A CBS Monday without laughs? Get used to it this fall


The decline of
situation comedies has reached a new milestone:

For the first time
since 1949, CBS says, it will have a no-sitcom line-up on Mondays.

That's been the
night of “Lucy” and “Mash” and “Raymond” and more. “I
don't think we can be beholden to a 65-year-old strategy,” said
Kelly Kahl, the network's scheduling chief.

He'll ease viewers
into it, though. For the first eight weeks of the season – when
football takes over CBS' Thursdays -- “The Big Bang Theory” and a
new comedy (“Life in Pieces”) will borrow Mondays.

When they return to
Thursdays, “Supergirl steps in, creating an oddity: Two shows about
DC comic characters, from the same studio, collide.

That's not a
conflict, insisted Nina Tassler, CBS' programming chief. Fox's
“Gotham” is a dark and stylish crime story; “Supergirl,”
Tassler said, is “a coming-of-age story about a young woman, 24
years old, (who) was the girl next door.”

And if the notion
crashes, don't worry: CBS has both of its current Monday comedies --
“2 Broke Girls” and “Mike & Molly” -- on the shelf, along
with “The Odd Couple.” All are slated for mid-season, along with
“Person of Interest,” “Undercover Boss” and two new series –
one spun off of “Criminal Minds,” the other from “Rush Hour.”

That reflects the
network's general success, said Les Moonves, the CBS chairman, plus a
desire to trim down on reruns. “We had 62 more hours of original
programs last year.”

Still, some things
had to go. CBS has dumped three Sunday dramas, “The Mentalist,”
“Battle Creek” and “CSI.” The latter – which combined with
“Survivor” to launch the network's comeback in 2000 – gets a
two-hour finale on Sept. 27, bringing back past stars William
Petersen and Marg Helgenberger; its current star, Ted Danson, joins
Patricia Arquette on “CBS: Cyber,” now moving to Sundays.

The fall line-up has
room for only five new shows. There are two comedies -- “Angel in
Hell” has Jane Lynch as a misbehaving guardian angel; “Life in
Pieces” may have a “Modern Family” feel – and three new
dramas.

In additon to
“Supergirl,” there's “Code Black” (an emergency-room drama),
and “Limitless,” in which a pill lets a man use his full brain
capacity. That puts him on a network already stuffed with fictional
geniuses on “Big Bang Theory,” “Scorpion,” “Elementary”
and “CBS Cyber.”

The fall line-up:

-- Mondays:
“Supergirl,” 8 p.m. (in November); “Scorpion,” 9; NCIS: Los
Angeles,” 10.

-- Tuesdays:
“”NCIS,” 8 p.m.; “NCIS: New Orleans,” 9; “Limitless,”
10.

-- Wednesdays:
“Survivor,” 8 p.m.; “Criminal Minds,” 9; “Code Black,”
10.

-- Thursdays (in
November, after football): “The Big Bang Theory,” 8 p.m.; “Life
in Pieces,” 8:30 (both on Mondays until November); “Mom,” 9;
“Angel From Hell,” 9:30; “Elementary,” 10.

-- Fridays: “The
Amazing Race,” 8 p.m.; “Hawaii Five-0,” 9; “Blue Bloods,”
10.

-- Saturdays: Reruns
and “48 Minutes.”

-- Sunday: “60
Minutes,” 7 p.m.; “Madame Secretary,” 8; “The Good Wife,”
9; “CSI Cyber,” 10.

Fox's new season: Lots if flash ... but only one more year of "Idol"


As the “American
Idol” finale nears, fans have received a sudden jolt: Next season
will be the last.

It will be “a
season-long celebration,” insisted Gary Newman, the Fox Network
co-chairman. It will try for visits by past stars and past judges; it
could even invite the original co-host.

“Where is Brian
Dunkelman?” co-chairman Dana Walden asked. “Does anyone have his
phone number? I'll call him myself.”

