
NBC is making an aggressive push in comedy with blocks on four nights, Tuesday, Wednesday, Thursday and Friday. After a last-minute deal with the key actors, veteran comedy series The Office is back with a 22-episode order. Making a debut on NBC’s fall schedule is NBC’s flagship reality series The Voice after two midseason showings, while The Voice‘s companion this past season, musical drama Smash, is held again for midseason. Also missing from NBC’s fall schedule is longtime staple The Biggest Loser, which is held as a backup after launching a cycle in the fall for the past eight years. But making a surprising return to the schedule is low-rated newsmagazine Rock Center With Brian Williams, which actually got upgraded to the Thursday 10 PM slot. Downgraded from Thursday to Friday is cult favorite Community, which will lead Friday night, paired with Whitney. Of NBC’s 12 new series for next season, six — four comedies, Go On, The New Normal, Animal Practice and Guys with Kids, and two dramas, The J.J. Abrams-produced Revolution and Dick Wolf-produced Chicago Fire — are launching in the fall. The rest are being held for midseason. Thriller Revolution is getting the coveted post-Voice Monday 10 PM slot, while NBC is creating a Dick Wolf block on Tuesday with Law & Order: SVU leading into Chicago Fire.
Related:NBC Brass On Amping Up Comedy, Canceling ‘Harry’s Law’ & Keeping ‘Whitney’ & ‘Rock Center’
MONDAY
8-10 p.m. – “The Voice”
10-11 p.m. – “REVOLUTION”
TUESDAY
8-9 p.m. – “The Voice”
9-9:30 p.m. – “GO ON”
9:30-10 p.m. – “THE NEW NORMAL”
10-11 p.m. – “Parenthood”
WEDNESDAY
8-8:30 p.m. – “ANIMAL PRACTICE”
8:30-9 p.m. – “GUYS WITH KIDS”
9-10 p.m. – “Law & Order: Special Victims Unit”
10-11 p.m. – “CHICAGO FIRE”
THURSDAY
8-8:30 p.m. – “30 Rock”
8:30-9 p.m. – “Up All Night”
9-9:30 p.m. – “The Office”
9:30-10 p.m. – “Parks and Recreation”
10-11 p.m. – “Rock Center with Brian Williams”
FRIDAY
8-8:30 p.m. – “Whitney”
8:30-9 p.m. – “Community”
9-10 p.m. – “Grimm”
10-11 p.m. – “Dateline NBC”
SATURDAY
Encore programming
SUNDAY (Fall 2012)
7- 8:15 p.m. — “Football Night in America”
8:15-11:30 p.m. — “NBC Sunday Night Football”
SUNDAY (Post-football/Winter 2013)
7-8 p.m. – “Dateline NBC”
8-9 p.m. – “Fashion Star”
9-10 p.m. – “The Celebrity Apprentice”
10-11 p.m. – “DO NO HARM”
2012-13 NEW SERIES DESCRIPTIONS
New Comedies
Go On — Misery loves company. Unless you’re sportscaster Ryan King (Matthew Perry, “Friends,” “Mr. Sunshine”) who thinks misery should just be left alone. After taking some time off, Ryan – who recently lost his wife in a car accident – is now ready to get back to work. And while he seems like his same old charming, cocky self, his boss won’t set him back on the air until he seeks counseling. So, Ryan reluctantly joins a support group with one goal in mind: get in, get out and get back on the radio as quickly as possible. Played by the fast-talking, sarcastic, and charismatic Perry, Ryan gives grief a real run for its money. Within one day of group therapy, he hijacks the meeting and suddenly the downtrodden are cajoled into playing a game of “who’s got the best sob story?” And in no time all of them are battling it out, trying to one-up each other’s despair. Now, this is fun! Ryan’s total lack of interest in healing might be just what this group needs – and maybe, exactly what he needs to move on with his life. Also starring are Tony winner Laura Benanti (“The Playboy Club”), Julie White (“Transformers”), Suzy Nakamura (“Dodgeball”), Khary Payton (“General Hospital”) and Allison Miller (“Terra Nova”). From the Emmy-winning writer and executive producer Scott Silveri (“Perfect Couples,” “Friends”) comes a new series that proves grief can be good. Todd Holland (“Malcolm in the Middle”) and Karey Burke (“Free Agents,” “Miss/Guided”) also serve as executive producers. The pilot was directed by Holland. “Go On” is a production of Universal Television, Dark Toy Entertainment and Silver & Gold Productions.
