Cream of the Crop

The new television season has started! Can I get a woot-woot?! (Did I just age myself? I did, didn't I? Well, get jiggy with it, and let's move forward.) I'm sure you have a life, dear Reader, and have not done what I have done and either watched or DVR'd almost every premiere aired and have already dedicated hours of precious life to faux-Chuck Lorre comedies and Friends knock-offs. And even though some -- Pan Am, Terra Nova, Grimm, and Once Upon a Time -- have not aired yet, I do have thoughts on the current crop already. I'm sure this is how vintners feel at the end of grape growing season. While the Chardonnays aren't quite ready yet, and the Pinots need to age a bit, some of these Merlots are excellent!

NEW GIRL: This is already getting bashed by a couple of my friends and my hairdresser, but I totally like it and I've moved it up on my DVR's priority list. I particularly liked that they didn't set up the romantic entanglement (though my money is on Nick). I feel like they're going to let it breathe and allow the actors to nurture their natural chemistry. I'm very upset, however, that Damon Wayans, Jr. had to go back to Happy Endings (who saw that getting a second season pick-up?!). While Happy Endings might become the best Friends knock-off we've seen yet, New Girl feels like it's going to become the next genesis of Friends and therefore will probably have legs. I like DW, Jr. in general and prefer Coach over Brad (yes, I did watch Happy Endings. Casey Wilson deserves a fantastic career, and I will devote myself to that end...at least for another mid-season replacement). I read that they replaced DW, Jr. in the second episode with a new new "roommate," but I think it screws with their gimmick a little. Not that the average viewer is going to care or probably pick up on it (See: Cougartown). But I did, it will bother me in the way that only a snobby development person can be bothered by such lame things. The complaints that I've heard have been over Zooey Daschanel's character. She's dumb, supposedly and/or annoying. Why did they have to make her so weird? I guess that "quirky" can come off "dumb," but I saw the character as more awkward, insecure, and nerdy. Which I like, because I'm really tired of hip, gorgeous, sexual secure women who trip while walking into a bar then open their eyes wide in wonder when a hip, gorgeous, sexual secure man likes them because, hey, she tripped! She's not perfect! How could he possible like her?! Blergh. I'll take quirky and weird over neurotic any day...which brings me to

UP ALL NIGHT: I've watched both episodes and if I watch any more, it's only because my roommate liked it, and I might sit through it while on my iPad answering emails. Maya Rudolph, like Casey Wilson, deserves a stellar career. I don't know if she deserves this show. I did read that they re-shot the pilot to add more Maya to which I think we should all thank the network gods. In fact, they should scrap this and spin-off Ava into her own show. While Christina -- completely gorgeous -- and Will -- totally handsome -- are pretty funny people with terrific timing, I think they both belong in ensemble casts. I just don't get this. Possible because I'm not a parent working in L.A.'s entertainment industry. Their neurosis chafed at me. These are privileged, entitled people wondering if their hipster neighbors who just bought a million dollar house in, what, Los Feliz, will like them. This is what they worry about? Check, please! Maybe because I work with these kinds of people and can't stand them, I'm the wrong audience for this show. Additionally, the scripts have been uneven, and Glee has taught me never to brush off an uneven episode.

FREE AGENTS: Another show that people are already bashing. I've watched two episodes, and I'm on the fence. I love Hank Azaria, and Kathryn Hahn needs something big to happen. She's very smart and funny. I don't know why she's not catching on. But this isn't it for her. And it won't be it for Hank, either, but Hank has a solid career. How he's doing this and ten voices on the Simpsons, I don't know. The big problem with this show is that the pilot felt like Episode Ten. There is something sweet between Helen and Alex, however, they've already answered the Will They or Won't They question (they did) and we're now in a FWB situation with 40-year olds. Is this exciting? I don't think so. It's all a little familiar. But I love Hank and Kathryn, so, *shrug*

RINGER: *Disclosure* I am not a Buffy fan, ergo Sarah Michelle Gellar's return to series was not an impetus to watch this show...Ioan Gruffudd was! Hello, Captain Hornblower! *kiss, kiss* I think they threw everything and the newly renovated apartment's kitchen sink into this pilot's script. It was a lot to take in, and the special effects were pretty atrocious. With that said, if I catch it, I catch it if only to gaze in adoration at Mr. Fantastic. But the evil twin storyline is laughable, not to mention that I can probably chart out the next two seasons' plotline for you right now. But if you liked it, I'll let you be semi-surprised by this soap opera.

