Jan 11 2010 12:10 PM ET

NBC's new late-night schedule: Brilliant by accident?

NBC is the media’s piñata, slammed for everything from screwing up the 10 p.m. original-drama slot to ruining Conan O’Brien’s sleep. But in its own accidental, cynical, necessity-as-mother-of-invention way, NBC’s new late-night schedule could really work for the network. Here’s why:

Presuming Conan agrees to all this (and I think he’d be making a big mistake going over to Fox), we’ll soon have an NBC late-night schedule with Jay on from 11:35 to around 12:05, and The Tonight Show from 12:05 to 1:05. Jimmy Fallon will rub his eyes and broadcast from 1:05 to 2:05. This is a minor revolution in late-night: No network has ever timed its shows to air in this formation.

What does this mean for the competition? David Letterman goes up against Jay in the opening monologue duel, but Dave also faces Conan’s sharp monologues during The Late Show’s second half-hour, which is when Dave is working his hardest to make sure that his second, B-list guest keeps your interest and that the music acts are lively. This could be a problem for The Late Show.

Even if you’re not a Leno fan, you have to concede that, when he hosted The Tonight Show, his barrage of jokes, the sheer tonnage of humor, was one factor that enabled him to beat Letterman, whose approach has until recently been to keep the monologue brief — a parody-monologue, almost — and then get to his unique, invaluable, “What’s stuck in my craw?” stuff (his true comedy gold) for his second-segment move over to the desk. Which could, dismayingly and depressingly, lead to Leno pulling ahead of Letterman once again.

On the other hand, Craig Ferguson will now start his show during The Tonight Show’s second half-hour, which thus far under Conan has been pretty snoozy, and then fend off Fallon’s monologue (which frequently sounds like jokes that Conan has rejected and faxed over from The Coast), which Craig can probably do pretty easily.

By contrast, Craig comes out a winner, and all the more ready to move into CBS’ 11:35 slot, when and if Dave hangs it up a couple years from now.

This analysis doesn’t take into account that no one has any idea how viewers will watch these shows. Will they be more likely to stick with one network now, or more likely to channel-flip and time-shift even more energetically?

Let me be clear: As a critic, I hope Dave continues to dominate 11:35, and that my theory about Ferguson comes to pass. But as a late-night observer, I’m just saying, NBC may have stumbled onto something here.

What do you think?

You can follow me on Twitter @kentucker.

Jan 11 2010 09:00 AM ET

'Big Love' season premiere: 'Where is Roman Grant?'

The irony ran high on last night’s season premiere of Big Love. Kenny Rogers was scheduled to open the new ”family-friendly” casino that Bill Paxton’s Bill Henrickson worked so hard on all last season with the Blackfoot Indian tribe. But the family we’re most concerned about — the Henrickson clan, including Bill’s three wives: Barb (Jeanne Tripplehorn), Nicki (Chloë Sevigny), and Margene (Ginnifer Goodwin) — is anything but friendly at the moment. They may smile at each other, hold hands and pray in a Mormon storefront church, but back at home(s), things are tense, as good drama must be. Spoilers ahead if you haven’t seen the episode.

Harry Dean Stanton’s Roman Grant was killed at the end of last season by Bill’s brother Joey (Shawn Doyle), but “the prophet” still hovered over the fourth-season opener. “Where is Roman Grant?” is the headline on a TV news broadcast. “Where is Roman Grant?” was the question asked as the FBI bursts onto the dead man’s compound. His wife played by the vinegary Mary Kay Place pleads ignorance, but later, she’ll tell Nicki to go to the basement freezer for some bacon for a BLT sandwich and Nicki gets a load of a lot more than pig meat. Pretty soon, Roman’s corpse is being moved around with the abandon of some outtakes from Weekend at Bernie’s.

The Big Love producers could have gone one of two ways this season: They might have scaled back the series to re-focus on Bill and his three wives. (Lots of fans find the scenes of multi-family life the most interesting for the emotional and organizational complexity required.) Or the Love folks could expand the range of the series and follow through on all the inter-generational competition, back-stabbing and, in the case of Bill’s father Frank (goaty Bruce Dern), and mother, Lois (flinty Grace Zabriskie), front-stabbing.