By the end of its
first season (when Dunkelman had already seemed to lose interest),
“Idol” was a phenomenon. It has spent over half of its 14 seasons
as the No. 1 show on television; there was a “pretty emotional
decision” to call next year the last, Newman said.

That gives Fox one
more chance to nudge its slumping ratings. Newman talks about a plan
that has many shows take mid-season breaks (with cliffhangers), while
other new shows filling in. The rerun habits of the past “just
don't work any more,” he said.

For this fall, Fox's
key returning pieces are:

-- “Empire,” a
big ratings hit during its brief, 12-episode first season. It will
have 18 episodes next season, with “Idol” briefly borrowing
Wednesdays at mid-season. Leading into “Empire” will be
“Rosewood,” with Morris Chestnut as a high-tech crimesolver.

-- “Gotham,” a
fairly solid hit in its first season. On Mondays, it will be paired
with “Minority Report” (a futuristic crime tale), then the brief
“X-Files” mini-series and “Lucifer.” That last one – like
“Gotham,” from DC Comics – has Satan himself helping catch bad
guys he dislikes.

-- “Bones,”
which was in doubt as producers scrambled to re-sign its stars. Now
it will be on Thursdays with “Sleepy Hollow” -- a combination
that once did well on Mondays,

-- The Sunday
comedies, boosted by former “Saturday Night Live” people. Andy
Samberg stars in “Brooklyn Nine-Nine” and (on the opening Sunday)
hosts the Emmys; Will Forte stars in “The Last Man on Earth.”

Alongside the
returning shows, Fox will have all-new Tuesdays. (“New Girl”
returns later, but “The Mindy Project” is done.) Walden calls it
“a big, noisy, star-filled night,” with two comedies and an
offbeat comedy-drama.

In “Grandfathered,”
John Stamos learns he's a father ... and a grandfather. In “The
Grinder,” Rob Lowe plays a lawyer on TV ... then, when the show is
canceled, works in the real law office of his brother (Fred Savage).
In “Scream Queens,” a sorority house is beset by weekly murders;
it's from “Glee” producer Ryan Murphy and has a cast that
includes Lea Michele, Abigail Breslin, Keke Palmer, Emma Roberts and,
of course, Jamie Lee Curtis.

Mid-season brings
more, including a live “Grease” ... and the 15th and
final “Idol.” The fall line-up:

-- Mondays:
“Gotham,” 8 p.m.; “Minority Report,” 9.

-- Tuesdays:
“Grandfathered,” 8 p.m.; “The Grinder,” 8:30; “Scream
Queens,” 9.

-- Wednesdays:
“Rosewood,” 8 p.m.; “Empire,” 9.

-- Thursdays:
“Bones,” 8 p.m.; “Sleepy Hollow,” 9.

-- Fridays:
“MasterChef Junior,” 8 p.m.; “World's Funniest,” 9.

-- Saturday: College
football, 7 p.m.

-- Sunday: Football
overrun, 7-8 p.m. (sometimes “Bob 's Burgers” at 7:30); “The
Simpsons,” 8; “Brooklyn Nine-Nine,” 8:30; “Family Guy,” 9;
“The Last Man on Earth,” 9:30.

Generations later, underwater "graveyard" explored


The short version of World War II sounds simple: Pearl Harbor is attacked, Americans rage and promptly smite their foes.

The real; story, it seems, was tougher. For a wretched year, German ships kept sinking U.S. supply ships. Now -- under the imposing title "Nazi Attack on America" -- PBS tells the story Wednesday (May 6) on "Nova"; here's the story I sent to papers:

By Mike Hughes

Americans leaped
into World War II with anger and optimism.

Pearl Harbor was a
one-time defeat, they figured. What they didn't know was that
subsequent losses – smaller, but consistent – kept happening;
near our shores, transport ships were being sunk.

“We weren't
prepared .... Two German U-boat commanders said, 'We had an easy game
there,'” said Kirk Wolfinger, whose “Nova” film debuts
Wednesday on PBS.

