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2014-15 TV Cancellations: Under the Dome canned, what will CBS do with CG cows next?

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Vert boil

Vert boil

Member
RatskyWatsky said:
TBS renewed American Dad.
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americandad3p8ud0.png


Hopefully TBS can save Bob's Burgers.
 
C

Clevinger

Member
spindoctor said:
I don't think anyone would seriously pit it against the good shows of cable or even good network TV.
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I would. But "good" might mean something a little different to me. It's not great or amazing, but I'd put it in the good but fairly flawed category like Orphan Black.

"Good CW" would be more like Arrow/Flash, where I'd have to ignore the fundamental ways it's terrible (dialogue, acting, logic, multiple useless/bad main characters) to call it good.

(I haven't seen the second season yet though)
 
G

G0523

Member
Vert boil said:
Hopefully TBS can save Bob's Burgers.
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Bob's Burgers will be just fine at Fox. Now that it has a steady schedule for the rest of the TV year (Sundays @ 9:30pm after Family Guy) AND its first episode in that timeslot did sooo much better than every episode of Mulaney, Fox will keep it there and eventually renew it for next year.
 
S

Sloane

Banned
ivysaur12 said:
I actually have a lot of the same problems I had with the entire second season of Orphan Black. It feels like this problem that a lot of low-rent genre shows have -- and intriguing premise, but either a scope that becomes too large too fast, or the inability to run with that concept over a long period where the show becomes THINGS that HAPPEN to people that aren't grounded in any emotional truth or real motivation.
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Yeah, I've had the same feeling about Orphan Black although I probably wouldn't limit it to low-rent genre shows, it's a problem that almost every genre show seems to have at some point.

As for Orphan Black specifically, they burnt through so much plot over the course of the first six to eight episodes, I already more or less expected this to happen by the end of season one. Probably doesn't help when a show that is the good kind of "stupid fun" suddenly starts taking itself seriously for some reason.

Not watching The 100 though, so I can't draw comparisons to that.
 
S

spindoctor

Member
Purple Cheeto said:
I never got into Covert Affairs but White Collar has just run out of steam. There's really nowhere else to go with it.
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I suppose that's true. I felt the show worked best when Neal and Peter were adversarial in at least some way and they can't really keep that up indefinitely in a buddy cop show.

Clevinger said:
I would. But "good" might mean something a little different to me. It's not great or amazing, but I'd put it in the good but fairly flawed category like Orphan Black.

"Good CW" would be more like Arrow/Flash, where I'd have to ignore the fundamental ways it's terrible (dialogue, acting, logic, multiple useless/bad main characters) to call it good.

(I haven't seen the second season yet though)
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I suppose it's a matter of preference. Orphan Black kind of dropped the ball in it's second season but I'd put it's first season head and shoulders above the 100. The 100 has all the trappings of a CW show that it just can't transcend. Although I'd agree with you that there are definitely varying degrees of good when it comes to comparing other shows like Arrow/Flash etc.
 
S

Sloane

Banned
spindoctor said:
I suppose that's true. I felt the show worked best when Neal and Peter were adversarial in at least some way and they can't really keep that up indefinitely in a buddy cop show.
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I don't know, I don't feel like White Collar ever really needed to go somewhere, the conspiracy crap was always that, crap, and I probably wouldn't have minded if the only actual development over the course of its run would have been Neal's "road to redemption", him winning Peter's trust and getting rid of his anklet, because as a buddy cop show, it always worked really well.

I'm usually not much into procedurals but I liked the USA style for a while -- Monk, Psych, Burn Notice, and White Collar, to be precise --, and I kind of feel that at least some of today's shows are being dragged down by the urge to force a season-spanning mystery into them.

I guess that's just part of the current template, but to me those mysteries are always hit or, usually, miss, because they either feel like they're dragging their feer or they take completely unmotivated twists and turns just to keep the viewers guessing and surprised, which is just hacky. (Unless it's done in a hilarious and soap-y way like, say, Scandal.)
 
C

Cornballer

Member
- Tuesday numbers from TVbtN:
On CBS, NCIS garnered a 2.6, up three tenths from its last original's 2.3 adults 18-49 rating. NCIS: New Orleans earned a 2.3, up three tenths from its last original's 2.0 adults 18-49 rating. Person Of Interest notched a 1.6, up three tenths from last week's series low 1.3 adults 18-49 rating.

