This past Thursday NBC unceremoniously said goodbye to the medical sitcom Scrubs after seven seasons. The series, which introduced Zach Braff to most of the world (before he moped his way through Garden State), gave John C. McGinley the fame he so well deserves, and resurrected the career of Sarah Chalke, has been a critical darling since it went on the air in 2001. For a brief time, it gained a mass audience — that is, until NBC began shuffling its time slots. Pretty soon, that mass audience became a small, loyal group of fans. Seriously, when are executives going to learn that people follow routines when they watch television? They are called viewing habits for a reason. When you move a show around two or three times, people are going to give up trying to find it, even if they do have a DVR. I do give NBC credit for keeping the show on the air for so long. Scrubs lost some of its charm as it evolved from a dramedy with some cartoonish elements into a silly sitcom trying to make us laugh every 30 seconds. By trying too hard for zaniness, the writing became inconsistent and predictable. This inconsistency was frustrating for those of us who latched on to the show in the early seasons.

This past winter, during the writers’ strike, NBC had the perfect opportunity to lure more viewers back into Sacred Heart Hospital; they promoted new episodes and aired them back to back. With nothing but reruns on the other channels, you’d think people would have tuned in. They didn’t. When NBC announced their new schedule for the coming year, Scrubs was … scrubbed. A couple weeks ago, NBC switched time slots between Scrubs and Tina Fey’s 30 Rock, giving the latter the choice placement behind The Office at 9:30 pm. When the season finale rolled around last week, there was little fanfare and little sentiment from the network. What a shame. Even if Scrubs wasn’t as great as it once was, it still deserved a nice sendoff after seven years.

However, fair viewers, this is not the end of the show. (more…)

Brothers & Sisters, ABC’s latest hit family drama (Sundays at 10 pm), came back to the airwaves last night, and for some of us, it was a welcome return of quality television. It is rare that an adult drama like this one has managed to remain all-inclusive of its male and female characters. With strong, female leads like Rachel Griffiths (formerly of Six Feet Under), Calista Flockhart (Ally McBeal) and the incomparable Sally Field, it would have been quite easy for Brothers & Sisters to cater strictly to ABC’s female viewers (especially coming off Desperate Housewives). However, the producers have stayed true to the show’s original premise: a series centering on a large family as each member deals with the big family issues, as well as their own individual trials and tribulations.

For the most part, the show is not groundbreaking. Though thought-provoking on many levels, what we’re dealing with is the human heart and how people cope with the good times and bad. That said, the show has been brave in its honest portrayal of sibling Kevin’s slow emergence from the closet and his search for love and happiness. In fact, there’s more male kissing and bed-rolling on this show than any I can think of. Yet, the kissing and lovemaking is done in the same casual manner as you’d expect Flockhart and her onscreen beau, Rob Lowe, to hit the sack. In other words, the producers have wisely decided not to make it a BIG DEAL, and by doing so, allow each story to flow organically.

When it began airing back in the fall of 2006, Brothers & Sisters nearly failed the three strike rule. Its early episodes were downright painful to watch and the plots were so contrived, the writing so clichéd and full of holes, I often found myself yelling at the television when I wasn’t rolling my eyes and punching the couch in frustration. My thoughts were, “How can a show with much talent behind it suck so damn bad?” What kept me hoping would give this show life was the executive producer, Greg Berlanti. Berlanti is a television genius. (more…)

Beginning this week, the major television networks will begin rolling out new episodes of regular series that have been on extended hiatus since the writers strike began last winter. TV fans can rejoice because this week, the 1-2 punch of The Office and 30 Rock returns to the air. I was not a fan from the get go of either show, but since the middle of both first seasons, I believe The Office and 30 Rock have become the standard of television comedy. Here’s why…

WE INTERRUPT OUR REGULARLY SCHEDULED COLUMN FOR THE FOLLOWING PUBLIC SERVICE ANNOUNCEMENT.

