30 Rock (esteemed winner of the 30 Rock vs. Studio 60 deathmatch)

Started by ono, September 18, 2006, 08:00:42 PM

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RegularKarate

RE: The camera movement... you really have to watch it from start to end to get used to it, but word is that they're going to cut back on the shakiness because not everyone knows how to do it correctly. 

Give it another shot and understand the camera movement is supposed to chill out a bit.  I think it's worth it (the camera movement doesn't bother me and it lends to the fantastic editing).

Kal

30 Rock survives for now despite the very dissapointing ratings (lower than Studio 60, with less than 6 million viewers). The plan is that NBC is moving the show to THURSDAY together with The Office, My Name is Earl, and Scrubs... sounds kinda cool considering they will have 4 sitcoms back to back trying to compete with CSI and the other bullshit.

NBC is desperate.

diggler

^which is a shame because any four of those shows are superior to CSI.  totally different kind of show, but still.

am i crazy, or is it wishful thinking that matt would rather talk to an elderly writer at a wrap party as opposed to hitting on retarded models?  maybe they just aren't selling harriet enough.
I'm not racist, I'm just slutty

polkablues

Quote from: RegularKarate on October 25, 2006, 03:52:45 PM
RE: The camera movement... you really have to watch it from start to end to get used to it, but word is that they're going to cut back on the shakiness because not everyone knows how to do it correctly. 

Give it another shot and understand the camera movement is supposed to chill out a bit.  I think it's worth it (the camera movement doesn't bother me and it lends to the fantastic editing).

The camera movement is part of what makes the show great... it's stylistically different, more filmic, than anything else on TV right now.  If you need to suck on a ginger tablet to make it through an episode, then damn it, that's just the price you have to pay.

And for what it's worth, from someone who still hasn't given up on Studio 60, RK's right.  FNL is the best new show this season.  Six Degrees is pretty damn good, too, but I think I'm the only person in the world who's watching it.  Campbell Scott, people!  Come on!
My house, my rules, my coffee

grand theft sparrow

Last night's 30 Rock was the best so far.  No "AIDS monkey's bones" moments from Tracy Morgan, unfortunately, but Alec Baldwin killed me.

And this is good news all around.  They're granting my wish and moving all my live-action sitcom watching to one night and pulling that god-awful show with Jeffrey Tambor that was a knife in the chests of AD fans everywhere.


NBC moves '30 Rock,' 'Scrubs' to Thurs.

October 26, 2006
By Nellie Andreeva

NBC is bringing back its trademark two-hour comedy block on Thursdays with freshman "30 Rock" and "Scrubs" joining "My Name Is Earl" and "The Office." Meanwhile, another new NBC comedy, "Twenty Good Years," is being pulled off the schedule.

"30 Rock" will be first to join the Thursday lineup Nov. 16 for a supersize night of 40-minute episodes of "Earl," "Office" and "30 Rock" leading into "ER."

Comedy will take a breather the following week, Thanksgiving night, when NBC will air a two-hour "Deal or No Deal" from 8-10 p.m.

Beginning Nov. 30, the four single-camera comedies will take over their new regular slots: "Earl" and "Office" staying put at 8 and 8:30, followed by "Scrubs" at 9 and "30 Rock" at 9:30 p.m. For "Scrubs," it will mark a return to Thursdays, where it aired behind "Friends" during the 2002-03 and 2003-04 seasons.

"We are excited about the prospect of two hours of top-notch comedy on Thursday nights, which includes the return of 'Scrubs,' " NBC Entertainment president Kevin Reilly said. "We will stay on-brand with the best comedy block on television, which will position us for the future on the night."

"30 Rock" and its current companion, "Twenty," will remain in their respective Wednesday 8 and 8:30 slots through Nov. 8. The following week, "The Biggest Loser" will air at 8, leading into the two-hour season premiere of "Medium" that will feature star Patricia Arquette's husband, Thomas Jane, as a guest star. "Medium" will begin running in its regular Wednesday 10 p.m. slot the following week.

Starting Nov. 22, NBC will air different specials in the Wednesday 8 p.m. hour. The Thursday edition of "Deal" will not be moved to another night, and the game show will go down from two to one edition a week for now.

There are no immediate plans for a return of "Twenty Good Years" to the schedule. The comedy starring John Lithgow and Jeffrey Tambor is in production on its 13-episode order and might come back in midseason.

The move follows a low-rated first two weeks for "30 Rock" and "Twenty" in the Wednesday 8 p.m. hour. Last week, they trailed the competition with a 2.3 rating/7 share and a 2.0/5 in adults 18-49, respectively.

It also reaffirms NBC's commitment to moving scripted series away from 8 p.m. as stated by network's brass last week (HR 10/20).