On NBC, The Voice earned a 2.6, down four tenths from last week's 3.0 adults 18-49 rating. Marry Me earned a 1.6 up three tenths from its last original's 1.3 adults 18-49 rating. About a Boy earned a 1.3, up four tenths from its last original's 0.9 adults 18-49 rating. Chicago Fire scored a 2.0, down two tenths from last week's 2.2 adults 18-49 rating.

On FOX, MasterChef Junior earned a 1.5, down three tenths from last week's 1.8 adults 18-49 rating. New Girl garnered a 1.4, up a tenth from last week's 1.3 adults 18-49 rating. The Mindy Project matched last week's 1.1 adults 18-49 rating.

On ABC Marvel’s Agents of S.H.I.E.L.D. scored a 1.6, up a tenth from last week's series low 1.5 adults 18-49 rating. Forever matched last week's 1.0 adults 18-49 rating.

On the CW, The Flash earned a 1.3, down a tenth from last week's 1.4 adults 18-49 rating. Supernatural notched a 1.0, up a tenth from last week's 0.9 adults 18-49 rating.
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R

RatskyWatsky

Hunky Nostradamus
ivysaur12 said:
I actually have a lot of the same problems I had with the entire second season of Orphan Black. It feels like this problem that a lot of low-rent genre shows have -- and intriguing premise, but either a scope that becomes too large too fast, or the inability to run with that concept over a long period where the show becomes THINGS that HAPPEN to people that aren't grounded in any emotional truth or real motivation. That can either be due to the fact that the idea wouldn't be a good long running series to begin with, or the talent just isn't there.
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Very curious to see if Helix will fall into the same trap...

Cornballer said:
- Deadline: ‘Longmire’ Lives With Season 4 Order At Netflix
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Congrats Longmire fans!
 
P

Purple Cheeto

Member
I caught the final 10 minutes of Chicago Fire last night and the actress who plays Paige on Graceland was on there. She was playing an annoying girlfriend/wife who was being unrealistic with her significant other. Good to see she has such range!

She also got naked and I saw side boob.

spindoctor said:
I suppose that's true. I felt the show worked best when Neal and Peter were adversarial in at least some way and they can't really keep that up indefinitely in a buddy cop show.
Click to expand...

I agree, but at this point it just feels unbelievable for them to still not trust each other. The only drama left is Neal not being truly free, everything else is so forced.

Sloane said:
I don't know, I don't feel like White Collar ever really needed to go somewhere, the conspiracy crap was always that, crap, and I probably wouldn't have minded if the only actual development over the course of its run would have been Neal's "road to redemption", him winning Peter's trust and getting rid of his anklet, because as a buddy cop show, it always worked really well.

I'm usually not much into procedurals but I liked the USA style for a while -- Monk, Psych, Burn Notice, and White Collar, to be precise --, and I kind of feel that at least some of today's shows are being dragged down by the urge to force a season-spanning mystery into them.

I guess that's just part of the current template, but to me those mysteries are always hit or, usually, miss, because they either feel like they're dragging their feer or they take completely unmotivated twists and turns just to keep the viewers guessing and surprised, which is just hacky. (Unless it's done in a hilarious and soap-y way like, say, Scandal.)
Click to expand...

I agree with you about the forced "season long mystery" thing. Honestly if the characters and the monster/villain/case of the weak are interesting are good I don't really need an overarching plot. I think its why I started to dislike Burn Notice at the end. It stopped being a lighthearted show where they basically A-Team some jerks and help someone less fortunate and just became a cruddy CIA thriller show.
 
F

firehawk12

Subete no aware
UMdIwQG.png


TV writers have to write within their budgets, or we get "amazing" effects work like this one from NCIS: New Orleans. I think I laughed when I saw this combined with the really badly choreographed "girl on girl" fight that preceded this dramatic explosion.
 
A

anaron

Member
Happy for Katee, Grandma Saracen and longmire fans. Never really watched it but it'll be cool to see what kind of stuff they can do on Netflix.
 
R

Rafa=FedKilla

Banned
ivysaur12 said:
I actually have a lot of the same problems I had with the entire second season of Orphan Black. It feels like this problem that a lot of low-rent genre shows have -- and intriguing premise, but either a scope that becomes too large too fast, or the inability to run with that concept over a long period where the show becomes THINGS that HAPPEN to people that aren't grounded in any emotional truth or real motivation. That can either be due to the fact that the idea wouldn't be a good long running series to begin with, or the talent just isn't there. The latter is definitely true of Orphan Black, and I'm start to think that it's true of The 100.

I think it's 4 episodes in this season, but I feel like I'm starting to see the strains -- and usually, I'm not one for logic bumps, but there's enough that's starting to creep up that's troublesome.

