berry) and A-list comedians (like Jerry Seinfeld, all of whom appeared this week), so Leno will likely continue ruling the guest-booking roost. And if "The Jay Leno Show" is at all successful, we'll have to see if CBS and ABC stick to their guns, since they will be hard-pressed to turn down a chance to plug their programming on a prime time network platform, an opportunity that is not so easy to come by.
Really, the least interesting thing about the launch of "The Jay Leno Show" this week was the program itself. As I said, really, a review can be summed up in two sentences: If you liked "The Tonight Show" when Leno hosted it, you'll like "The Jay Leno Show." If you didn't like "The Tonight Show" when Leno hosted it, then you won't like "The Jay Leno Show."
No, the real story is that with the 2009-2010 season bowing this week, we are experiencing what I think is the biggest single change in the structure of prime time network television since Fox cemented its status as a legitimate fourth network in 1993 by acquiring the rights to broadcast NFL football (and, as a result, adding to its affiliate roster nationally). Just as the ascension of Fox increased prime time network television real estate by nearly a third, NBC, by launching the nightly "Jay Leno Show," decreased its programming by nearly a quarter (abdicating five of the 22 hours a week it provides prime time coverage).
(You could argue that "Survivor" becoming a huge hit in 2000, ushering in the current era of reality programming, represented a seismic shift, but at the time "Survivor" hit the air, I don't think anyone knew it would mean the networks would flood their schedules with non-fiction programming, at the expense of dramas and comedies. And the FCC's 1995 repeal of its rule banning networks from owning shows led to a wholesale change in how programs are produced, but the rule change primarily affected the business side of the industry and was fairly transparent to the average TV viewer.)
Last year, when NBC announced that it had retained Leno by handing over the 10:00 p.m. weeknight block to him, it was shocking, and we knew it was a once-in-a-generation kind of change in television (I wrote about it here). But now it's not theoretical anymore. The moment has arrived. A talk show will now run five days a week in prime time. When you turn on NBC at 10:00 p.m., Monday through Friday, instead of a new drama (even though, according to Entertainment Weekly, 72 percent of new dramas launched between 2004 and 2008 did not make it to a second season anyway), or even a new reality show, it will be Leno, always Leno. Edgy one-hour dramas like "Southland" (which I reviewed positively in the spring) will have to try and make a go of it in a 9:00 p.m. slot -- and in the case of "Southland," on Fridays, rather than at 10:00 p.m. on Thursdays, where it aired last season, following NBC's demographically successful comedy block.
Sure, the move could be extremely profitable for NBC. Talk shows are dirt cheap to produce (even with a big star like Leno) compared to one-hour dramas, so "Leno" could make a ton of money at a ratings number that would get a program like "Southland" canceled instantly. And maybe there is more to it than the more-profit-for-less-viewers swap. Maybe NBC envisions a post-fiction television landscape in which the current trend toward fixating on celebrities (whether that means A-list stars or reality show creations) will only become more intense. Leno was always a go-to place for someone in the public eye to confront a scandal or problem (think Hugh Grant after getting busted for soliciting a hooker), and maybe, in prime time, this function will become even more prominent. Maybe NBC sees Leno as the prime time centerpiece of a new television era.
After all, on Leno's very first show, Kanye West talked about his "jackass" moment at the MTV Video Music Awards, a prime time platform for the rehabilitation of his public image. (I know some people thought Leno was too hard on West, but I didn't think he was at all. Although, I did think it was cheesy that Leno acted so sincerely with West on Monday and then made lame jokes at his expense in the next night's monologue.)
But the facts are the facts. With this move, NBC has essentially turned itself into a two-hour-a-night network (like Fox). And there is no way to get past the fact that NBC, which was a ratings juggernaut in the 1990s, but which fell to the bottom of the viewership battle in recent years, has essentially quit the race, leaving ABC, CBS and Fox to battle it out for eyeballs (at least when looking at the 10:00 p.m. block and, probably, the overall ratings, too). Such a decision not only radically changes the television landscape, but it will have a lasting imprint on NBC, especially as it tries to develop new programming (if you were a producer, would you want to work with NBC, knowing that there are five fewer hours a week available for your show compared to ABC and CBS?). NBC's decision to install Leno at 10:00 p.m. is huge, and the fallout -- expected and unexpected, positive and negative -- will no doubt shake out over the months and years to come.
For now, Leno fans will enjoy seeing him 90 minutes earlier, and those who don't find Leno funny will have to to look to NBC and CBS for network entertainment at 10:00 p.m. But all of us have witnessed a major change in how network television functions. And for anyone who enjoys scripted dramas and comedies (or even reality programs), it's certainly not a change for the better.
If you tuned into the premiere episode of "The Jay Leno Show" on Monday (NBC, Mondays through Fridays, 10:00 p.m. Eastern), you might not have realized that you were witnessing a seminal moment in television history.
No, I don't mean the show itself. Despite a lot of claims to the contrary, "The Jay Leno Show" is essentially the "The Tonight Show," with some cosmetic changes thrown in to let the audience know it's nominally a new program: Leno and his guest sit in Tom Snyder-like easy chairs rather than the host taking the power position behind a desk. The stage is adjacent to the audience now, allowing crowd members to swarm Leno when he emerges to do his monologue. The set is a bit glitzier, as if it had to get gussied up for prime time. And the order of things is slightly mixed up (on Monday, "Headlines" was last, after the musical performance).
But, in substance, nothing has really changed from May when Leno bade farewell to "The Tonight Show." There is a monologue, regular comedy features (like "Headlines" and "Jaywalking"), celebrity guests and musical performances (Monday's music segment was really good, featuring Jay Z, Rihanna and Kanye West), and Kevin Eubanks continues to lead the band.
