When writers deals were made for 30 Rock for next fall, they were were made with the presumption that the upcoming 13-episode seventh season will be the Emmy-winning comedy’s swan song. But during today’s NBC conference call the network’s chairman Bob Greenblatt said that there no decision has been made to end 30 Rock, The Office or Community after the upcoming season. “We haven’t definitively said that on anything yet,” he said. Like 30 Rock, Community was picked up for 13 episodes and is being moved to the Friday 8 PM slot where NBC sent Chuck for its final 13-episode season last fall. The Office was renewed for 22 episodes. Asked whether Community creator Dan Harmon will return as showrunner next season, Greenblatt said, “I expect his voice to be part of it,” adding that it is still unclear if that will be in his current role or as a consultant. Greenblatt dismissed the notion that the discussion about Harmon possibly stepping down from day-to-day oversight of the show stems from his ongoing feud with co-star Chevy Chase, saying that there are larger factors beyond that.
NBCUniversal today announced a $190 million upgrade to its 30 Rockefeller Plaza headquarters and other New York City facilities. The construction, which is scheduled for completion in mid-2014, will see more than 1.2 million square feet …
U.S. series nominees at the 52nd Monte Carlo Television Festival in the drama category are Boardwalk Empire (HBO), Game of Thrones (HBO) and The Good Wife (CBS Studios International). Comedy series nominees are 30 Rock (NBC Universal), The Big Bang Theory (CBS Studios International) and Modern Family (Twentieth Century Fox …
After doing a live episode in October 2010, NBC’s 30 Rock will do it again next month. Co-star Alec Baldwin revealed the plan in an interview with Extra. “So watch Thursday night, April 26,” he told the entertainment …
Sorry, Jack Donaghy, you’re just not my type. Because Don Draper ruined me for other men. Anyway, here’s the 30 Rock clip from tonight:
UPDATE, 3:39 PM: Tracy Morgan has been released from Park City Medical Center after last night’s incident. He took to his Twitter feed today to explain: “The high altitude in Utah shook up this kid …
RATINGS RAT RACE: Strong Premiere For ‘Rob’, Slow Start For ‘Finder’ & ’30 Rock’, ‘The Firm’ Takes Plunge In Regular Slot Debut
Bad reviews be damned. Rob Schneider’s new CBS comedy series Rob overperformed in its series premiere last night, drawing a 4.1/11 among adults 18-49 and 13.5 million viewers. The multi-cultural sitcom delivered CBS’ best numbers in the Thursday 8:30 PM slot in almost two years, since the Thursday finale of Survivor: Heroes And Villains on May 13, 2010, and ranked as the third-highest-rated new series premiere this season among 18-49 behind CBS’ 2 Broke Girls and Fox’s New Girl. On the cautionary side, Rob did only slightly better than the debut of the now-defunct $#*! My Dad Says in the time period in fall 2010 (4.0 in 18-49). Rob was helped by a strong lead-in from The Big Bang Theory (5.2/15), which was up 13% from its last original five weeks ago. (Rob was also probably aided by its strong Hispanic themes – George Lopez’ appeal to Latinos helped the ABC sitcom get to syndication). Rob lifted CBS’ rookie drama Person Of Interest (3.2/8, 14.3 million) at 9 PM to series highs in adults 18-49 and total viewers. The Mentalist (2.7/7) was flat. CBS easily won the night in 18-49 and total viewers.
NBC’s midseason schedule announcement yesterday contained some disheartening news for 30 Rock fans — for its upcoming sixth season, the Emmy-winning comedy has been assigned the tough Thursday 8 PM slot. A cult favorite and a major awards contender, the Tina Fey-Alec Baldwin starrer has never been a big ratings draw and can hardly be perceived as an 8 PM anchor material. Plus, this represents the umpteenth time slot change for the office comedy, which has previously aired at 8:30 PM, 9:30 PM and 10 PM on Thursday. But as daunting as seems, 30 Rock’s uphill ratings battle might be aided by a secret weapon — the series’ additional exposure through its cable (on Comedy Central) and broadcast syndication launch this fall. As a newly-minted 8 PM comedy, 30 Rock joins 2 other returning half-hour sitcoms that air in the 8 PM time slot: CBS’ How I Met Your Mother on Monday and The Big Bang Theory on Thursday. The three have more in common than an airtime. Besides being a direct competitor to 30 Rock on Thursday, Big Bang too rolled out in cable (TBS) and broadcast syndication this fall, getting a ton of promotion, including during the baseball playoffs on TBS. The extra exposure may have boosted Big Bang‘s original airings on CBS — season-to-date, the comedy has averaged a 6.0 (most recent) 18-49 rating and 14.9 million viewers, up 15% in the demo and 14% in viewers from last fall. Meanwhile, How I Met Your Mother launched in cable syndication on FX this fall after languishing on Lifetime, where it had been mishandled last season. The added eyeballs (HIMYM continues to air on Lifetime too) may have helped the veteran comedy, which is hitting series highs in its seventh season on CBS — HIMYM (5.1 rating in 18-49, 11.4 million) is up a whopping 24% in 18-49 from last year and 19% in total viewers. It is probably not a coincidence that Big Bang and HIMYM are among the biggest ratings growth stories this season just as they got launched/re-launched in syndication.
Ryan Murphy Prods w/ 20th Century Fox TV
Why It Was Nominated: Well, of course they had to nominate it. Love it or hate it, Glee remains the rare broadcast comedy that carries as much style as it does substance. It remained true even through a polarizing second season when the online community and critics consistently took the show to task for devolving into a parody of itself. Call it Sophomore Implosion Syndrome. But it’s still undeniably energetic and often imaginative.