It’s the latter path that’s been chosen. Whether this was the wisest decision remains to be seen. I like the idea of Bill running for political office in order to defend his polygamous lifestyle. So is anything to do with Alby Grant (Matt Ross), a devious son of Roman Grant hellbent on controlling dad’s empire but unable to resist cruising men in the park, a scandal in the making. (These two strands entwine artfully as well: Bill’s move into the political arena for a certain kind of sexual freedom can stand as a metaphor for gay-marriage rights, and the repression Alby suffers, no matter how much of a weasel he is in his other dealings, is rendered with stinging poignance.)

I open the floor to your discussion. Did the season premiere head off in directions you liked? Do you think Bill is stretching himself too thin as husband, father, and businessman? Which characters are you most interested in following this season?

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Jan 11 2010 08:43 AM ET

The return of 'Chuck,' last night and tonight: Now, it's really 'Chuck Versus Chuck'

In the current issue of EW, I make the assertion that by turning Chuck Bartowski from panicky nerd to adrenaline-pumped super-spy, the show’s creators risk alienating their core fan base. (And until the ratings are in for a few weeks’ worth of episodes, we won’t know whether a core fan base is mostly what’s keeping Chuck alive.)

But watching last night’s two season-premiere hours again, I realized: Fans couldn’t care less about a shift in strategy designed to freshen Chuck and make it more appealing to a wider audience. What the fans want is solidly constructed plots that work within the often-wacky Chuck universe, and for the emotions underlying the joking to ring true — for those emotions to, ideally, even run a little deep. That’s what happened on last night’s season premiere, and will happen again tonight.

Last night’s back-to-backs, “Chuck Versus The Pink Slip” and “Chuck Versus The Three Words,” set up what Sarah enunciated quite succinctly: “You’re a spy now, Chuck; you have to keep your emotions to yourself.” By which she was also referring to herself, of course. This led to a pleasing tension between the two of them.

The missions themselves were pretty “Ring” standard, and, sorry, but Chuck being able to flip and dip between red lasers to avoid tripping an alarm — seen that too many times elsewhere.

What I liked most was Zachary Levi’s more delicate balancing-act that had nothing to do with avoiding red beams of light. Rather, it’s the way Levi is able to navigate between his old, squeamish-guy persona and his new, hey-I-can-do-this abilities. Chuck can’t get too cocky too fast, and he can’t shake the lack of self-confidence that, in the past, has tripped him up both on missions and in romance. Levi walked that fine line perfectly last night.

Loose ends:

• How do you feel about Tony Hale’s character being really dead-dead, and the return of Big Mike? Personally, I’m going to miss Hale’s unique mix of mince and malice.

• Did you buy the notion that Carina would be intrigued by Morgan because “no one’s ever said ‘No’ to me before”?

What did you think of Chuck’s season premiere?

Jan 10 2010 08:41 AM ET

'Saturday Night Live' recap: Charles Barkley shows some bite

It was a measure of how much fun Charles Barkley was as the new year’s first Saturday Night Live host that I couldn’t tell whether he was reciting a joke or ad libbing when he said during the opening moments, “Some of [the show] is great; some of it we’re gonna do anyway.”

While not “great,” it certainly had its good moments. Barkley did his share of saving some mediocre sketches, such as the “Reel Quotes” game-show, which asked two contestants (Barkley and Kristen Wiig) to complete famous film lines. Wiig was supposed to be funny for answering with excessively long responses; me, I laughed when Barkley’s character completed “Life is like a box of… ” with “dead people,” as well as, “May the force be equal to mass times acceleration.”

Barkley, Kenan Thompson, and Jason Sudeikis made the latest variation on SNL’s “Scared Straight” parody amusing in two ways: Thompson rattled off the baroque prison punishments with aplomb, while Sudeikis and Barkley each offered some excellent reactions to the craziness this sketch always seems to stir up in both the performers and the audience.