Dear Screen Actors Guild,

As you prepare to open negotiations with the Alliance of Motion Picture and Television Producers on April 15^th, I offer my humble plea as you consider the possibility of a strike: Don’t. Don’t do it, dudes. Going on strike will bring the film and television industry to another grinding halt and will cripple the economy in Los Angeles (which is still trying to recover from the writers strike). Pilot season, that time of the year when most actors are lining up for gigs on pilots, is pretty much been scrapped. The networks are going to be more selective about what they’re going to greenlight, and in the case of NBC, they aren’t even ordering pilots for next year, instead going straight to series with their new schedule.

The economics are something I don’t fully understand. I do get that you’re being ripped off over residuals from digital formats. It’s bullshit and the producers know it. When the writers went on strike, they had a list of demands that they eventually whittled down (resulting in animation writers STILL not getting the respect that they deserve) in order to get what they were asking for regarding digital media. The truth is, no matter how “hardline” you claim to be, the AMPTP isn’t going to give you everything you want. So I hope you keep that in mind when you sit down and begin your talks. Seriously, figure out what’s really important… based on what they gave to the writers and directors guilds, go in expecting the same and work something out fast. (more…)

In honor of the Three Strike Rule’s move to Mondays, I want to highlight the best series airing on Monday nights. No, I’m not talking about Heroes, which pretty much blew for the duration of its 13-episode run in the fall. That they managed to make Kristen Bell seem like a mediocre actress only drives home how badly the producers of Heroes need to get their act together or risk losing even more viewers next year. Instead, I am speaking of CBS’s How I Met Your Mother, the funny, smart sitcom on CBS that has just switched to a new timeslot (8:30 PM Mondays). I own a TiVo, but I still manage to watch this series within 15 minutes of its airing. Why? Plain and simple: Character development. I’ve grown to love the characters on How I Met Your Mother and look forward to their exploits each week — and the mystery of just who Ted will end up with as his future wife (and the “mother” of the show’s name) has kept me tuned in for three years.

Wait, rewind — let’s go over a few things for those of you who aren’t familiar with the show. How I Met Your Mother is the ongoing story of five friends living in New York. They are likable, sincere Ted (Josh Radnor); his roommate, Marshall (Jason Segel) a goofy, but intelligent lawyer; Marshall’s bride, the bubbly Lily (former vampire slayer, Alyson Hannigan); their swinging bachelor friend, Barney (the scene-stealing Neil Patrick Harris); and Robin (Cobie Smulders), the girl who appeared to be the love of Ted’s life, but, as we learned in the very first episode, is not. How do we now this? Because Ted (from some yet-to-be-determined point in the future) is narrating each episode to his teenage children, detailing to them exactly how he met their mother. Future Ted is always off screen, which is convenient because future Ted, the narrator, is voiced by Bob Saget. (more…)

Hey everybody! It’s Easter Sunday! What better day to talk about the devil, huh? In Martin Scorsese’s controversial film The Last Temptation of Christ, the devil appears before Jesus in the guise of a lion, a flame, and in the last temptation, an innocent looking cherub. In the CW series Reaper, we only get Ray Wise. Scorsese’s movie may be the more important work, but I’ll take Ray Wise over any of those other Satans any day of the week.

Wise, most famous as the lecherous Leland Palmer in the early ’90s surreal nighttime drama, Twin Peaks, is having so much fun playing the dark lord; it’s a shame that more people aren’t watching Reaper. The show is closing out its first season “on the bubble” for renewal. That means the network executives in charge are unsure if they’ll pick up the show for a second season, and are waiting to see how Reaper does ratings-wise over the course of the next few weeks before making their decision.

Come on, people! Don’t let them cancel one of the best shows on TV! The CW even moved it off Tuesday night to give it a fair shot (because Tuesdays are owned by the American Idol juggernaut). The show now airs Thursdays at 9:00 pm. So instead of worrying about Idol, Reaper has to deal with CSI, Grey’s Anatomy and the two most respected comedies on television, The Office and 30 Rock.

On second thought, maybe the CW has already given up on the show. (more…)

I consider myself a guy. I dig football, action movies, Aerosmith and the Sports Illustrated swimsuit issue. You know, guy things. So when I heard that The History Channel was premiering a new non-fiction series, Ax Men (Sundays at 10 pm), about the lumber industry, my interest was piqued. What could be more masculine than a bunch of men risking life and limb as they saw down tall trees in the Pacific Northwest? Not much, I say. In the tradition of Discovery Channel’s Deadliest Catch and The History Channel’s Ice Road Truckers, Ax Men promises a show for guys — and it doesn’t disappoint.

