From the Fallon to the Olympics, this is NBC's time for big moves



PASADENA, Cal. -- NBC is trying some familiar draws – from “Peter
Pan” to Dorothy’s “Oz,” from Katherine Heigl to a multi-tasking Amy Poehler –
in its ongoing comeback attempt.

That won’t be easy, as shown by the decline of its Thursdays
from “must-see” to don’t-see. A recent “Michael J. Fox Show” rerun drew 3.1
million viewers, one-third of “The Crazy Ones” on CBS. “We’re really unhappy we
can’t find an audience for that show,” said programming chief Robert
Greenblatt.


But on one Thursday in December, a live “Sound of Music”
with Carrie Underwood drew 18 million. Now he’s planning a follow-up musical – “Peter
Pan,” not yet cast – for Dec. 4, from the same producers.


NBC is also believed to be in the bidding for a package of Thursday
pro-football games, moving from the NFL Network to, possibly, broadcast.
Greenblatt said the notion of a four-comedy Thursday – once an NBC power spot –
may disappear.


Still, Jennifer Salke, the NBC Entertainment president, said
the network is likely to have as many comedies as it does now. Greenblatt said
he’s sure Poehler’s “Parks and Recreation” will be back. Poehler – who has just
won a Golden Globe as an actress – has also signed a producing deal; her first
pilot will have Natasha Lyonne as a young woman, working as an aide to
opinionated oldsters.


Also, Greenblatt told reporters:


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Heigl – who left “Grey’s Anatomy” to do movies –
may be back on TV. She’s producing and starring in “State of Affairs,” as a CIA
advisor to the president.


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Jay Leno – “truly one of the nicest people” in
show business – will have his final late-night show on Feb. 6. Billy Crystal –
his first guest, 22 years ago – will be there, with Garth Brooks. On the two days
before that, guests will be Matthew McConaughey, Charles Barkley, Sandra
Bullock and Blake Shelton.


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Just before that, Jimmy Fallon will be on Leno’s
show Feb. 3. Fallon moves into the “Tonight” spot on Feb. 17, airing at
midnight during the final week of the Winter Olympics. A week later, he moves
into the 11:35 p.m. spot, with Seth Meyers at 12:35 a.m.


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That night (Feb. 24) will be the key one. It’s
the first day after the Olympics, launching a new round of “The Voice” (with
Usher and Shakira returning) and the return of “The Blacklist.”


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Also promoted during the Olympics will be an
all-new Sunday – a reality show (“American Dream Builders) hosted by Nate
Berkus, and two high-stakes dramas, “Believe” and “Crisis.”


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The old notion of mini-series is back. NBC has
ordered a 10-episode “Emerald City” (with a 20-year-old Dorothy entering Oz)
and an eight-episode “The Slap,” a family drama from Jon Robin Baitz of “Brothers
& Sisters.”


Even on TV, it's a long, cold winter


OK, I really had no gnawing need for more winter in my life. In the first three official weeks of the season, I'd had an 18-inch snowfall, a minus-13 low and an ice storm that brought four days without heat or electricity. (It turns out that I REALLY like electricity and, especially, heat.)

Still, TV is about to divert us with some serious winter. "Klondike" starts Monday (Jan. 20) on the Discovery Channel and runs for three nights and six hours. Here's the story I sent to papers:


By MIKE HUGHES 

This is just the sort of story Hollywood savors, filled with
action, agony and the distant lure of wealth.


In 1897, word spread that gold had been discovered in
northern Canada. Dawson City (which currently has about 1,100 people) bulged to
40,000. Macho men (and a few enterprising women) collided.


Then why haven’t there been more films about the Klondike
gold rush? Just ask the people who made “Klondike,” a three-night, six-hour
miniseries that debuts Monday (Jan. 20).


“We were on a massive lake,” Abbey Cornish said. “It was
cold; there was snow being thrown into snow machines. Richard (Madden, who
stars) spent the whole day with real snow being blown into his face.