For nearly 20 years, NBC's "Must See TV" comedy lineup dominated the Thursday 8-10 time period with such blockbuster comedies as "Friends," "Seinfeld" and "Cheers." But the formidable block began to show signs of vulnerability in the late '90s when NBC repeatedly failed to launch a new hit comedy behind "Friends" and "Seinfeld." Cracks began to appear when in 2001 when CBS challenged NBC's dominance on the night by scheduling "Survivor" and "CSI: Crime Scene Investigation" at 8 and 9 p.m., respectively.

After a successful stunting with supersized episodes of its established comedies, NBC's best response to CBS' assault came in early 2004 when the network broke off its two-hour comedy block to air "The Apprentice" at 9 p.m. NBC briefly returned to the four-comedy format in the spring when it moved "Earl" and "Office" to the Thursday 9 p.m. hour.

"30 Rock," created by and starring Tina Fey, was warmly received by critics. Set behind the scenes of a late-night sketch comedy show, the series also stars Alec Baldwin, Tracy Morgan and Jane Krakowski.

"Deal" was a late addition to NBC's Thursday lineup. The network originally had scheduled its other behind-the-scenes of a "Saturday Night Live"-type show new series, Aaron Sorkin's drama "Studio 60 on the Sunset Strip," in the 9 p.m. slot but made the switch after ABC announced its move of "Grey's Anatomy" to the same period.

edison

Studio 60' Cancellation Iminent

Here we go: despite receiving an order for three more episodes on Friday, the Aaron Sorkin NBC drama "Studio 60 on Sunset Strip" is about to be put out of its misery.

Cast members are already confiding in friends that the end is near. It's likely NBC will pull the plug shortly I am told by insiders.

Last week, Studio 60 had 7.7 million viewers. Compare that with competing "CSI: Miami," with 17.5 million. That gap cannot be closed.

But 'Studio 60' has trouble internally at NBC, forget its intramural rivals. According to ratings stats, the "Saturday Night Live" behind the scenes soap opera loses almost half the viewers delivered to it a few minutes earlier by another new show, "Heroes," which has become a surprise cult hit.

On Monday, 'Heroes' had 14.3 million viewers. The substantial drop off with 'Studio 60' is probably the last nail in its coffin. The order of the three extra episodes is considered by insiders to be a contractual move, and not one based on faith that they will ever be made or aired. The all important demo situation didn't help: 'Heroes' had 15 percent of viewers aged 18-49. Studio 60 had 8 percent. The notion that 'Studio 60' is a big draw for NBC among desirables is, sadly, blown on those stats.

Sorkin and friends will argue that NBC has done something wrong, or that the audience isn't smart enough. Alas, in this case, neither is true. 'Studio 60'—as I wrote on August 7th after viewing the pilot—is just a bad show. There's nothing wrong with the acting, directing, or dialogue writing. But the premise is faulty. No one cares whether a bunch of over caffeinated, well off yuppies, some with expensive drug habits, put on a weekly comedy sketch show from Los Angeles.

Even worse: no one cares whether or not the people from the Bartlett White House puts on a comedy show. That's what 'Studio 60' is, essentially: the "West Wing" annual talent show. There's so much earnestness involved in this endeavour, you start to think that nuclear war will be declared if the 'Studio 60' staff doesn't air some joke—usually one we don't hear anyway. The whole thing just feels weighted down and frankly, not entertaining.

There is one winner to come out of 'Studio 60,' however: Matthew Perry. In this show he's proven himself to be a star on his own separate from "Friends." His comedic timing and ability to ad lib, toss off lines, and give restrained physical reactions is what keeps 'Studio 60' even remotely interesting. We can only be hopeful that someone comes up with a great new show for him quickly—but a comedy that's funny, not a drama that isn't.

NBC will probably fill the lost 'Studio 60' timeslot with 'Deal-No Deal: The Next Generation,' or some such thing. So the losers here will be the audience, which is about to be pummelled by more reality and game shows. It's too bad because around the dial there are good new dramas. Despite its heavy "thirtysomething" feel, "Brothers and Sisters" is worth keeping if only for Sally Field, Ron Rifkin and Rachel Griffiths. (But there a mistake was made, too: killing off patriarch Tom Skerritt in the first episode.)

Oh well: I hope Regis is warming up the holiday edition of "Who Wants to Be a Millionaire." We're ready!



ProgWRX

Not so quick!  :yabbse-grin:

QuoteFox Gets It Wrong, NBC Says 'Studio 60' Stays Onboard
by David Goetzl, Tuesday, Oct 31, 2006 7:45 AM ET
A FOX NEWS REPORT THAT NBC's heavily promoted "Studio 60 on the Sunset Strip" would be dropped from the schedule created a frisson Monday, but appears to be premature.
An NBC representative said in an email the show hasn't been cancelled. The rep wrote: "It is profitable at this point." In fact, the network has ordered three more episodes of the show.