THE SECRET CIRCLE: Don't hate me. I love it. LOL! Won't do Vampire Diaries, but this totally looked like the The Craft, and I was all for it. I also like Britt Robertson. She was terrific in Dan in Real Life, though a little stiff in Avalon. She's a little stiff here, too, but I think she has potential.

PERSON OF INTEREST: *Sigh* I don't know what to say about this. First, I guess the tenth anniversary of 9/11 means we can use it now as character/plot motivation in series TV to give -- what, gravitas? -- I don't know. Person of Interest used it, as did last night's CSI:NY. In the case of Person of Interest, it is used to set up the world: A 1984-like police state where we are all being monitored all the time and there is a Big Brother computer collecting this data and hypothesizing who is going to either commit or be a victim of a violent crime. The conspiracy theorists are going to luuuv this show. With that said, I like this show. Jim Caviezel's cheekbones alone will keep me tuning in for awhile, and maybe it'll either completely hook me like Lost -- hello, Michael Emerson -- or be my go-to show like House. Solid, well-acted, and good TV. In fact, smart money would be on a House-like scenario. Close-ended episodes perfect for dipping into and syndication. But we'll see.

2 BROKE GIRLS: This show wins for the most Chuck Lorre-like show that is not produced by Chuck Lorre. I adore -- AH-DORE -- Kat Dennings. But I'm not sure about this show. It is definitely on the right network, unlike Whitney, and it'll probably work out, unlike Whitney. Luckily, Whitney Cummings is the co-creator and probably getting a nice paycheck which she is going to need when NBC axes Whitney. Why am I talking about Whitney in the 2 Broke Girls paragraph? Because there's really nothing to talk about in regards to either. In 2 Brooke Girls, two girls with no money are going to start a cupcake shop (so NYC 2005, btw) by pooling their waitress'ing tips. The gimmick is that at the end of episode we see how much money they have cumed towards their $25,000 goal. Hopefully, the economy turns around and they are able to get a small business loan in three years, but, hey!, it's TV! In the middle of that, hi-jinks ensue because they are, you know, two broke girls. CBS comedy, what can you say...

A GIFTED MAN: Probably my second favorite of the season. I want to hate Susannah Grant, but I can't. I will reserve, however, that I don't know how long they will be able to sustain the gimmick. Considering the love story is between a very hot and gifted surgeon and a dead ex-wife, well, other than Patrick Wilson growing enough to fall in love with someone else and letting Jennifer Ehle go, it's kind of a Gothic romance like Heathcliff and Katherine, isn't it? He can't have the girl. Literally. But, Jennifer Ehle is luminous. She, like Kathryn Hahn, deserves so much more than she's been given. She is incredible actress. I'm hoping that between Contagion and this, she will finally gain the eye of Hollywood's power producers. HIRE HER! Good god! I also don't know how this is going to do once Jonathan Demme is no longer directing. The pilot was just gorgeously shot, and I'm afraid of what's going to happen to the enormous set pieces once the production value is wrangled to the one million mark. Bad, bad things can happen. But I'm totally going with this one if just for the cast. Speaking of a kick ass cast

PRIME SUSPECT: I have not watched an episode yet, but I just saw a publicity shot and Brian F. O'Bryne and Aiden Quinn are in this? Hm, I might have to Hulu this one just to check out. I was on protest because, well, American versions of British hits aren't exactly good. Just look at Being Human and just about everything else. Even The Office, while a hit, never really worked for me. And while I'm on protest

THE PLAYBOY CLUB: No. NOOO. You can not make me. First, cloaking misogyny and sexual exploitation in the guise of a period drama is ridiculous. Calling it sexual equality makes me want to vomit. Second, you can't call it female empowerment then start the show off with a girl almost getting raped, killing her attacker, and then needing a big strong man to come and save her. Third, you're no Mad Men. Unless you can pull off an episode like "The Suitcase," you're just a wannabe and totally don't get what Mad Men is about anyway. All style, no substance. Will not. NO. Ditto for Charlie's Angels. Minka, darling, be the Farrah and GET OUT!

As I've said, there is more to come in the next few weeks, and I'm very interested in which of these get the ax first. While there is a lot of serviceable material out, they will have to compete with Modern Family which started off strong, Community and its cult following, Simon Cowell shows old and new, and all the Chuck Lorre and Shondra Rhimes programs that have their own legions of fans, not to mention cable. When is Mad Men starting again? My DVR is jammed and I've had to make some tough decisions. However, if some of these can just limp through this season, I think we're going to need them for next year when Desperate Housewives, House, and possibly Grey's Anatomy, Chuck, and The Office finally go away because all in all, there's nothing atrocious that can't be ironed out with some solid acting and a good story arc.