“The hands were cold, the face was cold. It was hard to talk
and there was something very elemental.”


It was hard on the people and the machines. At times, Madden
said, “we can’t shoot because the rain machines are frozen.


That reflects the Klondike ferocity, director Simon Cellan
Jones said. “The story is so sort of brutal.


The brutality is clear in the story, Jones said. “One of the
characters says, ‘You’ve got to go far as you can and then you just keep
going.’”


Which is roughly how people got to work, including a spot
atop a 9,000-foot mountain. You’d “take a snowmobile as far up the mountain as
you could,” Madden said. “And then you’d hike 45 minutes to get to the top,
(where) there’s no air and you can’t really breathe. And then we’d start
shooting.”


They were telling a massive, macho story that mixes
fictional characters with historical ones, including:


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Jack London, who became famous. “His father
abandoned him (and) he took off for the Klondike and ended up writing a bunch
of his material off of his experiences there,” said Johnny Simmons, who plays
him.


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Belinda Mulroney, Cornish’s character, who
became a shopowner. “She became the most powerful person in Dawson City,” said
Paul Scheuring (“Prison Break”), the scriptwriter. \


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William Haskell, Madden’s character. A college
grad, he ended up writing an account of his two years in the Klondike.


The story puts Haskell in great jeopardy. Some of that was
hard to fake, Jones said, including a wolf chase. “­The wolves were like big,
fluffy pets who’d go and fetch your slippers.”


And some of it took no faking at all, including a scene in
the rapids. “They were real rapids and we were …. trying to achieve something
really difficult and mad,” Madden said.


 Harder than any of
that, perhaps, was replacing one one of the leads. Chris Cooper had suffered a
minor heart attack, producers said; they wanted Sam Shepard, but his remote
lifestyle makes it tough to get a script to him. “He was out fishing …. He
didn’t have Internet, so we couldn’t E-mail him the script,” said producer
David Zucker. “So we had to find a way to (reach) the Kinko’s.”


Shepard – an acclaimed playwright – liked the script and
promptly drove from his remote world to an even-more remote one. There, he
could portray a hectic piece of history.


“I see this as just another piece of American madness,”
Shepard said. “It’s just another chunk of the insanity that we carry around, …
whether we’re involved in technology or … trapping beavers.”


“Klondike,” on Discovery Channel



-- Monday through Wednesday, 9 p.m.

-- Repeats at 11:05 p.m. Monday and Tuesday, 11:18 p.m. Wednesday

-- Also, the first part reruns at 7 p.m. Tuesday; the first two parts repeat at 5 and 7 p.m. Wednesday


T


Valerie Harper: Life after death-prognosis can be sweet


Valerie Harper has always had a key place in life -- as a young comedy actress, as a hunger-fighting activist, now as a TV icon who seems to get busier, long after she was diagnosed with terminal cancer. Now she has cable movies, one of them Sunday (Jan. 19); here's the story I sent to papers:

 

By MIKE HUGHES


PASADENA, Cal. -- Valerie Harper is getting used to this –
the applause from colleagues, the praise from strangers. Think of it as her
victory lap.


“My brain scans keep improving,” said Harper, diagnosed with
terminal cancer a year ago. “I was supposed to be dead by Easter and here it is
2014, so I am pleased.”


And back to acting, thanks to two cable channels. “The Town
That Came A-Courtin’” debuts Sunday on UP; a Hallmark Channel film is on the
way.


Those follow her “Dancing With the Stars” performances. “My husband
… said, ‘Val, we have to see if you can work,’” Harper recalled.


She can, said Ronda Rich, whose book is the basis for the UP
film. It was “1:30 in the morning and Valerie Harper is sending all of us home
and she’s staying to work.”


That fits the upbeat approach of UP (formerly Gospel Music
Channel) and the film. Rich said the story goes back to a book-signing she did in
Blytheville, Ark:


The people in line “would say, ‘So, you’re not married,
right? … Our mayor isn’t, either. He lives in the biggest house in town … and
we’re trying to find him a wife.’”