The New Normal – These days, families come in all forms – single dads, double moms, sperm donors, egg donors, one-night-stand donors… It’s 2012 and anything goes. Bryan (Andrew Rannells, “Girls,” “The Book of Mormon”) and David (Justin Bartha, “The Hangover”) are a Beverly Hills couple and they have it all. Well, almost. With successful careers and a committed and loving partnership, the one thing missing is a baby. And just when they think the stars will never align, enter Goldie (Georgia King, “One Day”), an extraordinary young woman with a checkered past. A Midwestern waitress and single mother looking to escape her dead-end life and small-minded grandmother (Ellen Barkin, “Ocean’s Thirteen”), Goldie decides to change everything and move to L.A. with her precocious 8-year-old daughter. Desperate and broke – but also fertile – Goldie quickly becomes the guys’ surrogate and quite possibly the girl of their dreams. Surrogate mother, surrogate family. “The New Normal” is produced by 20th Century Fox Television and Ryan Murphy Productions. Murphy serves as creator/executive producer and director along with executive producer/creator/writer Ali Adler (“Glee,” “Chuck”) and executive producer Dante Di Loreto (“Glee,” “American Horror Story”).
Animal Practice – Meet Dr. George Coleman (Justin Kirk, “Weeds”), a top-dog New York veterinarian. With an unorthodox style of operating, George’s success comes from his undeniable gift with animals of all kinds. That is, all but the human kind. Dorothy Crane once held the key to George’s heart, but today she also holds the key to the family business as she takes over Crane Animal Hospital. Not only is she George’s new boss, but her romantic history with him and her lack of experience with animals is seriously cramping his style. Dorothy is whip-smart and ambitious, and she’s going to make George pay for the past. Needless to say, he’s determined not to make any changes in his (animal) kingdom — which includes poker games with a resident capuchin monkey. Also starring are Tyler Labine (“Reaper,” “Sons of Tucson”) as Dr. Doug Jackson, a vet who’s great with animals but hapless in matters of the heart, Bobby Lee (“Harold & Kumar”) as Dr. Yamamoto, and newcomer Betsy Sodaro as Angela. “Animal Practice” is a production of Universal Television and American Work Inc. The executive producers are Scot Armstrong (“The Hangover Part II,” “Old School”) and Ravi Nandan (“Best Friends Forever”) of American Work Inc. (“Best Friends Forever”) along with Emmy Award winners Joe & Anthony Russo (“Community,” “Arrested Development”). “Animal Practice” was written by Brian Gatewood and Alessandro Tanaka (“The Sitter”), who also serve as executive producers. Gail Lerner (“Happy Endings”) also is an executive producer. Directed by the Emmy-winning Russo brothers, “Animal Practice” is a comedy where the animals are running the asylum.
Guys with Kids – From Emmy winner and executive producer Jimmy Fallon comes a new comedy about three thirty-something dads trying to hold on to their youth, while holding onto their new babies’ hands. Easy, right? Thankfully, Chris (Jesse Bradford, “The West Wing”), Nick (Zach Cregger, “Friends with Benefits”) and Gary (Anthony Anderson, “Law & Order”) have each other to help navigate their survival as new dads, while still trying desperately to remain dudes. Balancing work or staying at home, painfully married or happily divorced, they know that taking care of the little ones while maintaining a social life is a daily challenge. Whether it’s hosing the little squirt down in the kitchen sink or hitting the bar strapped with a baby björn, these guys are on a roller-coaster adventure – parenting like you (and they) have never seen before. Also starring are Jamie Lynn Sigler (“The Sopranos”) and Tempestt Bledsoe (“The Cosby Show”). Someone once said it is much easier to become a father than to be one. These three guys are about to find out just how true that is. “Guys with Kids” is produced by Universal Television and Holiday Road. Fallon (“Late Night with Jimmy Fallon”) serves as executive producer/creator along with executive producer/creator/writer Charlie Grandy (NBC’s “The Office”) and executive producer/creator Amy Ozols (“Late Night with Jimmy Fallon”) as well as executive producers Rick Wiener and Kenny Schwartz (“Two Guys, a Girl and a Pizza Place,” “American Dad”). Emmy-nominated director Scott Ellis (“Modern Family,” “30 Rock”) is the director.