Germans kept
shooting supply ships. “They weren't taking any casualties,” said
underwater explorer Robert Ballard. “It was a turkey shoot.”

Ballard has led the
expeditions that found the Titantic, Bismark, PT-109 and more. On
Wednesday, viewers will see him locate the U-166 boat in the “Nova”
hour called “Nazi Attack on America.”

The title may be
exaggerated, but not by much. In a stretch that began two months
after Pearl Harbor, historian Martin Morgan said, the U-boats were
just off our coast.

That was after
Germans sensed that the British had cracked their “Enigma machine”
code. They switched codes, Morgan said, and dominated.

“From February,
1942, until December, 1942, we were incapable of reading their
communiques,” Morgan said. U-boats went “into the Gulf of Mexico
and devastated our commercial shipping.”

In all, 609 American
ships were sunk in the Gulf and off the East Coast. More than 5,000
men were killed and three million tons of cargo was lost. Officials
managed to suppress news of the attacks ... which ended after the
code was cracked again and after the Americans -- overcoming a slow
start -- used new convoy methods.

Now, generations
later, the artifacts remain underwater. “It's an amazing graveyard,
(with) the deeper ships in an amazing state of preservation,”
Ballard said.

A key discovery
began in 2001, he said, during work in the Gulf of Mexico. “The oil
companies were doing a pipeline survey and said, 'Hmm, I wonder what
that target is on sonar.'”

They soon found the
U-166; Ballard and others were able to revise history: A Naval
commander had been criticized for failing to sink the ship; 70-plus
years later, he got posthumous credit.

“It was quite a
moving ceremony in the Pentagon,” Ballard said, “when the
Secretary of the Navy put that medal on (the late commander's) son
.... It was a nice moment to get it right.”

There will be other
revisions, he said, with more than a million ships on the ocean
floor. “There's more history in the deep sea than in all of the
museums .... Technology is accelerating our rate of discovering our
chapters of lost human history.”

-- “Nova: Nazi
Attack on America”

-- 9 p.m. Wednesday,
PBS (check local listings)

 

Theater break: Lisa Kron's double day


This blog is usually about TV, but let me pause for a brief theater break: When Lisa Kron landed two Tony nominations this week, I wrote a short story for the Lansing (Mich.) State Journal. The story wasn't needed -- someone else was already on it -- but I wanted to put it here, in case anyone missed the news. It's mostly a local story, but I'll be back to national TV next:

By Mike Hughes

Local writer-actress
Lisa Kron now has two more Tony nominations.

That gives her three
Tony nods, plus three Obie (off-Broadway) wins and a Pulitzer Prize
nomination.

When Broadway
announced its Tony list Tuesday, it was topped – with 12
nominations apiece – by “An American in Paris” and “Fun
Home.” The latter is a Kron creation; she's nominated for the book
(dialog, basically) and, as lyricist, shares the nomination for the
music score.

Kron, 53, was born
in Ann Arbor, but moved to Lansing as a pre-schooler. Her dad –
Walter Kron, a German-born lawyer whose parents were killed in a Nazi
death camp -- and mom, Ann Kron, were prime foreces in the Westside
Neighborhood Organization and its push for an integrated community.

She graduated from
Everett High in 1979, going on to Kalamazoo College, a tour and New
York. Her one-person shows drew raves off-Broadway; then her
autobiographical “Well” reached Broadway in 2006, with Kron
nominted for best actress in a play.

“Fun Home” is a
departure, her first musical and first show based on someone else's
work. Alison Bechdal's graphic novel told of growing up lesbian in
small-town Pennsylvania, with a closeted gay father. For the musical,
Kron, a lesbian, wrote the book and the lyrics; Jeanine Tesori
(“Shrek,” “Caroline or Change”) wrote the music.

Last year, the show
brought Kron the Obie and the Pulitzer nomination; this year, it
opened April 19 on Broadway, promptly becoming a Tony favorite.