She dated him once (“I was so charmed by this town”), then
used that (adding a happy ending) for the novel, which reached UP.


“I had heard … Valerie might be interested in working,” said
Barbara Fisher, the head of UP original programming. “I said, ‘We’re going to
get her.’ I mean, who doesn’t want to have Valerie Harper?”


Within a day, she said, Harper had been hired to play Charlotte,
the innkeeper who nudges a visiting author (Lauren Holly) toward the widowed
mayor (Cameron Bancroft).


Charlotte is a cheery sort, easy turf for Harper. “I had a
very positive mom,” she said, “and just a great, great solid mom and dad … Life
is here to have fun and to meet people.”


Harper danced in Broadway choruses and did comedy on-stage
and on TV. Then she was cast as Rhoda Morgenstern for “The Mary Tyler Moore
Show” and “Rhoda”; she would get eight Emmy nominations in the role, winning
four times.


Harper went on to star in “Valerie,” was fired during a
salary dispute, but filed suit and was awarded $1.4 million plus a piece of the
profits. She was diagnosed with lung cancer in 2009 and was told last January
that cancer had reached the membrane surrounding her brain.


Still, she pushes ahead. “I’m doing quite well,” Harper
said. “I’m feeling good and I’m moving forward …. It’s incurable and it’s
terminal, but aren’t we all?”


Later that day, she received the only standing ovation at a
gathering for Hallmark stars. And earlier in the day, a woman in the hotel
hallway called her an inspiration.


Harper said she hears that a lot these days. “It’s wonderful.
(I’m) saying: ‘Don’t be afraid of death. Live your life.’”


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“The Town That Came A-Courtin’,” 7 and 11:30
p.m. Sunday, UP


 


Decades after MTV, music finds new routes to our TV sets


Here's a story I sent to papers, about a fascinating new cable music show:


By MIKE HUGHES


PASADENA, Cal. -- Brian Graden vividly recalls the day MTV
came to Hillsboro, Ill.


“My friend’s dad got one of those big satellite dishes,” he
said. “My whole (rock) band would sit in the garage and watch it for hours.”


That was in 1981, the year he graduated from high school and
the year MTV was born. Suddenly, music was visual; Graden obsessed, eventually
becoming MTV’s programming chief.


And then … somehow, it all faded. MTV (now known for teen
moms and “Jersey Shore”) deemphasized videos; so did BET, CMT and others.
Still, new approaches keep bubbling up. Consider:


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“HitRECord,” a new show (with Graden as a
producer) on a new cable network, Pivot. “At an older and more established
network, (it) might have been impossible,” said Joseph Gordon-Levitt, the movie
star who creates songs and videos with hundreds of Internet contributors.


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Revolt, another new cable channel. Keith Clinkscales,
the CEO, calls it “a place where fans connect and have an ongoing conversation
about the music industry.


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Or the Internet, where music migrated. Each
month, said Andy Schuon – a former MTV pioneer who started Revolt with Sean Combs
– six billion music videos are streamed in North America.


That’s how Gordon-Levitt, 32, discovered his approach. He’s
starred on TV  (“3
rd Rock”)
and movies (“Lincoln,” “Inception”) but “HitRECord” is his passion. “That’s
pretty much all I did in 2013,” he said.


He had starred in kid-only community musicals and learned
the piano, guitars, drums, dancing, gymnastics and more. Like others, he began
making music videos on the Internet. “What was much more fun … was having all
the people who were joining this message board make stuff together.”


So “HitRECord” began in 2005. Internet contributors would
help write a song, provide possible visuals, even perform it. In what he calls “a
benevolent dictatorship,” Gordon-Levitt would weave it together.