Save Me – Welcome to the Midwestern suburbs, where exciting things never happen. Well, almost never. After a near-death experience (choking on a hero sandwich), Beth (Emmy nominee Anne Heche, “Hung”) is revived only to realize she now has a direct line to God. Of course, her husband Tom (Michael Landes, “Final Destination 2”) is skeptical and dismissive – and his mistress (Alexandra Breckenridge, “American Horror Story”) is stunned to learn that her lover’s wife is now a prophet! But when inexplicable things begin to happen, everyone’s beliefs are tested. Beth starts to say and do things that shock her family and entrance her friends, but she isn’t going to be your typical “fire and brimstone” prophet. Let’s just say, if God had a desperate housewife as His mouthpiece, Beth would be it! She is the absolute last person on Earth who would be chosen. Then again, they say He works in mysterious ways. And this one is a real mystery! Heather Burns (“Bored to Death”) and Madison Davenport (“Shameless”) also star. “Save Me” is produced by Sony Pictures Television and Original Film. Novelist John Scott Shepherd (“Henry’s List of Wrongs,” “The Days”) is executive producer/creator along with executive producer/director Scott Winant (“Breaking Bad,” “True Blood,” “Californication”) and executive producers Neal H. Moritz (“The Big C,” “Prison Break,” “Fast Five”), Vivian Cannon (“The Big C”) and Alexa Junge (“Friends,” “Sex and the City”).
1600 Penn – The Gilchrists are just the average American family dealing with all the everyday issues – like a grown kid who’s forced to move back home, children who are smarter than their teachers and a stepmom (Jenna Elfman, “Dharma and Greg”) desperately trying to win over the kids. They’re loving, fun and a little crazy. In other words, just like everybody else. With one exception: they live in a very special house. The White House! Whether it’s entertaining foreign dignitaries, sneaking away for a night out, dealing with middle school crushes or putting out fires – figuratively and sometimes literally – there’s never a dull moment in the Gilchrist White House. For example, the First Son (Josh Gad, star of Broadway sensation “The Book of Mormon”) is one of the administration’s biggest liabilities, but also the glue that holds this family together. The President (Bill Pullman, “Independence Day,” “While You Were Sleeping”) knows too well that the only thing harder than being Head of State is being head of the family. Also starring are Martha MacIsaac (“Superbad”), Andre Holland (“Friends with Benefits”), Amara Miller (“The Descendants”) and Benjamin Stockham (“Sons of Tucson”). “Modern Family” meets “The West Wing” in this election-year comedy from Emmy-winning executive producer/director Jason Winer (“Modern Family”). The executive producers are Winer, Gad and Jon Lovett (former White House speechwriter). Winer also directed the pilot. “1600 Penn” is produced by 20th Century Fox.
Next Caller – What happens when a foulmouthed satellite radio DJ – played by the multi-platinum selling artist and outrageously charming Dane Cook (“My Best Friend’s Girl”) – is forced to share the mic with a chipper NPR feminist? It’s anyone’s call in this sharp new comedy from producer Stephen Falk (“Weeds”) and Emmy-winning director Marc Buckland (“Grimm,” “My Name Is Earl”). It’s her first day in New York City, and 26-year-old Stella Hoobler (Collette Wolfe, “Young Adult”) is ready to take on the world. After a stint on public radio, she’s been hired to co-host the no-holds-barred show “Booty Calls with Cam Dunne.” Smart, spunky and passionate, Stella is determined to elevate the show beyond its boy’s-club-locker-room humor into a respected debate about men, women and the state of human relationships. But there’s a problem: Cam! She’s going to find out the hard way that he’s got no intention of sharing the spotlight, especially with someone like her. It’s going to be a tense fight, but with the station’s one rule being “make some noise,” Cam and Stella could be a winning combination – as long as they don’t knock each other out on their way to success. Jeffrey Tambor (“Arrested Development”), Joy Osmanski (“True Jackson, VP”) and Wolé Parks (“Premium Rush”) also star. The series is created and executive-produced by Stephen Falk (“Weeds”) and directed by Emmy Award-winning director Marc Buckland (“Grimm,” “My Name Is Earl”), who also serves as executive producer on the pilot. “Next Caller” is produced by Lionsgate Television and Universal Television.