Why It Has To Win: Unlike last year, it would be a monumental upset were Glee to take the prize this time. But the TV academy can surprise you. Voters are notorious for lagging a year or so behind the curve. While it’s something of an apples-and-oranges measure when compared with the rest of the category competition, Glee remains a technically flawless production, a fact that can’t be minimized at a time when series steeped in song and dance continue to pack ‘em in.
Why It Can’t Possibly Win: It wasn’t just fans and critics fueling the Season 2 backlash. It’s also been the industry itself, directed at both the show and at showrunner Ryan Murphy for his perceived arrogance amid its charmed early life. One comedy producer also noted, “Between the 3D concert movie and the (Glee Project) series (on Oxygen) and everyone talking about it endlessly, they got annoyingly ubiquitous real fast. I mean, if Glee wins, the sound of retching will prove deafening.” That probably doesn’t bode well.
Greg Daniels, The Office (NBC)
Why He Was Nominated: Being nominated for Emmys is simply what Daniels does. He’s reeled in 19 Emmy nominations all told, including three in this category and three noms this year alone. He’s won here once before, in 2007 for the celebrated “Gay Witch Hunt” episode of The Office. And Daniels has five Emmy trophies to his credit all told, also including previous wins for King of the Hill, The Simpsons and Saturday Night Live.
Why He Has To Win: In earning a nomination for star Steve Carell’s final episode, Daniels becomes something of a prohibitive favorite to win for writing, particularly since he’s already taken one home here previously. The super-sized episode, “Goodbye, Michael,” was heavily hyped by NBC and exceptionally well-received by viewers and the industry. “Greg did a terrific job of walking the line between comedy and sentiment,” one producer told me, “which was quite a feat.”
Why He Can’t Possibly Win: Sentiment doesn’t always go over so big with the TV academy crowd, whether talking about shows or individuals. Voters could well also figure that giving an overdue Emmy to Carell for acting is plenty and need not adorn the farewell with coattails. Plus, there are a couple of other exceedingly worthy contenders here, like a particularly buzzed episode of Modern Family.
Beth McCarthy-Miller, 30 Rock (NBC)
Why She Was Nominated: Because the trick that McCarthy-Miller turned here in handling a pair of live performances (one for the East Coast, one for the West Coast) was a huge one, recalling the fly-by-the-seat-of-your-pants trials from TV’s earliest days. It’s her seventh Emmy nomination and second for directing on 30 Rock (the other coming in 2009). Yet McCarthy-Miller still is seeking her first win despite being one of TV’s most respected directors.
Why She Has To Win: It’s safe to say that no one had a bigger series directing challenge during the past year than 30 Rock’s “Live Show.” As McCarthy-Miller told Deadline last month, “It’s fairly hard when you’re live to do that quick kind of dialogue and not fall flat on your face. … There were 108 camera shots before the first commercial break.” In case voters needed added incentive, no woman has won the Emmy for comedy directing in 18 years, or since Betty Thomas took it home for HBO’s Dream On in 1993. Talk about overdue.
Why She Can’t Possibly Win: See above about the last time a woman won in this category. Thomas’ win in ’93 also was the only time a woman earned the Emmy for directing, period. So the TV Academy may have issues giving this statuette to that gender. Too, Modern Family has three entries, and all are awfully strong. That mockumentary style is a director’s dream.
NBC’s 30 Rock is one of the network’s workplace comedies (including The Office, Parks and Recreation, and Community) with Emmy nominations this year. 30 Rock already has a trio of back-to-back wins in the top comedy category for 2007-2009. But this time the show’s creative team is pushing hard for a directing win for Beth McCarthy for its much-touted live episode. A Saturday Night Live veteran, the helmer sometimes known as McCarthy-Miller is up against the other comedy director nominees Pamela Fryman for How I Met Your Mother and also Michael Alan Spiller, Gail Mancuso and Steven Levitan, all for Modern Family. Deadline TV contributor Diane Haithman talked to creator and star Tina Fey, showrunner Robert Carlock, and Beth McCarthy about their Emmy hopes for 30 Rock this year, whether the Tracy Morgan controversy will be written into the show, and if this will be Alec Baldwin’s final season:
DEADLINE: Do you think that Tracy Morgan’s seemingly anti-gay jokes in his standup routine [“I’ll kill my son if he acts gay”] will hurt the show’s Emmy chances or its reputation in general?
TINA FEY: Because of my real-life pregnancy, we don’t go back on the air until January. I’m hoping that Tracy will have, and the world will have, forgotten about that by then. He from the first has gone around very sincerely and done his best to try to make up for the foolishness.
CARLOCK: He’s horrified and embarrassed. … Certainly if we come home [from the Emmys] empty-handed, I’m not going to blame Tracy.
DEADLINE: Will you write the controversy into the show?
FEY: It’s the kind of story that even if it happened to someone else, we would probably turn it into a Tracy story. So we may use it.
DEADLINE: Is this going to be Alec Baldwin’s last season?
FEY: You know, we’re going to keep talking to him. I think he’s a person who talks sometimes and changes his mind, like any person. But we are going to keep talking to him, and as soon as I know, I will let you know.
MCCARTHY: We are going to make him change his mind.
DEADLINE: Are people gunning for 30 Rock since it’s been on the air since 2006?
TINA FEY: It’s like you’re reading something harshly critical about the show, and you go: ‘This isn’t even a writer, this is an Internet poster,’ and you have to separate yourself. Having worked at Saturday Night Live, you ride the cycle of, ‘We’re discovering it, we hate it, it’s the worst it’s ever been, it’s coming back, we’re rediscovering it.’ You ride that Ferris wheel for years there. It’s a perception that is inevitable, and you just keep doing your work.
ROBERT CARLOCK: We just want Beth to win.