"Studio 60" is scheduled to air next Monday in its usual 10 p.m. slot, although a boffo performance by "Friday Night Lights" in the slot last night--where it was placed for a trial run--could potentially change things. But a more likely scenario would be a time-period change for "Studio 60"--not a retirement--a source said.

"Lights," a poor performer on Tuesdays, could then be viewed as more compatible with NBC's freshman hit "Heroes" on Mondays. "Studio 60" has failed to capitalize on the strong lead-in from the top-10 hit at 9 p.m.

Barring a major meltdown--and last week, ratings were up over the previous week--next week's performance by "Studio 60" is not considered a make or break. But NBC executives are watching its ratings closely, and are frustrated by their decline.

Still, the show is averaging a 3.8 for the season in "live plus same day" ratings for the 18-to-49 demo. (Note: advertisers are only paying for the lower "live" ratings.) NBC executives believe that as long as the show stays above a 3.0, it will function, at the very worst, as a loss leader. That barometer gives it a shot of staying on the air.

One of the reasons NBC might stick with it is the show's upscale profile, which can make it attractive to advertisers: Through Oct. 8, it ranked fourth among all network shows in median income for the 18-to-49 demo at $66,000. Another is the show's perceived status as high-brow "West Wing-style" entertainment, a brand image that NBC continues to pursue.

Barring an unexpected breakout performance from "Lights" last night, executives also believe that even if "Studio 60" were replaced, it would be hard to put a show in the time slot that would outperform CBS' "CSI" Miami," which dominates.

NBC could call on "Crossing Jordan," which is expected to return on Fridays this fall, if either "Studio" 60" or "Lights" gets the axe. But "Jordan" finished last year with a 3.3 in the 18-to-49 demo, behind cancelled show "Commander in Chief." In short, it could be hard-pressed to significantly outperform "Studio 60."

Much of "Studio 60's" fate involves economic decisions by the network as far as the cost benefit of yanking a show when episodes are already shot. Thirteen episodes have been ordered, although the NBC rep wrote that it is unclear how far along production is on the allotment--so there could be a shutdown. As of next Monday, seven episodes will have aired.

The Fox report received heightened attention via a prominent link on the "Drudge Report" that was later removed.

-Carlos

grand theft sparrow

The person that authorized the move of a TV show about football, even if it was just a one time thing, to a time slot when REAL football is on doesn't deserve their job.

Raikus

Since when did the NFL become REAL football?
Yes, to dance beneath the diamond sky with one hand waving free, silhouetted by the sea, circled by the circus sands, with all memory and fate driven deep beneath the waves, let me forget about today until tomorrow.

grand theft sparrow


RegularKarate

Quote from: othersparrow on November 01, 2006, 08:54:21 AM
The person that authorized the move of a TV show about football, even if it was just a one time thing, to a time slot when REAL football is on doesn't deserve their job.

It gave them a good ratings boost though (for the first half at least) and it sounds like they may be getting to actually shoot some of those scripts that were ordered now.

Kal

No it did not. It had numbers along the same lines of Studio 60 - actually a little on the low side... even considering that all the other networks were showing RERUNS... and NBC won the night in all the other timeslots but that one.

MacGuffin

Can a TV Show With Dream Viewers
But Low Ratings Survive? Stay Tuned
Source: Wall Street Journal

On a recent episode of "Studio 60 on the Sunset Strip," NBC's highbrow drama about life behind the scenes on a comedy sketch show, characters debated whether to allow a magazine reporter on the set.

The writers didn't want the reporter hanging around. But the network president, played by Amanda Peet, argued for access because of the magazine's readership: affluent "alpha consumers" who are "the first to know, the first to try and the first to buy." The people advertisers swoon over.

NBC is weighing a related dilemma as it decides the fate of "Studio 60." The show is currently "on the bubble." Critics and hardcore fans love it, and will howl if NBC cancels it. But the network may pull the plug anyway, because it can't justify the show's business prospects.

Ratings are not good. Viewership for the show -- smartly written by "West Wing" creator Aaron Sorkin -- has fallen 37% since its premiere on Sept. 18 to about four million people, according to Nielsen Media Research. By contrast, its lead-in, "Heroes," draws more than eight million viewers. It's up against "Monday Night Football" on Walt Disney Co.'s ESPN, but NBC doesn't think that has much impact because "Studio 60" is more heavily watched by women. In fact, "Friday Night Lights," about high school football in Texas, did worse in the time slot this week, dropping 10% from the average of "Studio 60."