New Dramas
Revolution — Our entire way of life depends on electricity. So what would happen if it just stopped working? Well, one day, like a switch turned off, the world is suddenly thrust back into the dark ages. Planes fall from the sky, hospitals shut down, and communication is impossible. And without any modern technology, who can tell us why? Now, 15 years later, life is back to what it once was long before the industrial revolution: families living in quiet cul-de-sacs, and when the sun goes down lanterns and candles are lit. Life is slower and sweeter. Or is it? On the fringes of small farming communities, danger lurks. And a young woman’s life is dramatically changed when a local militia arrives and kills her father, who mysteriously – and unbeknownst to her – had something to do with the blackout. This brutal encounter sets her and two unlikely companions off on a daring coming-of-age journey to find answers about the past in the hopes of reclaiming the future. From director Jon Favreau (“Iron Man,” “Iron Man 2”) and the fertile imaginations of J.J. Abrams (“Lost,” “Person of Interest”) and Eric Kripke (“Supernatural”), comes a surprising “what if” action-adventure series, where an unlikely hero will lead the world out of the dark. Literally. The series stars Billy Burke (“The Twilight Saga”), Tracy Spiridakos (“Being Human”), Anna Lise Phillips (“Terra Nova”), Zak Orth (“Romeo + Juliet“), Graham Rogers (“Memphis Beat”), J.D. Pardo (“A Cinderella Story”), Giancarlo Esposito (“Breaking Bad”), David Lyons (“The Cape”), Maria Howell (“The Blind Side”), Tim Guinee (“Iron Man”) and Andrea Roth (“Rescue Me”). Kripke, Abrams, Favreau and Bryan Burk (“Lost,” “Star Trek”) serve as executive producers. “Revolution” is produced by Bonanza Productions Inc. in association with Bad Robot Productions, Kripke Enterprises and Warner Bros. Television. The pilot was directed by Favreau.
Chicago Fire – No job is more stressful, dangerous or exhilarating than those of the Firefighters, Rescue Squad and Paramedics of Chicago Firehouse 51. These are America’s everyday heroes — the courageous men and women who forge headfirst into danger when everyone else is running the other way. But the enormous responsibilities of the job also take a personal toll. Big reputations and hefty egos, coupled with the pressure to perform and make split-second decisions, are bound to put squad members at odds. When a tragedy claims one of their own, there’s plenty of guilt and blame to go around. In the middle of a divorce, Lt. Matthew Casey (Jesse Spencer, “House M.D.”) tries to go about business as usual but can’t help butting heads with the brash Lt. Kelly Severide (Taylor Kinney, “The Vampire Diaries”) of the Rescue Squad – and each blames the other for their fallen team member. When it’s “go-time” though, they put aside their differences and put everything on the line for each other. “Chicago Fire” is a look inside one of America’s noblest professions. Also starring are Eamonn Walker (“The Messenger”), Charlie Barnett, (“Law & Order: SVU”), David Eigenberg (“Sex and the City”), Monica Raymund (“The Good Wife”), Lauren German (“Hawaii Five-O”), Teri Reeves (“Three Rivers”) and Merle Dandridge (“Sons of Anarchy”). “Chicago Fire” is produced by Universal Television and Wolf Films. Emmy Award-winning creator/ producer Dick Wolf (“Law & Order” brand), Derek Haas (“3:10 to Yuma”), Michael Brandt (“3:10 to Yuma”), Peter Jankowski (“Law & Order” brand) and Danielle Gelber serve as executive producers. Haas and Brandt wrote the pilot, which was directed by Jeffrey Nachmanoff (“Homeland”). From renowned Emmy-winning producer Dick Wolf and the writing team behind “3:10 to Yuma” comes an edge-of-your-seat view of a dirty job that often means the difference between life and death.
Do No Harm – Dr. Jason Cole (Steven Pasquale, “Rescue Me”) is a highly respected neurosurgeon who has it all – a lucrative career, confident charm, the gift of compassion. But he also has a deep, dark secret. One morning when he wakes up disoriented in a wrecked hotel room amidst several near-naked women he’s never seen before, he knows one thing: it’s happening again. Every night at the same hour, something inside Jason changes, leaving him almost unrecognizable – seductive, devious, borderline sociopathic. This new man is his dangerous alternate personality who goes by the name of ‘Ian Price.’ For years he’s battled Ian, keeping him in check with a powerful experimental sedative. But now his – their – body has developed a resistance to the serum, setting Ian free once again. And to make matters worse, after being suppressed for so long, Ian’s hell-bent on taking revenge on his oppressor. With everyone Jason cares about at risk – patients, friends, coworkers and even the woman he loves – he’s got to stop Ian once and for all. Will they find some common ground, or will they bring each other down? Hell hath no fury like an alter ego scorned. Also starring are Alana De La Garza (“Law & Order”), Mousa Kraish (“Superbad”), Michael Esper (“A Beautiful Mind”), Ruta Gedmintas (“The Borgias”) and Phylicia Rashad (“The Cosby Show”). “Do No Harm” is produced by Universal Television and Traugott Company. The executive producer/writer is David Schulner (“Desperate Housewives,” “The Event”). Peter Traugott (“Ringer”) and Rachel Kaplan (“Ringer”) also are executive producers. Michael Mayer (NBC’s “Smash”) is the co-executive producer and director.