It seems unlikely to me that anyone who didn't like Leno as the host of "The Tonight Show" will suddenly embrace his new prime time venture, nor do I think any of the comic's fans will like the 10:00 p.m. version of the program any less. It's not like the jokes are any different. If you thought Leno's "Tonight Show" monologues leaned too heavily on predictable shots at easy targets (as I did), then you will likely feel the same way about the opening of "The Jay Leno Show." If you found features like "Headlines" banal (as I did), nothing has changed just by moving the bit to the 10:00 p.m. hour. And if you weren't a fan of Leno's approach to interviews (as I wasn't), putting the guest in more comfortable seating likely won't change your mind.
That said, if you were a fan of "The Tonight Show," there is no reason you should be any less pleased with "The Jay Leno Show." "The Tonight Show" booked the most prestigious guests of any talk show on television (thanks to its L.A. location and solid ratings), and while CBS and ABC have banned their prime time stars from appearing on "The Jay Leno Show," the rule doesn't apply to A-list movie stars (like Tom Cruise and Halle Berry) and A-list comedians (like Jerry Seinfeld, all of whom appeared this week), so Leno will likely continue ruling the guest-booking roost. And if "The Jay Leno Show" is at all successful, we'll have to see if CBS and ABC stick to their guns, since they will be hard-pressed to turn down a chance to plug their programming on a prime time network platform, an opportunity that is not so easy to come by.
Really, the least interesting thing about the launch of "The Jay Leno Show" this week was the program itself. As I said, really, a review can be summed up in two sentences: If you liked "The Tonight Show" when Leno hosted it, you'll like "The Jay Leno Show." If you didn't like "The Tonight Show" when Leno hosted it, then you won't like "The Jay Leno Show."
No, the real story is that with the 2009-2010 season bowing this week, we are experiencing what I think is the biggest single change in the structure of prime time network television since Fox cemented its status as a legitimate fourth network in 1993 by acquiring the rights to broadcast NFL football (and, as a result, adding to its affiliate roster nationally). Just as the ascension of Fox increased prime time network television real estate by nearly a third, NBC, by launching the nightly "Jay Leno Show," decreased its programming by nearly a quarter (abdicating five of the 22 hours a week it provides prime time coverage).
(You could argue that "Survivor" becoming a huge hit in 2000, ushering in the current era of reality programming, represented a seismic shift, but at the time "Survivor" hit the air, I don't think anyone knew it would mean the networks would flood their schedules with non-fiction programming, at the expense of dramas and comedies. And the FCC's 1995 repeal of its rule banning networks from owning shows led to a wholesale change in how programs are produced, but the rule change primarily affected the business side of the industry and was fairly transparent to the average TV viewer.)
Last year, when NBC announced that it had retained Leno by handing over the 10:00 p.m. weeknight block to him, it was shocking, and we knew it was a once-in-a-generation kind of change in television (I wrote about it here). But now it's not theoretical anymore. The moment has arrived. A talk show will now run five days a week in prime time. When you turn on NBC at 10:00 p.m., Monday through Friday, instead of a new drama (even though, according to Entertainment Weekly, 72 percent of new dramas launched between 2004 and 2008 did not make it to a second season anyway), or even a new reality show, it will be Leno, always Leno. Edgy one-hour dramas like "Southland" (which I reviewed positively in the spring) will have to try and make a go of it in a 9:00 p.m. slot -- and in the case of "Southland," on Fridays, rather than at 10:00 p.m. on Thursdays, where it aired last season, following NBC's demographically successful comedy block.
Sure, the move could be extremely profitable for NBC. Talk shows are dirt cheap to produce (even with a big star like Leno) compared to one-hour dramas, so "Leno" could make a ton of money at a ratings number that would get a program like "Southland" canceled instantly. And maybe there is more to it than the more-profit-for-less-viewers swap. Maybe NBC envisions a post-fiction television landscape in which the current trend toward fixating on celebrities (whether that means A-list stars or reality show creations) will only become more intense. Leno was always a go-to place for someone in the public eye to confront a scandal or problem (think Hugh Grant after getting busted for soliciting a hooker), and maybe, in prime time, this function will become even more prominent. Maybe NBC sees Leno as the prime time centerpiece of a new television era.
After all, on Leno's very first show, Kanye West talked about his "jackass" moment at the MTV Video Music Awards, a prime time platform for the rehabilitation of his public image. (I know some people thought Leno was too hard on West, but I didn't think he was at all. Although, I did think it was cheesy that Leno acted so sincerely with West on Monday and then made lame jokes at his expense in the next night's monologue.)
But the facts are the facts. With this move, NBC has essentially turned itself into a two-hour-a-night network (like Fox). And there is no way to get past the fact that NBC, which was a ratings juggernaut in the 1990s, but which fell to the bottom of the viewership battle in recent years, has essentially quit the race, leaving ABC, CBS and Fox to battle it out for eyeballs (at least when looking at the 10:00 p.m. block and, probably, the overall ratings, too). Such a decision not only radically changes the television landscape, but it will have a lasting imprint on NBC, especially as it tries to develop new programming (if you were a producer, would you want to work with NBC, knowing that there are five fewer hours a week available for your show compared to ABC and CBS?). NBC's decision to install Leno at 10:00 p.m. is huge, and the fallout -- expected and unexpected, positive and negative -- will no doubt shake out over the months and years to come.
For now, Leno fans will enjoy seeing him 90 minutes earlier, and those who don't find Leno funny will have to to look to NBC and CBS for network entertainment at 10:00 p.m. But all of us have witnessed a major change in how network television functions. And for anyone who enjoys scripted dramas and comedies (or even reality programs), it's certainly not a change for the better.
Subscribe to:
Posts (Atom)
