CBS stays the same, makes it look different




By MIKE HUGHES


While other networks scramble, CBS has the opposite task –
making the same seem different.


Most of its shows will be back next year, with only one
major one (“The Crazy Ones”) cancelled. To keep things fresh, the fall line-up
will:


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Make three shows wait until mid-season. There’s
no fall slot for “The Mentalist,” “Undercover Boss” or “Mike & Molly”
(which also waited this season). They’re on the bench with a new cop show (“Battle
Creek”) and an “Odd Couple” reboot with Matthew Perry and Thomas Lennon.


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Slide others. “NCIS: Los Angeles” goes to
Mondays, “Amazing Race” to Fridays, “CSI” to Sundays.


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Have some new shows prepare for their exit. This
will be the final season for “Two and a Half Men” and possibly for “CSI” …
which, later in the season loans its slot to “CSI: Cyber,” a spin-off with
Patricia Arquette as a cyber-crime expert.


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Change one tradition: For the first time since 1986,
CBS won’t have four comedies on Mondays; instead, it gives the 9 p.m. slot to “Scorpion,”
about a Homeland Security think tank led by a mega-genius. Nina Tassler, the
programming chief, insists it has “so much humor, so much heart” that comedy
fans will approve.


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And the big change, forced by circumstance.
Beginning Sept. 11, pro football takes over CBS’ Thursdays for seven weeks. “The
Big Bang Theory” will temporarily move to Mondays, then return to Thursdays on
Oct. 30, when its Thursday companions debut.


“It’s really the best of both worlds,” Kelly Kahl, the
network’s scheduling chief, insisted. At the start of the season, “Big Bang” –
a ratings champion – will boost Mondays and football will spark Thursdays. When
things return to normal on Oct. 30, “it will be rolling thunder all the way,”
with few reruns.


Reruns will be scarce everywhere, Tassler said, partly
because of the overload of shows waiting.


Kahl granted that it was a weaker year for comedy
development. Plans for one from the “How I Met Your Mother” producers fell
through, Tassler said, when they disagreed about changes. The sole newcomer is “The
McCarthy’s,” which she said is about “a very loud, very spirited” Boston family.


But drama development was strong, Kahl said. That includes
the expected crime shows – including an NCIS spin-off in New Orleans – plus “Madam
Secretary.” At 8 p.m. Sundays (once the “West Wing” slot), Tea Leoni plays a
secretary of state, with Tim Daly as her husband.


The dramas are strong enough to keep “Battle Creek” waiting,
Tassler said. Set in Battle Creek, Mich., it’s planned as a gritty cop show,
linking the producers of “House” and “Breaking Bad.” The line-up:


Mondays: First, “The Big Bang Theory” at 8, then “2 Broke
Girls”; “Mom,” 8:30; “Scorpion,” 9; “NCIS: Los Angeles,” 10.


Tuesdays: “NCIS,” 8 p.m.; “NCIS: New Orleans,” 9; “Person of
Interest,” 10.


Wednesdays: “Survivor,” 8 p.m.; “Criminal Minds,” 9; “Stalker,”
10.


Thursdays: First, football; starting Oct. 30: “Big Bang
Theory,” 8 p.m.; “The Millers,” 8:30; “Two and a Half Men,” 9; “The McCarthys,”
9:30; “Elementary,” 10.


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


Saturdays: Reruns, 8 p.m.; “48 Hours,” 10.


Sundays: “60 Minutes,” 7 p.m., CBS; “Madam Secretary,” 8; “The
Good Wife,” 9; “CSI,” 10.


ABC's fall line-up: Now THAT is diverse



By MIKE HUGHES

 

Whatever “diversity” means these days, ABC will have plenty
of it next season.


Often, TV people use that to describe shows with black producers
and stars. ABC has many of those shows, including a full night from producer
Shonda Rhimes; on Thursdays, “Grey’s Anatomy” and “Scandal” lead into her new
“How to Get Away With Murder.”


Beyond that, it has new shows with Latina and Asian stars.
“We really do think ABC reflects the changing face of America,” said Paul Lee,
the programming chief.


He also has diversity in genres. At the extremes, Lee points
to two new series from movie people:


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“American Crime Story,” from “12 Years a Slave”
scriptwriter John Ridley. “It’s raw, it’s emotional, it’s incredibly
passionate,” he said.