Infamous — When wealthy socialite and notorious party girl Vivian Bowers is found dead of an overdose, no one is really surprised. The heiress to the Bowers pharmaceutical empire has been tabloid fodder for years: wild, pretty, privileged… and now dead at the age of 32. But for FBI agent Will Moreno (Laz Alonso, “Avatar”), things don’t add up with this suspicious dynasty. Convinced that the troubled girl’s death was a homicide, he has a clever plan to get to the truth. Her name is Detective Joanna Locasto (Meagan Good, “Think Like a Man”). Twenty years ago, she was Vivian’s best friend, having grown up in the Bowers’ home as daughter of the family housekeeper. And when she appears at Vivian’s funeral, the family re-embraces her and no one is the wiser. Joanna quickly begins to uncover dark secrets and clues about why Vivian’s life was very much in danger. At the same time, she rekindles an old romantic relationship and rediscovers the allure of the luxurious lifestyle she once knew. She’s about to see once again just how the other half lives… and dies. Also starring are Victor Garber (“Alias”), Tate Donovan (“Damages”), Katherine La Nasa (“Alfie”), Neil Jackson (“Quantum of Solace”) and Ella Rae Peck (“Gossip Girl”). “Infamous” comes from executive producer/writer Liz Heldens (“Friday Night Lights”) and director Peter Horton (“Grey’s Anatomy,” “Dirty Sexy Money”). Gail Berman, Lloyd Braun and Gene Stein are also executive producers. The series is from Universal Television and BermanBraun.
Hannibal — One of the most fascinating literary characters comes to life on television for the first time: psychiatrist-turned-serial-
TV Editor Nellie Andreeva - tip her here.



At least give Community the decency to hold it til midseason instead of having it lead out of Whitney on a Friday. Geez.
We are lucky that community is even back so dont complain wher they put it!!
Friday might be a good place for Community. It plays out like a genre series and Friday is where you put genre series. Fringe, Grimm, Nikita, Supernatural and whatever on Syfy. They thrive there.
I think out of those 2 comedies, Whitney is the one who should be most worried.
Don’t complain. NBC could have picked up a supernatural series like Midnight Sun as a better companion to Grimm on Friday night, and that would have left Community without any timeslot. Whether comedies make sense on cult-show Friday remains to be seen.
Agreed. I was just about to post a comment about the same thing. Seems like they want to kill it dead with fire.
No network would get in the business of trying to “kill” a show – if they wanted to do that, they just wouldn’t have picked it up. To fund a series for the express purpose of running it into the ground is counterintuitive to their business model. The move to Fridays is a bit odd, but I can (almost) buy their logic – Community’s fanbase is extremely loyal, and the ones who watch it live on Thursdays will likely all follow the series to the less competitive Friday slot. If it can do as well on Fridays as it did on Thursdays, it will easily be one of the night’s top performers in the 18-49 demo. If anything, the move of Whitney to the night is more bizarre, as it definitely DOESN’T have the same cult following or word-of-mouth buzz.
It is called an F.U. Kill it already.
Community may actually do well on Fridays. Too bad about the awful lead-in, though.
I thought 1600 Penn would air in the fall, for sure. Hmm.
Still can’t believe they passed on County, Midnight Sun, Frontier, Beautiful People, Bad Girls….
Hey Netflix, it’s your turn!
Isn’t it ironic that the two shows that survived from last season are Whitney and Grimm?
NOBODY called that.
I’m shocked that “County” from Jason Katims wasn’t picked up.
I’m very upset that “Midnight Sun” wasn’t picked up. Maybe Sci Fi could play it.
I completely agree. That’s nuts.
This schedule is borderline disgusting. And once again, NBC has held its best shows for midseason.
How many episodes is Revolution renewed for?
How good would it be to see Harry’s Law in the Thurs 10pm time slot? NBC’s ratings would soar. HL is a proven ratings grabber and deserves to be in that timeslot. Rock Center will pull in 3.5 mill viewers and a 0.8 demo. HL would get 8 million viewers and a 1.1 demo. WAKE UP NBC AND RENEW HARRY”S LAW. Also, it will be funny to see The Voice, fall flat in the fall, when it was tanking at under 10 million viewers this spring after a strong start.
Um…Harry’s Law is not a ratings grabber. It’s total viewers don’t matter, only its 18-49 demo…which were utter crap. Think it was getting .8/.9. Which yes, may be comparable to Rock Center but you have to account for the fact that Rock Center is MUCH cheaper to make. So I’m guessing NBC would rather have a show that gets comparable ratings to what HL would get but pay less money. Idiot.
Surprised that they’re holding ‘Save Me’ for midseason. Oh well, looks like I’ll only be watching ‘The New Normal’ then…
Switch Guys with Kids and Community!!!! Keep the multi-cam comedies together!