Weekend Update: Seth Meyers got off a good Lady Gaga/Polaroid spokesperson punchline, and made a so-so Jay Leno/Tonight Show joke (“It’s a little weird to start The Tonight Show at a time when it’s no longer tonight”). The best stuff came from Fred Armisen wheeling in as New York governor David Paterson and emitting a stream of anti-New Jersey jokes:

I’m afraid the “MacGruber” bits were grimly unfunny, hinging solely on Will Forte’s MacGruber blabbing racist idiocies to Barkley’s character. But much worse was the endless “Shana” sketch, with Wiig reprising her supposedly-sexy-then-gross character. Watch it if you dare:

Alicia Keys’ singing exuded what seemed like an effortless power — even when the lyrics in the second song, “Streets of New York,” were just a string of cliches, she sounded terrific. And Keys took part in a pretty funny Digital Short, drunk-dialing Andy Samberg’s weird nerd for a booty-call:

Delayed over 30 minutes by a football overrun, Saturday Night Live betrayed live-show jitters only once, late in the show, when a Charles Barkley-as-a-banker sketch seemed to cut off before its completion. You can’t tell it from this edited version, but it sounded to me as though Barkley continued talking as the show went to a commercial.

Sure, Barkley did a lot of distracting reading off the cue cards, and once again, SNL behaved as though the only woman in its cast who can recite long passages is Wiig. (Nasim Pedrad in particular is being wasted.) Still, maybe it’s the optimism of a new year, but I thought this was one of the more likable editions of the show in recent months: SNL took on some of Barkley’s loose affability.

And, see the bonus moment that could have made mast night’s show a great one: Barkley as Keys!

Jan 9 2010 09:32 AM ET

'Dollhouse' recap: 'Getting closer' to this end of this series, with surprises

Last night’s Dollhouse felt crammed, in both good ways and uncomfortable ways. Written and directed by Tim Minear, who really knows how to handle this stuff, the episode “Getting Closer” seemed as though a lot of information and subplots had been added and compressed once the Dollhouse folks knew that cancellation was probably inevitable. Whether that’s true or not, the result was a dense but by no means unpleasant hour. SPOILERS AHEAD.

How could it be unpleasant, with Amy Acker back as Dr. Saunders, and the revelation that Saunders has been having an affair with Boyd? (Or should that be “?!”) Romance was in the air, as Topher was reunited with Summer Glau’s Bennett. They spent a fair amount of time kissing and making goo-goo eyes at each other… that is, until Saunders shot and killed her.

See what I mean about sudden subplots? The episode began with flashbacks to three years previous, to how Eliza Dushku’s Caroline first met up with Bennett and we witnessed the full scene we’d only glimpsed part of before, when, being hunted down by DeWitt and a Dollhouse squad, Caroline left Bennett with her arm trapped. The two had broken into Rossum headquarters, and Caroline saved herself to fight another day.

There were flashbacks and (I think) a flashback within a flashback, or it could have been a flashforward — my head was aching pleasantly by then with all the twisty complexity. There was good Whedonesque dialogue (Topher to Bennett: “I’m so sorry I hit you”; Bennett to Topher: “I was trying to kill your active”; Topher to Bennett: “Ehhh…”)

And Minear’s direction was low-budget masterful, from the way he made it seem as though scores of hit-men had invaded the Dollhouse to the way Topher’s anguished profile, as he continued to work on Caroline’s wedge, was positioned alongside the bloodspray from the Bennett shooting on a screen behind him.

And there was the night’s big reveal: That Boyd Langton is really the head of Rossum.

Who among you saw that coming? While this Joss Whedon-playbook development has worked well in other series such as Firefly, on a first viewing last night, it seemed a little arbitrary, as though the producers really wanted to reward Harry Lennix for being such a good team player for two seasons. And: What does this revelation mean, coming down to the final two episodes?

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Jan 8 2010 10:57 PM ET

UPDATED: Jay Leno takes swipe at Letterman: Late-night chaos continues, Conan, Kimmel, Fallon weigh in

Last night on The Jay Leno Show, the host once again addressed rumors that he was being “fired” by NBC.

Speaking in a tone of mock-outrage, Leno joked, “That means I didn’t sleep with my staff for nothing!”

Pow! With one shot, Leno dragged David Letterman’s problems into this latest version of the late-night wars.

Then, referring to a possible shuffling of Leno into the 11:35 p.m. time slot now occupied by Conan O’Brien, the host added that NBC has devised a plan in which “all parties will be screwed equally.”

Leno also showed a postage stamp with his image on it, saying its release was imminent. Unfortunately, he said, “it gets cancelled after four months!”