I've also never been a huge fan of the show, and some people really love it, so again, mileage may vary.
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I'm gonna have to disagree with you, respectfully. Now I can't speak for Orphan Black, British cinematography is so off putting. But The 100, wow, I've never been so enamored by a protagonist like this before. I like to think of Clarke as a vessel. She's constantly doing things the viewer wishes they could do or what they would think they would do in that situation. The kind of desires that only reveal themselves in those quiet little moments alone. Take last week, I saw that dart and I was screaming at my iPad for her to take it off the trunk because I wanted her to stab Anya so badly. And Ithink that scares and intimidates people because they aren't expecting that. And for that reason, I've stated on many occasions that Clarke is one of the most important female protagonist on television of the past thirty five years.
 
B

BertramCooper

Banned
I haven't seen Longmire (love Sackhoff, though), but I love that Netflix is becoming the savior of so many canceled shows.

I think it's a great strategy for them. Those small individual fanbases add up.
 
S

spindoctor

Member
electroflame said:
Add me to the list of people extremely pleased with this outcome.

Netflix really was their best option, so I'm glad that the parties involved reached an agreement.
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I'm glad that they get a chance to wrap up the story and I hope the writers take advantage of this opportunity. I don't feel the show has a lot of life left otherwise. The last season felt rather directionless, especially with the character of Branch.
 
P

Patryn

Member
BertramCooper said:
I haven't seen Longmire (love Sackhoff, though), but I love that Netflix is becoming the savior of so many canceled shows.

I think it's a great strategy for them. Those small individual fanbases add up.
Click to expand...

However, isn't it more expensive to pick up an existing show than opposed to starting a new one? As I recall, aren't there usually built-in raises that automatically kick-in the longer a show goes?
 
C

Cornballer

Member
- Wednesday numbers from TVbtN:
On NBC, The Mysteries of Laura notched a 1.4, up a tenth from its last original's 1.3 adults 18-49 rating. Law And Order: SVU earned a 1.8, down six tenths from last week's 2.4 adults 18-49 rating. Chicago PD scored a 1.6, down six tenths from last week's 2.2 adults 18-49 rating.

On ABC, The Middle garnered a 2.2, up three tenths from last week's 1.9 adults 18-49 rating. The Goldbergs scored a 2.4, up three tenths from last week's 2.1 adults 18-49 rating. Modern Family notched a 3.7, up half a ratings point from last week's 3.2 adults 18-49 rating. black-ish earned a 2.6, up a tenth from last week's 2.5 adults 18-49 rating. Nashville earned a 1.5, up a tenth from last week's 1.4 adults 18-49 rating.

On CBS, Survivor earned a 2.4, up a tenth from last week's 2.3 adults 18-49 rating. Criminal Minds matched last week's 2.3 adults 18-49 rating. Stalker garnered a 1.7, up three tenths from last week's 1.4.

On FOX, Hell's Kitchen matched last week's 1.5 adults 18-49 rating. Red Band Society was even with last week’s 0.9 adults 18-49 rating.

On The CW, Arrow matched last week's 0.9 adults 18-49 rating. The 100 scored a 0.6, up a tenth from last week's 0.5 adults 18-49 rating.
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C

Cornballer

Member
ivysaur12 said:
I'm sure this will work out perfectly. Yup.

Nielsen plans to start measuring SVOD services next month for the first time, The Wall Street Journal reports, citing Nielsen client document. Nielsen meters can measure viewership without the OK from Netflix, Amazon Prime and the like — by analyzing a program’s audio components to identify which shows are being streamed. Netflix and Amazon did not comment. The news follows grumbling from content owners that there’s no way to measure consumption of their properties online. The new idea doesn’t address that issue, according to the WSJ, and Nielsen has been slow to count to the increasing viewership on mobile and tablets.
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Adalian on this for NY Mag:

- We’re Still a Long Way Away From Knowing How Many People Watch Netflix and Amazon Shows