Revolution with a lot of great brains out there! Abrams + Kripke + Iron Man 1&2 director Jon Favreau for the pilot. Come on we need hit dramas!
With two actors from “The Twilight Saga: Breaking Dawn”:
Billy Burke&J.D. Pardo(play only in second part) this mat boost it too.
i dont understand why nbc like Up All night so much?, it was just as low rated as community and thats AFTER the office, what do the expect it will rate after a fading 30 Rock?
NBC are terrible at scheduling.
Putting Community and Whitney on Friday? They have zero audience overlap, with Whitney skewing old and Community skewing young. Besides, when has pairing multi-cams with single-cams ever worked?
Even worse, Community will likely look like Animal Practice given that they were both directed by the Russos.
According to the Mayan calendar the end of the world is coming on Sunday, December 23, 2012 so i guess is time for Revolution!
So once again NBC saves Smash for mid season. Any particular reason why? As for Rock Center, it’s not a bad show. hey have a good team in place and Brian Williams is well liked however maybe it’s better if it was paired with Dateline.
This is a network that passed on Roseanne Barr and John Goodman. Laughable.
Just because they were on a show together does not mean said show was good and/or funny.
There is absolutely no way it could have been worse than this crap.
What’s crap, the shows or the way they are arranged? The only one that didn’t appeal to me was “1600 Penn,” but only because it’s not clear to me, from that clip, what the show is about. (But of course, I know because I read about the premise.)
You are so wrong here. I was part of the audience for “Downwardly Mobile” and it was hilarious.
It was a fresh & unique concept. It related to what a lot of folks are experiencing in their lives today. By putting a comedic twist on their situations, it makes everyone look on the “sunny side of life.” I hope 20th Century Fox can shop it to another network. It will be an instant winner. The cast is phenomenal. John & Roseanne alone would pull in 20 million viewers just on the pilot alone. Are you listening NBC executives??? You made a huge blunder with this one.
I think they would have been better off keeping Harry’s Law and putting it on Friday’s after Community instead of Grimm. Or have Harry’s Law in the Thurday at 10 pm after Parks and Rec. It would atleast get a higher demo the Rock Center But I get it costs more to produce then that news show.
Grimm gets better ratings than Harry’s Law and Fridays are for cult sci fi shows. Grimm is stable on Fridays and was renewed a long time back. What doesn’t make sense is Community’s presence there. (Or Whitney’s.)
I also love in their description of 1600 Penn they say “this election-year comedy” and then they hold it until midseason, after the election is over.
Except for Sunday night football, I’m pretty much done with NBC. I wish them well but I predict that this coming season will be just as bad – if not worse – as this season. Just horrible, horrible decisions all around.
What the hell is this? Is this definitely, absolutely, positively the schedule? This schedule seems disjointed in numerous ways.
I like the idea of holding shows until midseason, but why not make a stronger push in the fall? Unless, of course, the idea is to try to burn off a bunch of older shows and get more attention in the winter. Is that what the network is going for?
Also:
1. Why are shows like “Whitney” and “Community” paired together?
2. WHY THE HELL is the Thursday line up mostly the same? Seriously? That’s just puzzling.
3. Why is “Chicago Fire” not leading into “SVU”?
4. Is “The Voice” being stretched too thin?
5. What a disaster on Sundays. You’ve got two reality shows–one of which is really tired, and the other which never took off–supposedly going to help out what sounds like an interesting series in “Do No Harm”?
6. Also, WTF is with putting a newsmagazine on Thursdays at 10:00? Talk about waving a white flag.
I guess I should try to some something positive to say: I like the idea of comedies on different nights. The network needs a beachhead wherever it can find one. If “Go On” works on Tuesdays, leave it there, NBC! Seriously, don’t move it.
I’m just curious where “Hannibal” and “Mockingbird Lane” will go, as I am with “1600 Penn” and “Save Me.”
I’m already anticipating Do No Harm struggling in the ratings and if its lucky, getting a Friday nite timeslot in 2013-14 as lead in or lead out to Grimm.
“Do No Harm” seems interesting enough, upon first glance anyway, that I am truly puzzled about why it is on Sundays. It’d be one thing if the network really mixed things up and surrounded it with similar shows, but it didn’t do that. Very, very strange.
I see 1600 Penn probably getting either Guys With Kids’ slot, or getting a Thursday slot once 30 Rock finishes its run. Same with Save Me.
My guess? Guys With Kids fails, and is replaced by November of December by 1600 Penn. And in January, 30 Rock is replaced by Save Me, Parks moves to 8:30 (or vice versa), and The Farm gets the post-Office slot.
