A year after Chuck ended its run, the cult dramedy’s creators Chris Fedak and Josh Schwartz have reunited for Midnighters, a drama based on the Alloy sci-fi/fantasy book trilogy by Scott Westerfeld. This time, Fedak is the sole writer on the project, which is being produced by Schwartz and Stephanie Savage’s Fake Empire, Alloy Entertainment and Warner Bros. Television. Midnighters, which has received a script commitment, is a drama centered on a small group of people all born at the stroke of midnight who have access to the 25th hour of the day. Fedak, Schwartz and Savage executive produce with Fake Empire’s Len Goldstein and Alloy’s Leslie Morgenstein and Gina Girolamo. The Midnighters book series includes The Secret Hour (2004), Touching Darkness (2005) and Blue Noon (2006).
Vik Sahay has joined A.J. Cook, Simon Quarterman and Brian J. O’Connor in WER. The werewolf film follows the investigation into the murder of an American family in Paris. Sahay, best known for his role in …
Competition for Emmy nominations among this year’s Outstanding Comedy Series contestants is no laughing matter. The showdown between two 20th Century TV hits is more intense than ever, with Modern Family showrunners Steve Levitan and Christopher Lloyd trying to score their second consecutive Emmy win, while Glee executive producer Ryan Murphy is hoping to edge them out. That is, if one or more of a duo of up-and-comers — Community or Parks and Recreation — don’t act as spoilers. Then again, past Emmy stalwarts 30 Rock or The Office could resurface. Or Showtime’s bold, female-skewing dramedies Nurse Jackie or newbie The Big C might seize the spotlight. And don’t rule out the possibility of CBS’ The Big Bang Theory finally scoring a nod in its fourth season, or How I Met Your Mother receiving recognition in its sixth. And then there are the underdogs. As The Middle’s co-showrunner Eileen Heisler (with DeAnn Heline) says about ABC’s Wednesday night lineup, “We’re really grateful to Modern Family for bringing attention to family shows. We’ve benefi tted from their success, but I think it takes a little longer for people to realize the next door neighbor in The Middle is edgy and wry.”
If Modern Family does repeat, no ABC sitcom has managed that feat since Taxi more than 30 years ago. Of course, NBC’s won three years running. And Frasier took home a record five in succession between 1994 and 1998. So it can be done. But that doesn’t mean Modern Family’s Christopher Lloyd thinks it’s a shoo-in. “Among certain segments of the blogosphere who first anointed the show that everybody is supposed to be watching, there’s another rush to declare that it stinks now. And then there will be others who’ll want to say ‘I told you so’ when it wins again.”
There’s general agreement it would take a miracle for any freshman broadcast network comedy to crash this year’s top comedy series’ Emmy party, with the possible exception of Fox’s Raising Hope. Though there’s a sliver of daylight for a newbie cable show like The Big C, despite the fact it’s a dramedy. Cable continues to make inroads in the comedy series categories, evidenced by Showtime’s Nurse Jackie capturing eight Emmy nominations last year, including one for top comedy; with Showtime’s Weeds as well as HBO’s Entourage and Curb Your Enthusiasm landing series nods in recent years. This year, TV Land’s Hot in Cleveland has Emmy buzz. But only one cable comedy has ever won: HBO’s Sex and the City in 2001.
Here’s our assessment of the chances for this year’s comedy series in alphabetical order:
Although the NBC hitcom’s three-year winning streak ended last year (done in by ABC’s freshman breakout, Modern Family), it remains an industry darling — with good reason. While not as consistent as its earlier seasons, its comedy quality never seems to wane. So, without ever actually going away, it could be primed for a comeback. But the show, which celebrated its 100th episode this season, may also be mistakenly placed in the “been there, done that” category, even with red-hot writer/producer/actress/author Tina Fey at the helm (the recent Tracy Morgan scandal notwithstanding). But if the Academy revisits NBC’s quirky workplace comedies, they just might opt for the newer Parks and Recreation or Community.
