Film and Television

Battlestar Galactica

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The season finale of BATTLESTAR GALACTICA was terrific… hands down the best science fiction show on TV in decades…and easily one of the best dramas of any genre on TV this season. It certainly packs more punch per hour than THE WEST WING or LAW AND ORDER have in years.  Watching the show makes me feel like a kid again…it’s one of the few programs I look forward to with fannish glee. It’s also one of the few shows on TV today that’s pure entertainment.

BATTLESTAR GALACTICA may also be the first TV remake, on TV or the big screen, that’s far superior to the series that inspired it.  I wasn’t wowed by the initial miniseries, or the first episode or two, but the series got better and better with each episode, ending in a season finale that was exciting, surprising, funny, dramatic and a heck of a lot of fun to watch.

I can’t wait for the new episodes in July…

(PS – How can anybody be clamoring for a loyal remake of the original series after watching this show??)

Dusty’s Trail

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It’s amazing what you can find on DVD nowadays… you can own the complete series of DUSTY’S TRAIL, all 21 abysmal half-hour episodes of the 1973 syndicated sitcom starring Bob Denver, for just $10 ($4.99 for the 17 episode set plus $4.99 for a seperately released DVD with the first four episodes).Dustystrail 

DUSTY’S TRAIL was a frontier rip-off of GILLIGAN’S ISLAND, about a wagon train lost in the west.  Forrest Tucker took on the "Skipper" role while Denver basically played Gilligan all over again.  They even had a wealthy guy and his wife, a showgirl and.. well, you get the picture. Sherwood Schwartz, the creator/exec producer of GILLIGAN, was the comedic mastermind behind this one as well.

Being a TV geek, I can’t get over the idea that I can own an entire series, even a crappy one, for ten bucks.  The mind boggles at what other complete packages of short-lived, obscure series might show up on DVD.

Already I own on DVD the complete series of NERO WOLFE,  the original STAR TREK, the British series COUPLING and KAVANAGH QC… as well as seasons of ALL IN THE FAMILY, GREATEST AMERICAN HERO, CRIME STORY, THE SHIELD, UFO, NIP/TUCK, SEINFELD,  MARY TYLER MOORE, SPACE 1999,  ARRESTED DEVELOPMENT, SOPRANOS, DEADWOOD,  BOOMTOWN, I SPY,  MONK, SLIDERS,  COLUMBO, EVERYBODY LOVES RAYMOND, DICK VAN DYKE SHOW, and MAGNUM PI. Granted, those shows cost more than $10, but still… I own them. For a guy who has every TV Guide that’s come into his hands since 1970, this is a big deal.

Now if you will excuse me, I have to go light some candles and kneel in front of my poster of Heather Locklear.

Who is the Tall Dark Stranger There?

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Maverick_logEd Gorman has been pondering, and remembering,  my friend writer/producer Roy Huggins,  creator of such classic TV series as MAVERICK, THE FUGITIVE, 77 SUNSET STRIP and (with Steve Cannell) THE ROCKFORD FILES. I contributed a few memories of my own experiences with Roy to Ed’s blog, as well as a short piece on MAVERICK. If you’re interested in a little TV history, you might want to mosey over there to Ed’s blog and check out the posts.

Gone Baby Gone

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Variety reports that Ben Affleck will write and direct, but not act in, a feature film adaptation of Dennis Lehane’s book GONE BABY GONE.  The movie, which will be released by Disney, will shoot in Boston this fall and could be the start of a "franchise." The book is one of a series that Lehane, back before MYSTIC RIVER, wrote about a team of private eyes.

Proving that TV Series Bibles are Pointless

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The NY Times reports that the producers of 24, LOST,  THE OC, and DESPERATE HOUSEWIVES have no clue how their seasons will end.  As if you didn’t know. We know they don’t know. The presidents of the networks seem to know it, too (if you believe what they say in the article). The only people who don’t seem in-the-loop on this are development executives, who often want to know before the pilot is written every detail of the hero’s life…who all his relatives are and what they do… and who is best friend was in preschool. But the fact is…none of that matters. And even if the writers tell you, it’s bullshit. They’re gonna toss the bible as soon as they get the series order.

After the
network ordered the first full season of "24," the writers presented a
huge map of the entire first season. The blueprint, however, didn’t
endure. "We used to obsess over that in Year 1," Mr. Cochran said. "You
know, Oh, God, let’s story out as many episodes as we can. We always
got in a lot of trouble with that because if you try it, you end up
locking yourselves into things that don’t really work and it gets
really contrived."

After his four seasons of "24," Mr. Cochran endorses the same approach:
save big decisions till the end of the season. The writers and the
audience, he insists, will then enjoy the benefits of a looser process.
"At the beginning of the season, we certainly don’t know," he said.
"Halfway through, we certainly don’t know. As we’re writing episode 16
or 17, we start thinking in a very general sort of way, where we’d like
to end the season."