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“Galavant,” a live-action, fairy-tale musical
from several of the people who have fueled Disney cartoon movies. Lee calls it
“’Spamalot’ meets ‘Princess Bride.’”


The catch is that viewers will have to wait for some of this.
Networks often hold their most unusual shows until mid-season, so they won’t
get lost in the fall rush. This year, ABC is doing that with “Galavant,” “American
Crime Story,” Eddie Huang’s “Fresh Off the Boat” and three more – Marvel’s “Agent
Carter,” the science-fiction “Whispers” and an adaptation of the Australian “Secrets
and Lies.”


Scheduling has often been a problem for ABC, with an overload
of shows that critics praise and viewers overlook. Lee is cancelling several
distinctive comedies – “Suburgatory,” “Trophy Wife,” “Neighbors,” “Mixology” –
and the stylish drama “Once Upon a Time in Wonderland.”


Thursdays have long been an enigma. “You’ve seen us stumble
at 8 o’clock,” Lee said. So this year he’s moving Rhimes’ two hits (“Anatomy”
and “Scandal”) up an hour, adding her “Murder” (with Viola Davis as a law
professor, probing cases with four of her students) at 10.


Tuesdays were also a problem, when three networks had comedies
collided at 9 and 9:30 p.m. Now Lee is putting new comedies at 8 and 8:30 and moving
“SHIELD” to 9.


That’s a safer approach, but don’t expect things to be
entirely bland. The fall line-up has:


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ABC’s new passion for the undead. “Resurrection”
is back on Sundays; on Tuesdays, “Forever” has Ioan Gruffudd as a doctor trying
to learn why he’s lived for centuries.


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Comedies that eye the balance between assimilation
and ethnic tradition. That’s a theme of “Boat,” “Cristena” (with Cristena
Alonzo as creator and star) and, especially, “Black-ish,” an Anthony
Anderson/Laurence Fishburne comedy that gets the key slot behind “Modern Family.”


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A second chance for “Suburgatory” creator Emily
Kapnek. In her “Selfie,” a social-media queen tries to learn about real life.
It stars Karen Gillan of “Doctor Who”; alongside all its Englishmen (including
Gruffudd and Lee), ABC is adding Englishwomen, including Gillan and Hayley
Atwell, the “Agent Carter” star. That, too, is diversity.


The fall line-up is:


Mondays (unchanged): “Dancing with the Stars,” 8 p.m.;
“Castle,” 10


Tuesdays: “Selfie,” 8 p.m.; “Manhattan Love Story,” 8:30;
“Agents of SHIELD,” 9; “Forever,” 10.


Wednesdays: “The Middle,” 8 p.m.; “The Goldbergs,” 8:30; “Modern
Family,” 9; “Black-ish,” 9:30; “Nashville,” 10.


Thursdays: “Grey’s Anatomy,” 8 p.m.; “Scandal,” 9; “How to
Get Away With Murder,” 10.


Fridays: “Last Man Standing,” 8 p.m.; Cristela,” 8:30;
“Shark Tank,” 9; “20/20,” 10.


Saturdays: College football.


Sundays (unchanged): “America’s Funniest Home Videos,” 7;
“Once Upon a Time,” 8; “Resurrection,” 9; “Revenge,” 10.


Fox's fall facelift ranges from Gotham to Utopia



By MIKE HUGHES

Scrambling for a fresh start, Fox will have a major facelift
this fall. It will:


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Start three weeknights with reality shows, two
of them returning (“Hell’s Kitchen” and “Masterchef Junior”) and one new
(“Utopia”).


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Air that new show, at first, for two episodes a
week. “Utopia” gives strangers a year to build a new civilization. “It has a
bit of a soap element to it,” said Kevin Reilly, the network’s programming
chief. “People will want to follow the characters.” So he’ll start it early
and, for the first six weeks, have new hours on Tuesdays and Fridays.


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Intermingle cartoons and non-cartoons on
Sundays. “The Simpsons” and “Family Guy” share the night with “Brooklyn Nine
Nine” and the new “Mulaney.”


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And gamble big on a “Gotham,” a “Batman” prequel.