THE BIG BANG THEORY
As popular as this CBS smash is, it has yet to be Emmy nominated despite originality in its scripts and ensemble. Kudos to the producers for broadening the cast this season and stepping up the romance for Mayim Bialik’s and Melissa Rauch’s roles, especially after Jim Parsons was acknowledged as last year’s Outstanding Lead Actor in a Comedy Series winner for nerd-chic hilarity. If you’re going to vote for a Chuck Lorre show this year, this one’s decidedly less baggage-laden than Two and a Half Men, which lost its Sheen.
THE BIG C
With lead Laura Linney considered a shoo-in for an Emmy nod, a side effect is that her show’s chances of breaking into the Outstanding Comedy Series Emmy race likely increases as well. Question is, did they increase enough? Is the TV Academy ready to honor a dark comedy centering on a woman’s battle with cancer? Perhaps it’s time. If so, there could be two Showtime noms in this category for the first time, assuming Nurse Jackie repeats. Says showrunner Jenny Bicks, “It’s not going to be an easy fight for us.”
Forever floating on the renewal bubble (it will live on for a fifth and final short season of 13 episodes next season), Chuck has a well-earned reputation as The Little Show that Could. But, plucky as it is, the unlikely spy yarn remains a significant Emmy long-shot. Besides, NBC already has a couple of potential sleeper contenders at the ready in Parks and Recreation and Community.
What is arguably NBC’s most innovative comedy shoots high creatively but has yet to land commensurate ratings. Critics, however, have been quick to sing the show’s praises, perhaps loudly enough to help get it noticed by Emmy voters. Remember when Fox’s Arrested Development used critical praise to trump low viewership? Showrunner Dan Harmon likens Community’s comedy to “Krispy Kreme — we just have to get it into people’s mouths.” Or, in the case of Academy voters, into their DVD players.
In its second season, the wine-soaked “Friends for grownups” really came into its own as an ensemble comedy rather than just a Courteney Cox vehicle. And it’s even poking fun at the icky title that long ago ceased to have anything to do with the series premise. Nonetheless, it’s probably not ABC’s Wednesday night show with the most heat in this comedy category because of Modern Family.
EASTBOUND & DOWN
This back-to-fi rst-base comedy about a washed-up baseball player enjoys the prestige of HBO and the marquee value of Will Ferrell as a producer. But it’s perhaps too raunchy for older TV Academy voters. Given that producer-star Danny McBride says this forthcoming third season will be its last, Eastbound & Down likely will strike out Emmy-wise.
After landing nominations in the top comedy category for three years running, HBO’s Hollywood insider send-up didn’t make the cut the last go-round. If shut out again, it’s because Academy voters have moved on from an aging series that returns for its shortened eighth and final season on July 24th. It didn’t help when news leaked out in May that HBO pulled it from broadcast syndication by Warner Bros Domestic TV.
If the television industry’s insiders love anything more than laughing, it’s laughing at itself (see 30 Rock, Curb Your Enthusiasm). And there’s been buzz about how this Showtime Brits-out-of-water comedy reinvented Matt LeBlanc. But, even if he might, the series probably doesn’t have a high enough profile yet to garner an Emmy nod.
In 2009, the Fox show that wouldn’t die became the first animated series in nearly half a century to win an Emmy nomination for Outstanding Comedy Series. But it was shut out the very next year. So expect the next TV Academy recognition for Family Guy around 2060. One question mark is whether the toon’s unique in-your-face way of campaigning for Emmy helps or hurts to sway voters. Then again, this is the comedy series category.
Bob Greenblatt is putting his stamp on NBC with his first schedule that introduces 12 new scripted series — six dramas and six comedies — and features some bold moves, including opening a two-hour music reality block against ABC’s Dancing With the Stars on Monday and a female-skewing 8-9 PM comedy block Wednesday against ABC’s comedies as well as X Factor/American Idol.
Additionally, gone is the Thursday 10 PM comedy block as NBC is returning to its tradition of running high-profile character-driven procedurals in the hour once occupied by ER. The network’s remake of Prime Suspect with Maria Bello will now take over the spot. As for the large volume of new shows, it is understandable given the shape NBC is in.