If you’re familiar with the aforementioned series, you know the format. Over the course of a season, we, the viewers, will follow four logging crews in various locations of Oregon during the timber-cutting season. In each episode (I assume — I only saw the premiere episode) the action cuts between the four crews throughout the hour. We meet the Pihl Logging crew, the lifeblood of small town, Vernonia, Oregon. Everyone in Vernonia knows someone who relies on the company’s owner, Mike Pihl, to keep food on the table. Then there’s JM Browning Logging, whose owner sets the no-nonsense tone. Jay Browning lost a hand in a logging accident and wears a prosthetic. He refused any handouts during his recovery and demands the same kind of balls-out attitude from his crew. We also meet the guys from Stump Branch Logging, run by 32 -year-old Melvin Lardy (considered a young guy in the business). Melvin’s been in the trade for a decade, but his equipment is breaking down. When the series begins, his company has taken on a monstrous job that just may break him, too. Finally, we also follow Darnell Holthusen of Gustafson Logging. Gustafson is one of the largest companies in Astoria, Oregon, and Holthusen oversees multiple job sites. As busy as he is, he’s a devoted family man and still finds time to coach pee wee football and counsel underprivileged youth.

What I like about the show is the utter lack of pretense all of these men display. These guys don’t seem to give a rat’s ass about the cameras following their exploits; they have a difficult job to do, and if they get caught up int the “glamor” of being on television, they run the risk or injury or worse. All of these guys have seen or known men who have died on the job, and TV means nothing if you’re screwing around and wind up in a casket. The screener I watched was unedited (trust me, the sound editors are going to have a lot of fun placing “bleeps” in this show) and these loggers kept it real throughout the entire hour. While each episode will provide educational information about the nature of the logging industry, The History Channel has created a comprehensive minisite to accompany the series. There, you will be able to learn more about the history of the logging industry (imagine that) and watch more than 50 shortform pieces, among other interactive activities.

Ax Men is definitely aimed at a specific audience (in particular, the guys who aren’t watching Brothers and Sisters at 10:00 on Sunday nights). I’m not sure how much appeal a series like this will have for women who aren’t interested in a bunch of sweaty guys hiking up their grungy jeans, smoking their Marlboros, and flexing their tired muscles (hold on, I just described a night of clubbing). Anyway, if these type of non-fiction shows are your shot of Jim Beam, Ax Men will definitely entertain you. Check it out tonight. You could do worse; you could be watching The Moment of Truth.

Quarterlife, a show I praised back in January, premiered on NBC this past Tuesday. It was anything but a success for the network or the show’s producers; in fact, NBC experienced its worst ratings in 20 years for that Tuesday night timeslot. The ratings were so abysmal, Quarterlife was canceled after one airing. It didn’t even make it to its scheduled night, Sunday. This is a rare case in which you can’t really blame the network. The marketing department had every entertainment magazine covering the premiere. Even Newsweek gave it exposure, dedicating a full page to an interview with the show’s creators. So what the hell went wrong?

First of all, Quarterlife had the misfortune of airing opposite the final debate between Barack Obama and Hillary Clinton. The target audience for Quarterlife (and I’m just going out on a limb here) consists of primarily the same people who will be deciding between Obama and Clinton. I’d wager to say that most of the tech-savvy twentysomethings who would be interested in Quarterlife are more focused in how their candidate did on Tuesday night than the navel-gazing of he characters on Quarterlife.

Another factor I fear may have hurt Quarterlife’s chances is the demographics the creators are aiming for. If they wanted to attract young adults in their early-to-mid 20’s, I have news for them: those people aren’t watching television. Hell, all they have to do is watch one episode of Quarterlife to realize that people of this age are active professionally, politically and socially. Who has time for TV when there are drinks to be drunk, rallies to carry signs at, and hours to be spent at the office? That leaves people thirty and older (or teenagers, ha!) to watch the show. Unlike previous efforts from Edward Zwick and Marshall Herskovitz, this series does not feature a wide range of characters. And unlike the guilty, soap opera aspect of, say, a Melrose Place, Quarterlife is a damn serious show. It basically is thirtysomething for gen X, or Y, or whatever that generation is labeled. I’d bet that even if Quarterlife had aired on a youth-oriented network like the CW, it would have failed (though the CW would have given it a couple more airings… come on, NBC).