UPDATE on The Great Late-Night Self-Referential Controversy:

Conan did a very funny summation of the rumors swirling of possible changes in late night with this list, that includes, “The Tonight Show will be an iPhone app and the Jay Leno show will become an Xbox game.” Check it out:

Jimmy Kimmel also weighed in last night, saying that “Jay Leno and Conan O’Brien are moving in together. ” Kimmel took questions on the subject from the audience (with a little help from Carson Daly):

Kimmel also illustrated the new carving-up of the late-night pie by bringing out a pumpkin pie, cutting it to suggest audience segments for the hosts… and then eating the pie.

And Jimmy Fallon sent out a “thank you note” to NBC for “announcing that Jay Leno will be moving back to 11:30… It’ll be interesting to see how [my show] does up against the ‘perfect push-up’ infomercial.”

For more late-night news: Is Fox open to courting Conan? Sure, says source. But…

Jan 8 2010 09:40 AM ET

'Celebrity Rehab' season premiere: 'Someone calls me a whore, it's a compliment'

So the self-glorifying misery starts again. The new season of Celebrity Rehab with Dr. Drew premiered last night with a fresh batch of moldy stars nursing addictions and grudges.

A sullen Dennis Rodman was in denial, saying, “I’m way beyond this. I don’t need [treatment]. I’m here because of court, simple as that.”

Mackenzie Phillips said, “I sort of pioneered that ‘teen star gone wrong on drugs’ thing.” She and former Alice in Chains bassist Mike Starr, another newbie to the show, had no idea who another patient, country-music star Mindy McCready, was. McCready arrived with lots of painkillers in her bag, confiscated by the show’s long-suffering Shelly.

“I’m Heidi Fleiss and I was the greatest madam that ever lived,” said Fleiss. “Every woman’s a hooker to me. Someone calls me a whore, it’s a compliment.” Well, it shouldn’t be difficult to come up with group therapy topics for her. Fleiss asked Shelly whether this was “real rehab, not pretend-rehab.” Shelly assured it was real.

But is it? That’s always the question with this show. Lionized recently by The New York Times, Dr. Drew Pinksy hosts with his usual serene calm, and isn’t afraid to reveal his own ego. He began the premiere with a voiceover that said these recovery attempts have “changed me forever.” Not necessarily the patients: him.

This whole first episode was a bit of a tease, because the arguably most volatile personality, Tom Sizemore doesn’t arrive until the next edition. It’s all set up to lure more viewers into watching the interaction between Sizemore and former lover Fleiss, who has accused the star of Heat of beating her, among other things.

Is putting these two in the same rehab program going to help either of them? Or is this the most blatant evidence of what a cynical show Celebrity Rehab is?


Jan 8 2010 07:19 AM ET

Craig Ferguson on the Jay Leno move: See the host discuss Leno and 'the crappiest late-night show'

It’s being widely reported that Jay Leno may move to 11 p.m. or 11:30, depending on the source. Leno himself joked about it last night. But as for the late-night competition? Only Craig Ferguson spent the opening moments of his outlet, the Late Late Show, discussing the most important thing happening in his industry:

“I don’t know if it is true, but this is the rumor I’ve heard this is what is going around the late night circles,” said Ferguson. “Jay moves to 11:30 and does a half-hour show between 11:30 and 12. Then Conan does 12 to 1 and then Fallon does 1 till 2.  I think that is what the rumor is tonight.  When I look at… NBC making this terrible mess of the schedule, guys that they are moving are real nice guys… Anyway, I just want to assure you of this: I do like to think that we still make the crappiest late night TV show.  When all is said and done we will be remembered that… we sucked at the same damn time ever night.   Every night join me right here and you will get your regular dose of suck.”

Leno joked about the situation himself. But once again, Ferguson proves he’ll go where no other late-night host will go… for now. Keep up the flow of info, and the flow of anti-suckage, Craig!

For more on the late-night news:

NBC considering pushing ‘Jay Leno Show’ back to 11:35

Jay Leno jokes about cancellation rumors


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Jan 7 2010 11:36 AM ET

'Friday Night Lights' recap: 'The Toilet Bowl' was a lot better than it sounds

Friday Night Lights has now reached the point where its new characters have earned equal footing with fan favorites such as Tim Riggins and Landry. And it’s about time, since I think we’re about half-way through the season, aren’t we?