The first live performance was in a 99-seat theater at the
Sundance Festival, which is run by his friend Robert Redford. (Back when he was
10, Gordon-Levitt was in “A River Runs Through It,” directed by Redford … who kindly
reassured him after the cinematographer told him to make sure he stands in the
marked spot. “He told me, ‘I never hit my mark.’”)


He returned “HitRECord” to Sundance annually and went on tour.
“It always felt like it needed to be on TV,” said Jared Gellar, a partner in
the project.


So Graden – who had left MTV in 2009 – was recruited and
went Pivot. “They had that wild abandon that a start-up tends to have,” Graden said,
“where they don’t know what’s not possible.”


Amid a line-up of movies, reruns (“Buffy,” “Veronica Mars”),
documentaries and topical talk, Pivot now has its first variety  show, rerunning often. The opener, taped at
the classic Orpheum Theatre in Los Angeles, includes a song and a video story that
were assembled from hundreds of contributions. Think of it as the descendant of
those first videos Graden saw in a friend’s garage.


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“HitRECord on TV” debuts with two half-hours,
10-11 p.m. Saturday on Pivot, then 1-2 a.m.


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Many reruns, including Sunday (8:30 a.m. ET, 5
p.m., midnight), Monday (11:30 a.m., 9 p.m.), Tuesday and Wednesday (5 p.m.), Jan.
24 (9 p.m.), more; see
www.pivot.tv.


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New episodes at 10 p.m. ET Saturdays.


Yes, even summer can have big-deal scripted shows


Every now and then, TV people vow to give us something more (or better or just different) in the summer. Occasionally, they actually do. Now, with the success of last summer's "Under the Dome," this seems to be one of those times; here's the story I sent to papers:

By MIKE HUGHES


PASADENA, CAL. -- TV networks may be bursting free from an
old habit – summers stuffed with only reruns and reality.


You can credit “Under the Dome” for some of that. It will be
back June 30 – with an episode written by Stephen King, no less – and will be
followed two days later by another big-deal project. In “Extant,” Oscar-winner Halle
Berry plays an astronaut who is inexplicably pregnant after a year-long solo
mission.


Both shows are produced by Steven Spielberg. Both are part
of a transformation that CBS President Nina Tassler says will make her network
“a non-stop, year-round programming machine.”


It was CBS that broke the summer doldrums in 2000 with two reality
shows. “Survivor” soon moved to the regular season (as did Fox’s “American
Idol,” a year later); “Big Brother” remained in the summer.


That’s reamined the summer pattern: The big networks do
reality, but only cable tries scripted shows.


Now that seems to be changing. On Monday, Fox’s Kevin Reilly
talked about the overcrowding of shows at some times of year; “we just can’t
(show) it all at once.” This year, he said, the new (12-hour) version of “24” will
start in May and go well into the summer; so will a crime show, “Gang Related.”
Next year, he expects that to increase. “We’re just going where they ain’t,
which is the way cable was built.”


Two days after Reilly’s comments, Tassler had a similar
view: During the summer, there will be more scripted shows; during the regular
season, there will be more short-term events.


That “event” approach starts with “The Dovekeepers,”
produced by Roman Downey and Mark Burnett, the married duo that did “The Bible”
for cable. It’s a four-hour adaptation of a praised Alice Hoffman novel,
focusing on four women during the siege of Masada in ancient Israel.


The return to miniseries and “events,” however, is a
specialized one. At the same time that Tassler pushes ahead on these projects,
she passed on continuing Tom Selleck’s popular Jesse Stone movies; the next one
will instead be on cable’s Hallmark Channel.


The difference involves foreign sales – huge for “Under the
Dome” – and general buzz. “We’re looking for bigger headline event.”


Meanwhile, CBS also has its regular series business. It just
moved “Intelligence” onto its Monday line-up. Still coming this season are two
comedies – “Friends With Better Lives” (March 31) and “Bad Teacher” – and one drama, “Reckless.” She has also ordered
13 episodes of “Battle Creek,” a police detective series from the producers of
“Breaking Bad” and “House.”