One issue:
What the Journal story doesn’t mention at all is whether Nielsen has any plans to tally viewership for original content produced exclusively for Netflix and Amazon — shows such as Orange, Transparent, and House of Cards. In theory, it would seem the same Nielsen tech that measures the audio on Scandal could also pick up whatever House of Cards sounds like. One industry insider, however, wonders whether Nielsen would bother spending the time and money to measure Netflix and Amazon originals unless a specific client were willing to foot the bill for it. The Journal notes that, at least initially, “companies will be able to view program ratings only for their own content,” though ultimately the ratings would able to subscribe to a broader measurement. Netflix and Amazon, however, are never going to pay Nielsen to measure their shows, since both companies have much more accurate internal figures. There’s one possible wrinkle, however: Some Netflix shows, including House of Cards, are produced by outside companies and licensed exclusively to Netflix. It’s conceivable one of those companies — Media Rights Capital, in the case of Cards— could decide it wants hard viewership figures for its shows, either to strike a better deal or to use as leverage in selling the show in markets where Netflix doesn’t have rights. But this is all speculation, and even if MRC or another company were to pay Nielsen to measure its shows, there’s no guarantee the rest of us would see that information. The bottom line: We’re still probably a long way away from seeing streaming shows listed alongside network shows on Nielsen’s weekly ratings charts.
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I

ivysaur12

Banned
It doesn't need to be public, but production companies should absolutely know how well their shows are steaming versus others on the network. Otherwise, they're not able to make the best deals and the cast/crew can't lobby for lucrative deals.

Could you imgaine if the cast and crew of The Big Bang Theory didnt realize how popular their show was?
 
C

crazygambit

Member
Rafa=FedKilla said:
I'm gonna have to disagree with you, respectfully. Now I can't speak for Orphan Black, British cinematography is so off putting. But The 100, wow, I've never been so enamored by a protagonist like this before. I like to think of Clarke as a vessel. She's constantly doing things the viewer wishes they could do or what they would think they would do in that situation. The kind of desires that only reveal themselves in those quiet little moments alone. Take last week, I saw that dart and I was screaming at my iPad for her to take it off the trunk because I wanted her to stab Anya so badly. And Ithink that scares and intimidates people because they aren't expecting that. And for that reason, I've stated on many occasions that Clarke is one of the most important female protagonist on television of the past thirty five years.
Click to expand...

I 100% don't know if this post is satire or not, so congratulations I guess.
 
Z

Zaph

Member
ivysaur12 said:
It doesn't need to be public, but production companies should absolutely know how well their shows are steaming versus others on the network. Otherwise, they're not able to make the best deals and the cast/crew can't lobby for lucrative deals.

Could you imgaine if the cast and crew of The Big Bang Theory didnt realize how popular their show was?
Click to expand...

Wait, what? Distribution services don't have to feed back viewing data for the shows they stream to the production company? Or does that data only go so far as the network?

That seems incredibly broken. How on earth do they set digital distribution terms then?
 
I

ivysaur12

Banned
Zaph said:
Wait, what? Distribution services don't have to feed back viewing data for the shows they stream to the production company? Or does that data only go so far as the network?

That seems incredibly broken. How on earth do they set digital distribution terms then?
Click to expand...

Only Netflix/Amazon has this data. Even production companies are left in the dark.
 
D

dead souls

Member
ivysaur12 said:
Only Netflix/Amazon has this data. Even production companies are left in the dark.
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Yep and that's just the way they want it.

I'd love to get my hands on Netflix/Amazon data and see what people are actually watching, but they really have no good reason to release it. Popular shows could use the data to leverage for the $$$ they deserve and any original series that flop would look bad. It's a lose-lose for Netflix/Amazon to release anything to anyone.
 
beat

beat

Member
What's Sin City Saints? https://tv.yahoo.com/blogs/tv-news/...t-look--8-exclusive-set-photos-142313653.html

We've got a first look at the buzzy scripted comedy, which revolves around wealthy tech businessman Jake Tullus (Andrew Santino), a guy who finds out the hard way that his lifelong dream of owning a pro basketball expansion team isn't all it's cracked up to be.

This set of photos from the eight-episode series include shots of Santino's character with lawyer Dusty Halford (Malin Akerman); what looks like an intense discussion with private casino host and definite know-it-all Kevin Freeman (played by Tom Arnold); and, of course, an all-important snap of the Saints's Vegas-based home court. There's also a basketball player or two, because, after all, this is a sports comedy. (Cool casting note: The show even features former NBA players Rick Fox and Baron Davis!)
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Assuming I can figure out how to use Yahoo Screen (probably the ugliest and hardest to use of all streaming sites?), I'll give it a try for Akerman. (BTW, funny how the piece didn't even mention the leading man's last TV role...)
 
S

Stumpokapow

listen to the mad man
Father_Brain said:
Can people explain what's so self-evidently terrible and mockable about this project as a whole? Williams looks horribly miscast, but everything else just looks like Peter Pan to me.
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for me it's just the absurdity that there's going to be a live television event of a live action low rent cheeseball peter pan musical. it's just one of those new depths moments.
 
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