This week’s episode took us on a college road trip with Julie and Tami, and if their squabbling didn’t result in a murder (can anyone ever look at a college-tour TV episode and not think of the one in The Sopranos‘ first season?), it returned Julie to the screechy, self-absorbed brat we know and love. And I mean that as praise and as someone who knows first-hand how a child’s daily moods (in Julie’s case, still morose over her Matt break-up) can completely kill a day meant to introduce that child to the beauties of a college campus and four future years of higher education, partying free of parents, and hundreds of chances to forget the guy you’re stressing over now. I sort of figured Julie would pull it together at the last minute to ace her Boston College interview, even as I hoped FNL wouldn’t resort to such an easy plot twist, but I chalk that up to the season’s cramped plot quarters: so many stories to serve, too few subtle mood-transitions to make.

More drama crucial to future plots that may or may not pay off occurred at Riggins Rigs. While Tim now has the dreamy squint-eyes for those 25 acres of farm-land he wants to purchase (more space to throw empty beer cans around?), he discovered that bro Billy was using his spare time to use the Rigs space as a chop shop for That Furious Guy Who Quit The Lions Early On, who’ll pay him big illegal bucks to break down stolen cars for parts. This is a subplot that I just don’t find rewarding for the long-term. What’s the best that can happen? Billy makes a lotta dough to support his new wife and kid? No: more like, Billy ends up either in jail or in a fight he’s sure to loose with That Furious Guy.

Oh, well, at least we had “the Toilet Bowl,” the derisive name given to a match-up between the Lions and a supposedly lousy team, the Timberwolves. The game proved unexpectedly exciting (even That Furious Guy was in the stands cheering!), and all the slimy mud and Landry’s crucial field-goal kick made this one of the series’ better football scenes. Or maybe I felt that way because I don’t watch real football games. I welcome any illuminating disagreeing commentary from you, readers.

Speaking of Landry, that kid has got to move the ball a little closer to the goal line when it comes to romancing Jess. I like the way this relationship is being teased out (especially glad to see the return of Landry’s rock band and the cleverly deadpan Devin), but I want to see what’s going to happen between Landry and Jess’ dad (Steve Harris, you are being under-served) and between Landry and Vince, who Has A Past and maybe a future with the lovely Jess.

The fact that I’m so anxious for this plot to deepen is a good sign, though. It just confirms once again that Friday Night Lights continues to play to its strengths: simmering tensions and raucous competition.

Did you watch?

Jan 7 2010 10:49 AM ET

'Nip/Tuck' final-season premiere: A lip-chewing drama

Praising restraint on Nip/Tuck is like complimenting the Incredible Hulk for not turning green — it’s denying the nature of the beast. Yet last night’s final-season premiere was, by Nip/Tuck standards, relatively tame. Oh, sure, you got one of the series’ standard “shocking” patients, a man who compulsively chews his own lips off.

The hour was more concerned, however, with exploring the roots of Christian and Sean’s relationship, complete with flashbacks using younger actors. The two men’s traits were fully in place when they joined up in college, with Christian always urging Sean to loosen up and have decadent fun.

One line last night stood out for me: It was when Christian said to Sean, “You are never gonna guilt or change me — don’t you know that by now?” This was a small nod to the fact that we’re coming to the end of the series, and that Sean should have learned this lesson by now.

But the larger implication of that line underscored the limitations of this series: After the first two seasons, Nip/Tuck pretty much stuck to that characterization of Christian, while introducing more and more bizarre characters and situations. The result has been character-development stuck in a rut, with flashes of mordant humor and wit.

The whole smashing of the underhandedly-won award subplot was just another example of Sean being betrayed by Christian. Yet I found the scene — largely on the strength of the acting by both Dylan Walsh and Julian McMahon — to be moving nonetheless.

I’m going to keep following Nip/Tuck’s final season, and not just out of critic’s duty: I’m genuinely curious to see if creator Ryan Murphy and his crew can, with all the guest stars it has slated (including Melanie Griffith, Joan Rivers, Frances Conroy, and the mini-Knots Landing reunion of Donna Mills and Joan Van Ark), invest the show with a final burst of drama we can care about.

Did you watch the season premiere? What did you think?

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