Here's to the new season, darlings! Cheers!

Hope for the Best

A month ago, we got a green light for our second film of the season, and we're in that glorious time called pre-production. Pre-production is when a person gets to believe that bad writing will finally get that one last polish to smooth out all those goofy lines, that this director will finally be the director who doesn't become a raging despot on set and go over budget by millions for no apparent cinematic reason, and that all the actors cast will be inspired and embody the character they were employed to portray without dialing it in. After five years, this is still my hope. What can I say? I'm an optimist!

Well, we're polishing the script, and there are still goofy lines, and - in my opinion - the director has already made some questionable calls in regards to where to put some money which means it's only down hill from here. However! There is still hope in casting! There is always hope in casting...until there isn't. It started off very good as I made a suggestion about the lead and the EP thought it was brilliant and the actor liked the script and moved things around in his schedule and now he's our lead! Yay! I like producing! And then the actual casting sessions started. The new movie is a large ensemble piece that requires younger actors with "character." In other words, we're not looking for High School Musical kids, we're looking for kids that are a little off-beat, are actually teenagers, and aren't necessarily beautiful. And, yes, I know we are beautiful in every single way, but directors seem to love CW's standard of beauty over Christina Aguilera's standard of beauty, if you know what I mean. I haven't met a director yet that has taken that weird, gumpy looking actor who actually understands the motivations of the character and delivers goofy lines organically over, you know, that model turned actor. How else do you explain Mark Wahlberg who started out as the brother of a "New Kid on the Block," got a rap career which was eclipsed by a modeling career, which got him into movies, which got him into producing a TV show that mocks people trying to make a film career through merit by revealing that it really is all in who you know? *Sigh* (I'm so glad that show is over. I love Mark Wahlberg - call me! - but, com'on. Thank god for In Treatment and Boardwalk Empire or else my love would be in cheap tatters never to be risen from the ashes of our mutual devotion to working-class Irish neighborhoods and Catholicism.) I'm digressing. Where was I? Oh, casting! Right.

Anyway, couple weeks ago, we're on nowcasting.com looking at the auditions. And the thing about development is that you spend weeks and months and sometimes years just talking about the plot and the story arc and the characters, and the character development, motivation and journey. I mean, hours are spent on this! And you work very, very closely with the writer(s) to bang the script into something that feels emotional, subtle and satisfying. So when I'm watching auditions, I look for an actor who is the whole package: Not only the actor who's got "It," but the actor who gets it (i.e. the actor who is appealing enough for an audience to stick with no matter how annoying while also being natural within the character's skin). Inevitably, people walk into casting sessions that you recognize from features and favorite television shows, and either you're ecstatic -- we can get her? I LOVE HER! -- or you mentally cringe. But you go through the process with an open mind. Sometimes your favorite person disappoints. Sometimes that guy who you believe in your heart-of-hearts is the reason why your favorite show got cancelled and you swore a blood oath you would destroy if you ever met him, does a surprisingly good job. After we watch several auditions for each part, we have conversations about who we liked, what we know of their body of work, and make educated guesses on how we think they would work within the confines of the character. After we come to a consensus, we write an email to the director and the casting director. Usually, about 24-hours later, the director comes back with "ideas." Ugh. Collaboration tries my patience. Inevitably, the director gets his way. Not because he's persuasive enough to convince us that he's right, and we're wrong, but because I work with producers who are directors and they "respect" the director's authority. Personally, I'm a free-market person and if I'm giving you ten million dollars to create my product, I want that product to look like I tell you, and if you won't do it, I'll find someone who can. If I'm looking for an auteur, I'll call Tarantino. Welcome to television, baby.

For the last two weeks, we've had callbacks and auditioned more people in Atlanta and Houston. We still haven't come to a consensus with the director. However, since production starts in a week, we're starting to give in to him. I guess these guys - and I mean, guys. When I use the pronoun "he" to describe the director, I mean "he" as in male because in five years of doing this, only one has been female. One. - know that if he just keeps debating (i.e. stalling) without making an offer to anyone, he'll eventually win because the money is now in play and it's not his money and eventually the clock runs out and we will need an actor on set now. I hate producing! Anyway, I heard one of the producers talking to the director on the phone yesterday and it sounded like he was negotiating. We'll give you your model-turned-actress if we can have our preferred gumpy, weirdo in the lead kid role. I was very disappointed. However, do not despair for me, dear Reader. We have a yellow light - soon to turn green - on our third movie of the season, and it is another large ensemble cast, and I have a brilliant idea for the lead! I love producing!