 

 

Forty years later, a rag-tag exit brings deep emotions


I was lucky enough to leave Vietnam in the standard way -- end of tour, scheduled airline, no hurry. Many people weren't as fortunate; they were caught up in the final flurry, as Americans and their Vietnamese supporters rushed to get out. Now, 40 years later, Rory Kennedy has made a compelling documentary that airs Tuesday (April 28) on PBS, Here's the story I sent to papers.

By Mike Hughes

Forty years ago,
chaos put these men in the same quaking spot. There was:

-- Stuart Herringon,
an Army captain at the U.S. embassy during the 1975 withdrawal from
Vietnam. “I (was) the guy on the ground who spoke Vietnamese, who
reassured these frightened people that nobody would be left behind,”
he said.

-- Binh Pho, in the
crowd and hanging on every word. “I was barely 19 .... To me
(Herrington) was a big, giant guy, American, with a uniform .... I
just heard his promise over a megaphone.”

Both are featured in
Rory Kennedy's “Last Days in Vietnam,” which airs Tuesday on PBS.

Thousands of people
were packed into the embassy courtyard, Herrington said, each fearing
reprisals because of working with the Americans. The North Vietnamese
army was advancing, but helicopters were whisking people to U.S.
ships; there was, he said, enough time to get everyone out. And then
...

“A presidential
order intervened,” Herrington said. “When there were 420 of them
left ... I was ordered to leave and I did ... I thought about those
420 people for the better part of 37 years.”

Then he met one of
them. After the airlift suddenly ended, Pho had scrambled.

“I left the
American embassy very scared,” he said. “Then I tried to escape
with my uncle and go through Laos to get to Thailand, and we got
caught.” He spent a year in a “re-education camp,” had two more
failed escapes (using fake identites) and then – three years after
the fall of Saigon – succeeded.

After eight months
in a refugee camp, Pho was reunited with relatives in St. Louis. He
went to college, became a wood artist in suburban Chicagto ... and,
three years ago, thanked Herrington. Had he been rescued in 1975, Pho
said, “I would be a spoiled-rotten kid. (In those) four years, I
really learned a lot.”

Such memories ripple
through the Vietnam-withdrawal story. For Kennedy, it's familiar
turf.

“My father, Robert
Kennedy, ran his (presidential) campaign in 1968 because he wanted us
to get out of Vietnam,” she said. “I've recognized from as early
as I can remember how important Vietnam is.”

Born after her
father's death, she's become a top filmmaker. “Ghosts of Abu
Ghraib” won an Emmy, three other documentaries have been nominated
... and “Last Days” received an Oscar nomination.

It's a subject
filled with rich details, she said, involving the rag-tag efforts.

“Our ambassador
(Graham Martin) was in denial up until almost the very end,”
Herrington said. “He simply didn't believe that the country would
fall.”

He belatedly
realized the situation, said Mark Samels, who commissioned the film
for PBS' “American Experience” series. “Ambassador Martin ...
came around at the end and personally was responsible for saving so
many Vietnamese, packing them on those helicopters. That's what makes
him such a compelling character: He starts from such a place of
head-in-the-sand.”

With no official
plan for an orderly withdrawal, Herrington said, people improvised.
They “did everything they could – borrowed trucks, for example,
loaded them with people.” They took boats, helicopters and more;
one baby was dropped from a hovering chopper, into the arms of a U.S.
sailor.

“These little
micro-events steamrolled” until 130,000 Vietnamese were rescued,
Herrington said.

And many werte
abandoned, including the last 420 at the embassy. Still, there were
make-do heroics.

“That's one of the
things that makes us strong under adversity,” Herrington said. “And
hopefully, we won't have to do that again.”

-- “Last Days in
Vietnam”

-- 9-11 p.m. Tuesday
(April 28), PBS, under the “American Experience” banner (check
local listings)