The show does attract a dream audience for advertisers. NBC says "Studio 60" draws the highest concentration of homes with incomes of $75,000 or more, and it is particularly popular among viewers with four years of college. In other words, "alphas." On a per-customer basis, advertisers pay more for them. "Studio 60" shouldn't have to match "Dancing With the Stars" to be successful.

But it doesn't work that way -- not yet, anyway. Broadcast television is still a game of mass, not class. As executives themselves like to point out, it's the one-big-tent nature of the traditional networks that can make them more appealing in a world where audiences are fragmenting into narrow tribes. Advertisers may covet a certain "quality" audience, but they can find it elsewhere, like the Internet. When they are spending the big bucks, they still need a certain critical mass.

The show's upscale audience certainly doesn't hurt. But overall ad revenue still depends mainly on size of audience. "If you are not going to deliver the ratings, I'm not going to pay you," says Laura Caraccioli-Davis, a senior vice president at Publicis Groupe's Starcom USA. And while NBC knows some people record the show on a DVR to watch later or catch an episode on the Web, its advertisers pay only for live ratings. (Adding viewers who record and play "Studio 60" back within seven days of the original airing bumps the show's weekly ratings by about 18%, Nielsen says.)

"Studio 60" might have been canceled already, in the trigger-happy world of network scheduling, except that NBC decided to pay a big price when it took on Mr. Sorkin, reasoning that it was worth taking a gamble that might produce a long-running megahit. It had to provide the show's producer, Time Warner Inc.'s Warner Bros, a guarantee of 13 episodes. Only six have aired so far, and NBC just placed an order for three more scripts.

But it also agreed to big budgets, and those high costs could hasten the show's demise. The series is packed with stars, including Matthew Perry, Ms. Peet and Bradley Whitford, and it films on a particularly lavish set. "Studio 60" costs about $3 million an episode to produce. NBC pays a license fee of about $2 million an episode -- high prices for a first-year show.

So the question is whether "Studio 60" lasts into 2007. NBC, already under financial scrutiny from parent General Electric Co. and fresh off announcing $750 million in budget cuts, is unlikely to keep the series running at its current price. The network wants Warner Bros. to reduce the license fee, according to people familiar with the situation. But Warner may be reluctant. The revenue prospects in overseas markets and reruns are iffy for a complex, serialized drama. The DVD market for TV shows, while promising, wouldn't make up the difference. The show does well on the Internet, but that, too, is still a small market.

Any license-fee talks must be completed by the end of November or Warner Bros. will be forced to halt production, all but ensuring the death of the series. An NBC spokeswoman declined to comment; a Warner Bros. spokeswoman said the studio never discusses license fees.

Mr. Sorkin was provided extensive creative control over the show's content, and "Studio 60" has delved deep into the intricacies of the television industry. Mitch Metcalf, NBC's scheduling chief, says Mr. Sorkin knows the show needs broadening. "He'll figure something out," Mr. Metcalf says. " 'The West Wing' didn't really kick into high gear until he wrote an attempted assassination at the end of season one that was classic cliff-hanger television."

Whenever a high-quality but ratings-challenged show faces cancellation, devoted fans start coming up with their own solutions. Online, fans have suggested everything from moving "Studio 60" to Friday night, where the competition is lighter, to lobbing the series to Time Warner's HBO, which has a revenue model that doesn't depend on ratings because it doesn't sell ads.

Moving the series to a less important time slot on Friday or Saturday night isn't an option. For starters, Warner Bros. built scheduling restrictions into NBC's licensing contract that would prevent a move to such undesirable real estate. And with advertiser interest lower on those nights, NBC would almost certainly lose money.

NBC also isn't exactly trumpeting its faith in the show. Kevin Reilly, NBC's president of entertainment, declined multiple requests to discuss the series and its direction. Mr. Sorkin wouldn't say what specific tweaks, if any, he plans to make to the series. In an email exchange, he said, "If this were a play we'd still be in previews. Sometimes I felt as if, after four years of 'The West Wing,' I was still learning how to do it better."

Mr. Sorkin also says "a lot of mistaken assumptions" have been made about "Studio 60." "You don't need to work in television to like it, it's not based on real people, and it's not hoping to change the world. It's a workplace drama with elements of romantic comedy."

But many Hollywood observers say there's a basic creative problem: The stakes aren't high enough. It's no coincidence that most successful TV dramas are about doctors and cops, who struggle with matters of life and death. Next to that, who cares about whether a TV show is canceled?
"Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art." - Andy Warhol


Skeleton FilmWorks


pete

why do they keep on saying the stakes the stakes the stakes?  if nobody cares, then nobody cares, life or death doesn't really matter.  when rachel and ross or jim and pam were having all sorts of cheesy romantic tension, there were no lives in danger either.
"Tragedy is a close-up; comedy, a long shot."
- Buster Keaton