Last fall, Marvel’s “Agents of SHIELD,” never found the
ratings success ABC expected. Still, networks seem optimistic about comic-book
spin-offs.


This fall, ABC will bring “SHIELD” back and add Marvel’s
“Agent Carter” … CW will add “The Flash” and return “Arrow” … and now Fox looks
at Gotham City. Unlike “SHIELD,” Reilly said, this one has “the tentpole
characters,” including the Penguin, the Riddler and the men who would become
Batman and Commissioner Gordon.”


For years, Fox had propped itself up on the power of two
reality competitions. But now “The X Factor” is finished and “American Idol” is
no longer huge. When it returns in the spring, Reilly said, it will probably
have the same judges, but an altered format, with about one-third fewer hours.


Other shows are being dumped, including “Raising Hope,”
“Almost Human” and “Enlisted.” Complicating things, Fox resists the pattern of
giving dramas 22 episodes. “They cannot produce 22 (good ones) in a row,
especially in the first year,” said Joe Earley, Fox’s chief operating officer.


So “Gotham” has a 16-hour commitment so far and “Sleepy
Hollow” is up to 18 for its second season. “Glee” has 22 for its final season
(starting in mid-season), but could cut back a bit.


Then there’s what Reilly calls “event-izing” – creating
shows with a definite ending. “24” is doing that now, trimmed back to 12 hours;
“Gracepoint,” this fall, is a 10-hour version of the praised British series
“Broadchurch,” with the same star (David Tennant), but a different ending.


For mid-season and beyond, Fox has another “event” (M. Night
Shyamalan’s “Wayward Pines”), plus plenty of series, ranging from Lee Daniels’
drama about hip-hop music (“Empire”) to a comedy with Will Forte as, literally,
“The Last Man on Earth.” First, however, is this fall line-up:


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Mondays: “Gotham,” 8 p.m.; “Sleepy Hollow,” 9.


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Tuesdays: “Utopia,” 8 p.m.; “New Girl,” 9; “The
Mindy Project.”


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Wednesdays: “Hell’s Kitchen,” 8 p.m.; “Red Band
Society,” 9.


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Thursdays: “Bones,” 8 p.m.; “Gracepoint,” 9.


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Fridays: “Masterchef,” 8 p.m.; more “Utopia”
(for six weeks), 9.


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Saturdays: Sports.


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Sundays: Football (sometimes with “Bob’s
Burgers” at 7:30 p.m.); “Simpsons,” 8; “Brooklyn Nine-Nine,” 8:30; “Family
Guy,” 9; “Mulaney,” 9:30.


Playing a mom? It helps to have a fearless one



Lots of Bonnie Somerville's best roles put her on familiar turf. She played a singer-songwriter, which she is. She's played cops, which her grandfather and cousins have been. And now she plays a mother; her own mom provides an interesting background. Here's the story I sent to papers:


By MIKE HUGHES


For Bonnie Somerville, Mother’s Day used to be a mega-day –
lots of food, people and conversation.


Her mom, after all, had eight siblings. “We’d get as many
people as we could, for a big dinner,” she said.


Now things are quieter. She’s in California and arranged a
Mother’s Day gift for her mom in Manhattan. And on separate coasts, they can
watch “Mom’s Day Away,” her new Hallmark Channel film.


“It has a really funny script, almost a buddy comedy,” she
said. “And I got to be in beautiful Vancouver.”


Well, outwardly beautiful. Despite a frigid stretch, the stars
were in shorts and T-shirts; that’s acting.


Somerville plays a stay-at-home mom whose husband (James
Tupper) and kids seem too busy for her, even on Mother’s Day weekend. A friend with
an exotic career whisks her to a resort, where she ponders having it all …
which Somerville’s own mom has sort of shown is possible.


That was not an easy situation – a policeman’s daughter in a
Catholic family, being a single-mom in mid-’70s Brooklyn; it worked out, with
the help of that mega-family. “My grandparents would watch me after school,”
Somerville said, and her mom – who built a Wall Street career – encouraged her.
“She taught me to be fearless, told me I could be anything I wanted to be.”