Unfortunately for Quarterlife, the general public will never have a chance to see the characters grow past their whiny selves in the pilot. Then again, anyone can watch new episodes every Thursday and Sunday, when original 11-15 minute segments premiere online. Personally, I have gotten used to seeing the show in these small chapters. As I sat and watched the network version of Quarterlife, I kept waiting for the show to end. This went on for the entire hour – I was actually thrown when watching it. Since this was a series about the computer generation, shows on the Internet, I believe the true audience for the show was always going to be online. I fear now that the show has tanked on the network, the prospects of it continuing online are dim. I hope I’m wrong, because I still believe in it, and Lord knows Herskovitz and Zwick are geniuses.

What does this mean for the future of shows moving from the Internet to television? Most likely it’s a setback. I think the networks are going to be wary of experimenting so soon after this letdown. But when another show backed by A-list talent comes along, something with broader appeal (probably a comedy or another damn procedural) I think we’ll see a network take a chance.

Try as I may, I’m not feeling the love that so many other critics have for Breaking Bad, AMC’s latest original dramatic series. In it, Bryan Cranston portrays Walter White, the mildest of mild-mannered high school chemistry teachers. Walter has a teenage son, a pregnant wife, and has recently learned he has lung cancer that will likely kill him within a year. The White family is far from wealthy; let’s face it, the guy’s a teacher. In the pilot, he’s also pulling down a second job at a shitty car wash (where he’s easily manipulated by his sleazebag boss) and the family is just making ends meet. Like I said, Walter’s wife, Skyler is expecting, and their teenage son, Walter, Jr. has cerebral palsy. Realizing that he has no money to leave to his family, Walter schemes to score a truckload of money by making crystal meth. Using his chemistry know-how, he teams up with a local dealer, Jesse (who used to be one of his students) and winds up cooking the purest meth crystals their small New Mexico city has ever seen. (more…)

Those of you who follow The Three Strike Rule know what a big fan I am of the TBS comedy, 10 Items or Less Thanks to my fellow Popdoser, Will, I had the opportunity to speak with John Lehr, the star and co-creator of — not to mention one of the producers and writers for — 10 Items or Less Needless to say, the guy has his cart full. The show had wrapped its second season before the writers strike began, and John was just about to leave on a well-deserved vacation. He was in New York doing publicity for the show when I caught up with him.

10 Items or Less is an improv-based half-hour ensemble comedy. Lehr stars as Leslie Pool, who has inherited his father’s Ohio grocery store, the Green & Grains. Determined to carry on his father’s legacy, despite knowing little about the grocery business, Pool oversees a crew of misfits while dealing with a competitive chain across the street.

The genesis for 10 Items or Less came out of an independent film Lehr starred in and co-produced, Memron. That film, which was an improv comedy, was co-written by Robert Hickey and Nancy Hower, who also directed. According to Lehr, these three decided that they “would like to do more of that kind of humor (improv). It felt like it was meant for TV.” They developed 10 Items or Less and pitched the idea to Sony, who prepared to shop it around. The first network they approached was TBS. The former Superstation was changing its image and starting to produce new, original comedies. Lehr was excited about finding a home on the cable channel. He said, “I grew up watching Superstation and it felt like our show would be a perfect fit. TBS is aimed at the whole country, not just New York and Los Angeles, and our show takes place in the Midwest. This seemed like a perfect fit.” (more…)

FX recently released the first season of their original series, Damages, on DVD. You may have heard some buzz when the show began airing last July, and perhaps some new murmurs as the first season came to a close. Noteworthy for its cast and innovation, Damages proved to be a challenging series for any viewer, no matter how loyal: the show’s use of frequent flashbacks meant that missing just one show would potentially left viewers in the dark. However, in the end, Damages proved to be one of the most compelling shows to air on television — not just of the summer, but of the entire year. (more…)