MONDAY REALITY BLOCK: NBC is streamlining its reality franchises, running all series — veterans The Biggest Loser and Celebrity Apprentice and relative newbies The Voice and The Sing-Off — in the same format of two-hour 8-10 PM blocks. Encouraged by the performance of The Voice, whose live shows were recently expanded to two hours, NBC first decided to bring the show back on Mondays in January with two-hour episodes. Then “we thought, let’s begin building that in September with The Sing-Off,” Greenblatt said. As for pitting the singing competitions smack against ABC’s venerable Dancing With the Stars, “The Sing-Off and The Voice are younger-skewing shows, and we think that there is room for both –- an old-skewing dancing show and a young-skewing singing one,” Greenblatt said. Still, the move is risky. While skewing older, Dancing is a very broad show that also attracts large young audiences. NBC is completing a female-oriented Monday night with the new drama Playboy Club at 10 PM, which should do OK against the male-skewing Hawaii Five-0 on CBS.
WEDNESDAY COMEDY BLOCK: Christina Applegate and Hank Azaria have been given a tall order: Their new comedies Up All Night and Free Agents are launching a new NBC comedy block at 8 PM on Wednesdays. “One of the goals was to launch more comedies as that is vital for the long-term growth of the network,” Greenblatt said. With Tuesday’s lineup of The Biggest Loser and Parenthood “stable and working,” the only option was Wednesday. “We’re taking two of our strongest new comedies with our brightest stars and will try to establish a foothold on Wednesday. We’re not fooling ourselves that it will be easy, but we think have the goods, we will put marketing behind it and we will be patient.” One think that I find odd: the young-skewing comedies are followed at 9 PM by Harry’s Law, starring 62-year-old Kathy Bates.
NO 30 ROCK ON IN THE FALL: Last year, NBC’s decision to hold back Amy Poehler’s Parks and Recreation after it had just built great momentum created uproar. This time, it is the show of Poehler’s pal and newly minted best-selling author Tina Fey that is not on the fall schedule. But there are practical reasons behind the decision. I hear that pregnant Fey is not due until August, so she probably won’t be able to start filming until October. So instead of doing a few episodes in November before a holiday hiatus, NBC opted to bring back 30 Rock in midseason with an uninterrupted run of originals.
He’s done it again! Escape artist CHUCK, which has successfully cheated cancellation for the past two years, will be coming back to fight again next season. I hear a deal is being finalized for a 13-episode order to the NBC spy dramedy. (The other Warner Bros.-produced, yet-to-be-renewed NBC series, David E. Kelley’s HARRY’s LAW, has long been considered a good bet to return). It is unclear what CHUCK‘s renewal bodes for NBC’s other big bubble Monday show, LAW & ORDER: LA. After getting a rare second chance with a complete reboot that has largely failed, it is unclear what more NBC can do with the show. But as they say, never bet against Dick Wolf. PARENTHOOD, which has done solid business in its Tuesday 10 PM slot, is expected to return, while THE EVENT is not. Also probably out is comedy OUTSOURCED despite a fan campaign to save the workplace show.
Last year, CBS went for a bloodbath, canceling seven series, including some decent performers like The Ghost Whisperer and The New Adventures of Old Christine. The network, which is yet to find a series that does as well as Ghost Whisperer in the Friday 8 PM slot, is not expected to go for such a dramatic overhaul this year. I hear a deal is almost done for RULES OF ENGAGEMENT to be renewed as CBS seems to be summoning all of its veteran comedies as flagship Two and a Half Men faces an uncertain future. There is even talk about possibly bringing $#*! MY DAD SAYS sans star Jonathan Sadowski. Even long-forgotten legal dramedy THE DEFENDERS is not completely dead. As one insider noted, the show starring Jim Belushi and Jerry O’Connell did better than any other CBS series in the Friday 8 PM season this season. Things don’t look good for midseason comedy MAD LOVE, though CBS brass loooove Jason Biggs, while CBS’ other midseason entry, crime drama spinoff CRIMINAL MINDS: SUSPECT BEHAVIOR, is at 50/50 as its performances has been largely disappointing given its pedigree. As for CSI: MIAMI and CSI: NY, word is that the entire CSI franchise, a big off-network and international seller, is safe for next season.