Which involved music. “I saw ‘Annie’ when I was 6 years old (and)
would sing the “Annie” songs around the house all day.” She stuck with that,
majoring in musical theater in college; in virtually her first TV role, she was
the vibrant star of “Shake, Rattle and Roll,” a1999 mini-series about a 1950s
singer-songwriter. “I was 25 and it was huge for me; it was probably the best
time I’ve ever had in a role.”


Her music faded as TV kept her busy. In the final year of “NYPD
Blue” and the only year of “Golden Boy,” Somerville played police detectives –
appropriate for someone whose grandfather and several female cousins became
cops. In comedies, she starred in three series (“Grosse Pointe,” “Kitchen
Confidential” and “The In-Laws”) and guested in others, even being Ross’
girlfriend Mona in half a “Friends” season.


But the music returned when she wrote and sang a song in “Garden
State,” the 2004 indie-movie favorite. Somerville went on to sing with The Band
From TV (“Hugh Laurie is an amazing musician”) and is now filming an indie
musical. Life can be good for someone whose mom lets her to be fearless.


 Mother’s Day TV,
Sunday


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“Mom’s Day Away,” noon and 9 p.m., Hallmark
(debuts Saturday, 8 p.m. and midnight).


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“My Mother’s Future Husband,” 7 and 11 p.m., UP.


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“I Remember Mama” (1948), 8 p.m. ET, Turner
Classic Movies.


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Also, two perverse choices – “Mommie Dearest”
(1981), 7:15 p.m., Sundance; the first half of the new “Rosemary’s Baby” miniseries,
9-11 p.m., NBC.


"24" brings fresh chaos and crises ... this time to London


Yes, it's good to have "24" back. For all of its bizarre twists and wild credibility gaps -- and there are huge ones Monday -- this is riveting television, sharp stories crisply filmed. The show returns with two hours on May 5, then has 10 one-hour chunks to (again) save the world. Here's the story I sent to papers:


By MIKE HUGHES


For eight seasons, the crises kept expanding.


A senator might be killed … a nuclear bomb might be
detonated … a virus might be released … a president is slain … a world-war
nears. Each time, Jack Bauer saved us in 24 hours; then he fled.


Now, four years later, he’s back. This new version both is
and isn’t like the old “24”:


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The story again spans 24 hours, but now the series
is 12 episodes, not 24. Each episode is still in real time, but sometimes the
story will jump ahead an hour or two between weeks.


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Jack (Kiefer Sutherland) is on his own now, a
fugitive with almost no one on his side. Chloe (Mary Lynn Rajskub) is back, but
not like before. She’s “not just his trusted sidekick and most trusted friend,”
said producer Howard Gordon, “but someone who has been quite damaged.”


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Only two others from the previous seasons are
around – Audrey (Kim Raver), Jack’s ex-lover, and her dad (William Devane), now
the president.


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And Los Angeles and Washington are finally safe;
this story happens in London.


For Sutherland, the jump to London was fine. “I was born
there and spent huge parts of my life there,” he said. “It’s a place where I
feel very comfortable.”


Still, it’s not the usual spot for action-adventure. “Traffic
there is very difficult,” Sutherland said in January, before filming began. “We
plan to be shooting outside … blowing up cars, double-decker buses, things like
that. I’m sure we’ll be hated by a large portion of London for snarling up
their traffic.”


And yes, producer Manny Coto said, there will be “some
pretty crazy events” in London.


The difference is in the precision of the storytelling.
Cable-viewers are used to 10-12 hours or so for a story; pushing each “24” to
24 episodes was a stretch, Gordon admitted. “It was really, really punishing.
So this felt like we could catch our breath a little bit and felt like we could
craft this.”


At first, all the “24” rumors were about a movie (which
producers say is still a possibility); then talk of a 12-hour series emerged.
Fans insisted Chloe be involved.


“It was a strange two-month-or-so period,” Rajskub said. “It
was every day on Twitter and me waiting to see if I was going to be included ….
I have a lot of people refuse to call me anything but Chloe.”


Then the story was set. Chloe is a rebel, Jack is a fugitive;
one federal agent (Yvonne Strahavski of “Chuck”) senses his schemes. And then those
“crazy events” hit London.


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“24: Live Another Day,” Fox


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Opener is 8-10 p.m. Monday (May 5); then 9 p.m.
Mondays, with 10 more episodes