“Guys with Kids” seems like the sort of show that will either be very great or terrible at the outset, but at the same time, it has the sort of premise that should be easy for the producers to work with.
Also, re: Chicago Fire/SVU
Wednesday at 9pm is such a difficult timeslot that they probably don’t want to risk launching a new show there. Hence SVU (though it did poorly at prior 9pm tries).
That makes sense, but still, do they expect amazing things from “SVU”? Seems like it would have made more sense to put that on Fridays at 10:00, with “Chicago Fire” as its lead-in, and then put “Grimm,” “Do No Harm,” and “Hannibal” or “Revolution” or some other show on Wednesdays.
Maybe the solution is to find an unscripted show there to beat the competition or put it at 8:00 to support a scripted show.
Well, I guess this is why I can’t be a TV programmer and work for the networks. I’m just puzzled by this NBC lineup. I have so many questions of why NBC just did what they did, but I’d like to ask three of them off the top of my head, and if anyone out there can help educate me, I’d be grateful. Here are the questions -
1. I was under the impression that NBC wanted to place their two multi-camera comedies back-to-back. That was (I guess?) the reason for renewing Whitney – so that it could be paired with Jimmy F’s ‘Guys with Kids’. Now, I see GwK on Wed/8:30 and Whitney on Fri/8. What happened?
2. 10pm Thursday nights is prime real estate – for all the nets, for the advertisers, for the water-cooler Friday morning talk. I thought placing ‘Revolution’ there would be a good move. Heck, even Parenthood would be better there than Brian Williams’ version of Dateline. Why throw away a block of real PRIME-time like that to another Dateline? I don’t understand.
3. Community is a good show – why cast it off onto Friday, and if NBC wants to do that, give that show a fighting chance … place it at 8pm on Friday. I applaud NBC for dumping ‘Biggest Loser’ [for a while]and those types of shows that are damaging the medium, and I applaud NBC for moving comedies into Friday, but give Community a chance to succeed. Put that show at 8pm, then follow w/Whitney.
I have to assume NBC decided to burn-off 30Rock quickly, instead of waiting until next spring when they could benefit ratings wise from ‘farewell’ episodes. Who knows? One good thing here – I still think Up All Night will get better, and I hope I’m right about that. But I missed on literally every other angle. I guess NBC is giving up on Sunday nights post NFL. Dateline/ Fashion Star/Apprentice… good luck to Do No Harm.
Well, we’ll see if I do any better guessing what Fox, ABC and CBS will be doing this week. I’m giving myself an ‘F’ grade for predicting NBC’s strategy and move. I just can’t figure out NBC.
The only thing I can think of regarding some of theses moves is that NBC wants to burn off shows that are not coming back (“30 Rock”) after next season and that might not last much longer (“Community” early, in the hopes of (re)launching other shows, like “1600 Penn,” “Hannibal,” and “Mockingbird Lane,” along with “Infamous” and “Smash” at midseason. (There’s also that pirate show, I believe.) Along the same lines, perhaps it’s trying to start a bunch of small fires and see what works, so if, say, “Animal Kingdom” blows up on Wednesdays, it can launch “1600 Penn” after it and hopefully have itself a new night on which to build.
Other than that, I don’t know what to think. Aside from the fact that it passed on a lot of seemingly interesting shows, the cohesiveness of the lineup doesn’t seem obvious.
Anyway, I am guessing this isn’t usually how things are done, but is there any chance NBC will pick up some shows that other networks rejected? As an outsider, I can only wonder why “Ladyfriends” and “Daddy’s Girls” weren’t picked up, seeing as how they were supposed to be good, but since CBS passed on Martin Lawrence’s sitcom and Louis C.K.’s show, why not look at them? Aren’t the networks supposed to be looking at “Americana” from ABC, which passed on it?
And might it continue to pursue shows that it ordered itself for midseason?
I actually think most of their schedule makes sense, when you consider what they’re competing against.
Thursdays right now are a complete black hole for the network. The competition is extremely tough, and CBS will likely expand to two hours. There’s no point in trying to launch a new show that night – it’ll just fail. That’s especially true at the 10pm hour, where Prime Suspect, The Firm, and Awake all bombed. So what they’re doing makes sense – just keep their existing stable of low-rated cult hits – they won’t win the night, but they’ll be steady performers while they rebuild earlier in the week. Rock Center won’t do much worse than their existing dramas did – probably slightly under a 1.0 – but it’s a lot cheaper to produce, so at least they won’t be losing money at that slot as they did this year.