It’s the same on shows with a far-less restrictive franchise.

"Lost" and "The O.C.," along with "24" and "Desperate Housewives,"
are high-profile serials with substantial, devoted audiences, but no
one – not writers, not network executives and not viewers – knows
exactly how they will end their seasons. Their writers, like others in
Hollywood, are trying to devise the perfect season finale – with little
time to spare.  According to interviews with writers from all four shows, their finales are unshot, and mostly unwritten.

So forget about "bibles." They’re pointless. What counts is a strong pilot script and a showrunner with a vision.

SeaQuest Meets Baywatch?

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I worked on SeaQuest, with an enormously phallic submarine, Roy Scheider, and a talking dolphin. I also worked on Baywatch, with an enormous collection of fake boobs, Monte Markham, and a talking David Hasselhoff.  So you can understand my miss-givings when I read in the NY Post that,  in a union spawned in hell, the two are coming together.  Steven Spielberg, exec producer of  SeaQuest, is bringing Baywatch to the big screen.  Save yourself while there is still time.

Remember HUNTER?

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It’s not often you see a review of a 15-year-old rerun airing in syndication…but this week, Entertainment Weekly spotlights an episode of HUNTER written by my buddy Morgan Gendel.

This 1990 Hunter ep is titled "Unfinished Business" but I call it "the one where
Hunter and McCall have all the sex." After six years of stake-outs, innuendo,
and lingering looks over dead bodies, Rick and Dee Dee finally get it on in a
series of positively Bergman-esque flashbacks– and a shiveringly unresolved
ending. Mulder and Scully got nothin’ on this heat. Truly, the crap cop show’s
finest hour. Episode: A. Series: C+. TVLand, March 25th at 1 pm.

I’m sure it was the best episode. Morgan has a knack for writing the episode everybody remembers…no matter what series he’s on.  For instance, his STAR TREK: THE NEXT GENERATION episode "The Inner Light" was an instant classic, a Hugo-award winning script that every other STAR TREK series felt duty-bound to ripoff at least once, and sometimes twice (most recently on the ENTERPRISE episode "Twilight").

Staffing Season

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I received this email today:

Lee – as a fringe writer (some low rent success –
but definitely not made) and an avid reader of Successful Television Writing, a question…
When DOES staffing season officially kick off.
I’m always hearing about the "Start of Staffing Season" and you mention it in STW, but I’ve never seen a time when this is  actually going… Late April?

This is how I replied:

It’s not really a staffing "season," more like a couple of staffing "weeks."

The networks announce their fall schedules — the new shows they are picking up and the old shows they are either renewing or cancelling — in late May.  Staffing the new shows, and some positions on returning series, begins almost immediately (though some confident, or at least extremely optimistic, pilot producers actually start taking "get to know you" meetings with potential staffers in early May, before they know whether or not their shows will get picked up).

 
Because most series begin shooting episodes in early July, the staffing season is a very narrow window of opportunity, just about four or five weeks.  If you don’t land a job during those short, competitive, anxiety-filled weeks, odds are you will be sitting out the season (though you may get a freelance gig or a pilot).  That said, there’s another staffing with that opens up a crack around August, when it’s clear that some showrunners and staffers aren’t cut out for their jobs and a quick change needs to be made… and then the window opens a bit again around Thanksgiving, when producers may look to make staff changes for "the back nine" if it looks likely their shows will get a full season pick-up.

 

Star Trek R.I.P.

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I’ve been catching up on my my friend Javier Grillo Marxuach’s blog. We worked together years ago on SEAQUEST, and he’s gone on to much better things… like his current gig as supervising producer of LOST. A few weeks back, he wrote  about the demise of  ENTERPRISE.

For the past ten years, being a star trek fan has been like watching a
beloved relative waste away from a completely curable degenerative
illness… you prayed for someone to administer the readily available
magic bullet of creative freedom, bold choices and individual
thought… and yet, its care was continually entrusted to insurance
company administrators eager to deliver the bottom line.

He nails it, doesn’t he?

Be Warned

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I saw BE COOL, the GET SHORTY sequel, last night (it was our date night and there were no other movies to see).  I can review it succinctly with two words: DON’T BOTHER (or is that technically three words, since "Don’t" is short for "Do Not?"). Not that I’ve reviewed it succinctly, I’ll ramble a bit… GET SHORTY was a great movie. BE COOL is not. Everything that worked in GET SHORTY doesn’t in BE COOL.  The only thing the least bit amusing in BE COOL is The Rock’s performance as a gay bodyguard…which, in a way, should tell you all you need to know about this movie.

By the way, is there an unwritten rule in Hollywood that Vince Vaughan or Jude Law has to be in every movie that’s made?