Community on Friday also makes sense – it’s a cult hit with low ratings that everyone assumes is in its last season. There are a number of precedents – Chuck, Fringe, Supernatural. Expectations should be lower, and I wouldn’t be surprised to see it get a back 9. I guess you could argue it should’ve been given a Thursday slot instead of UAN, but UAN is a younger show (from Lorne Michaels, no less) that they feel still has the potential to grow an audience.
The one move that makes no sense is Whitney on Friday. Why’d they even bother renewing it? It did okay on Wednesdays and could’ve made a logical pairing with Guys With Kids. It’s not a Friday show though and is a totally incongruous lead-in to Community. All I can think of is that they renewed it because it’s cheaper than developing a new show, and they needed one more comedy. But it still doesn’t make much sense.
That’s an interesting, and quite logical, defense of the network’s moves. Not to toot my own horn too much, but it goes along with what I’ve been saying about (a) burning off older shows and (b) looking to establish itself on any other night. I think the schedule on Tuesday is very good. I worry about “The Voice” being stretched too thin, but if need be, it can be pared back to two hours–one on Monday, one on Tuesday–in the second half of the year.
No doubt it’s certainly possible for a network to do well while still suck on one particular night, but Thursdays are kind of a legacy for NBC and, more importantly, they are big for advertisers. Part of me wonders if NBC plans to rebuild Thursdays by trying to grow shows, from the start, on other nights; but as I said, if a show like “Go On” works on Tuesdays, it’s probably best to leave it there.
And if that’s the case, I have to wonder, just what does it plan on the night? I wonder if it might be better for the network to go for two comedies and two dramas, or one long comedy or a dramedy, or even three dramas. Hell, if need be, run an unscripted show at 8:00 to grow scripted shows at 9:00!
I kind of like the idea of trying a cable format–(slightly?) shorter, interrupted seasons of shows, which means more shows–on the night. It might fail, but could it get any worse for the network?
I also wonder just how badly Greenblatt, et al are being pinched from the top. More money doesn’t always equal better shows, but you’d think, given the state of the network, that they’d want to order as many shows as possible to find something that works, no matter what the cost.
This boring lineup is wasting the huge audience they have to advertise to, from the Olympics and football. Which dramas are going to interest guys? Everyone’s burned by mythology-heavy sf bs (Revolution), and Do No Harm (hunky angsty doctor) is for girls. Maybe they’ll like firefighters.
NBC should swap with ABC – send The Munsters (comic fantasy, female skewing) to ABC and take The Last Resort (military, male skewing). And they definitely should have picked up a Western and a show about babes in prison, lol!
Revolution is directed by Jon Favreau (Iron Man), produced by JJ Abrams (Lost) and Eric Kripke (Supernatural), and features a hot young female lead. What about that wouldn’t appeal to men?
And just because a male lead is attractive, his show automatically appeals only to women? Men can only watch shows with ugly guys in them? Reading the description, Do No Harm is the MOST male-skewing show NBC has: “One morning when he wakes up disoriented in a wrecked hotel room amidst several near-naked women he’s never seen before, he knows one thing: it’s happening again.” Really? This is “for girls?”
Look at the trailers, Do No Harm is soapy as all heck. But Revolution looks better than I thought it would. That one might actually make it.
They’ve somehow managed to make their schedule look worse? Tuesday looks alright, I’ll give them that.
How stupid is that? It’s a very dumb move to put “Voice” into fall. “Smash” for midseason is great because more than 13 or 15 episodes of it probably would kill it even faster. I’d like to have had “Hannibal” airing together with “Fear Factor” on Monday, with a drama or something on 8pm. For Tuesday, i’d have stayed with “Loser” and, of course, “Parenthood”. On Wednesday, “L&O: SVU” is, I think, dead and won’t give “Fire” a good lead-in, although I’d have put “Fire” in the same time slot but with “Revolution” or better “Infamous” as lead-in. “Guys with Kids” doesn’t match to “Animal Practice”, I think. They should have put “Recreations” to Wednesday or probably “1600 Penn” and “New Normal” as a one-hour comedy family block. “Go On” as lead-out to “Office”, “Save Me” starting the hour on Thursday with “Whitney” following (girls hour), 30 Rock at 10pm and a new comedy or “Community” at 10.30. But I’m not in charge of the schedule. This however won’t bring NBC the success it desperately needs. Most of the shows paired don’t have anything in common.
I kind of wonder if this is more of a training wheels-like schedule: give the show(s) in question a chance to establish themselves, and then make some moves. In other words, let “Revolution” and “Animal Kingdom” do well, and then move them to Thursdays. Or rather, have any show work, on any night, and then build around that.
I am upset – My favorite show Smash will not appear until mid season. It is NBC’s best show! I agree NBC is holding their best shows until mid season.