Hi all! Here’s your first news update for Thursday, October 23, 2014:
Kyle Killen Inks Overall Deal With Paramount TV
Former AMC scripted exec Scott Pennington will head development for his new Chapter Eleven banner. Under the two-year, first-look deal, Killen will develop scripted fare for broadcast, cable, premium cable and streaming services.
‘Ted’ Writer, Sandy Grushow Team for ‘The Weatherman’ Remake at Fox
Wellesley Wild has his sights set on The Weatherman. Fox is reteaming with the Dads creator to adapt the Australian web series of the same name. The network has handed out a script plus penalty commitment to the comedy. Weatherman is described as a workplace comedy centering on weatherman Tony Turpinson, the most insecure man on television. Wild will pen the script and exec produce the comedy for 20th Century Fox Television, where he is under an overall deal. Former Fox Entertainment Group chairman Sandy Grushow will also exec produce the comedy.
(sched) ‘CSI’ Order Cut From 22 to 18 Episodes
The fifteenth season of CSI has been cut from 22 to 18. The decision was more about inventory than ratings.
(sched) ‘Once Upon a Time’ Doubles Up for November Sweep
Once Upon a Time is getting an extra episode this season thanks to a supersized effort airing during November sweep. Co-creator/executive producer Adam Horowitz announced on Thursday via his Twitter account that episode eight, titled "Smash the Mirror," will expand to two hours, starting an hour earlier at 7 p.m. ET/PT on Sunday, Nov. 16.
(video) Netflix Series From ‘Damages’ Creators Unveils Title, First Teaser
KZK no more. Netflix’s upcoming original series, created and executive produced by Damages creators Todd A. Kessler, Daniel Zelman, and Glenn Kessler, will be titled Bloodline and be released in March, the streaming service said today. Netflix also released the first teaser trailer for the Sony TV-produced drama, about a close-knit family of four adult siblings whose secrets and scars are revealed when their black sheep brother returns home.
‘Grey’s Anatomy’s’ Kelly McCreary Upped to Series Regular
Four episodes into Grey’s Anatomy’s 11th season, the ABC medical drama has promoted Kelly McCreary to series regular.
‘Red Band Society’ Stages ‘Privileged’ Reunion
John Allen Nelson will recur and reunite with series creator Rina Mimoun on the Fox dramedy.
Rebecca Creskoff Joins HBO’s ‘Silicon Valley’ As New Regular
Rebecca Creskoff is returning to the premium cable network with a series regular role on another HBO comedy series, Mike Judge’s Emmy-nominatedSilicon Valley.
(review) Variety: ‘Big Hero 6’
With “Big Hero 6,” an obscure Marvel Comics title gives the Mouse House’s toon division just enough raw material to assemble its own superhero franchise, starring millions of robots — including one, a balloon-bellied virtual nurse named Baymax, that you’ll never forget. Co-directors Don Hall and Chris Williams borrow the character names and a few key details from their pulp source, but otherwise succeed in putting a thoroughly Disney spin on things, delivering appealing personalities, bright, peppy animation, positive life lessons and what looks like a world record for the sheer amount of hugging featured in a superhero movie. More male-skewing than “Frozen,” the relatively hip result should do big business for Disney.
(sched) CBS’ ‘Late Late Show’ with James Corden To Debut March 9 From L.A.
CBS’ new late-night landscape comes partially into view March 9, when the network will launch a revised “Late Late Show” with new host James Corden that will tape in Los Angeles and be supervised by British producer Ben Winston. CBS is likely to use guest hosts on its “Late Late Show” until Corden takes over the chair next spring, according to a person familiar with the matter.
CMT expanding ‘Party Down South’ franchise with ‘Party Down South 2′
CMT is expanding its Party Down South franchise by adding a second edition of the reality show with a new cast of unruly Southerners. Party Down South 2 will debut on Nov. 20 at 9 p.m. with the first of 12 one-hour episodes. The eight twentysomethings—among whom are a firefighter and preacher’s daughter—will be drinking their way through Biloxi, Miss., while indulging in mud pits and makeouts.
A Day in the (Very Busy) Life of Shondaland MVP Tom Verica
He’s the go-to producing director on ‘Scandal’ and plays Viola Davis’ husband on ‘How to Get Away With Murder’.
Splitsider: Is the Future of Comedy the Comedy/Drama Hybrid?
In a recent Salon interview, Bob Odenkirk warns aspiring writers to “get out of comedy, because it’s about to collapse.” Sketch comedy, he says, is having its time in the sun now — what with YouTube, Comedy Central’s burgeoning lineup and the legions of theater sketch teams popping up all over — but the market is becoming saturated. What’s next then? He suggests that once the market tires of short sketches, it may turn to more long-form, dramatic material. Louie and Girls, two shows that are nominally considered comedies but regularly flirt with drama within their svelte 30-minute timeframes, are setting the tone for many of the new comedies cropping up everywhere. Are we entering some new era dominated by that nebulous thing known as the “comedy-drama”?
HuffPo: How To Make It As A Black Sitcom: Be Careful How You Talk About Race
So is it possible for a sitcom to do what "Black-ish" is attempting — to have its minority characters talk about race more than occasionally, and at the same time to have popular success? The answer, according to Poussaint and Coleman, is yes. That is, as long as the show makes fun of itself. It’s a style that has its roots in the early 1970s, with Lear’s socially conscious comedies like "Sanford and Son" and "The Jeffersons." They were "making more fun of black people, and only incidentally, white people," he said. "A lot of these black shows coming on [today] know that they have to be more in the mode of the old-style shows to get ratings."
Cable’s Upfront Dollars Fell 6% To $9.6B, First Slump In 4 Years
Advertisers committed fewer dollars to national cable TV networks for the first time since before the 2009-2010 TV season, according to data released Thursday by the Cabletelevision Advertising Bureau. National cable networks secured $9.6 billion in advance advertising commitments in the most recent “upfront” market, when TV networks try to sell the bulk of their ad inventory for the coming season. The figure represents a 6% reduction, or about $577 million, in outlays from the $10.2 billion earmarked for cable networks for the 2013-2014 season.
Vox: Cable television is dying, but cable companies are thriving
Cable television is dying. But if you look at the earnings report Comcast released today, it’s clear that cable companies are thriving nonetheless. Over the past year, the company reports that it lost about 155,000 pay television customers. But during this same period revenue from pay television customers actually rose one percent due to higher prices. That’s a sign that Comcast isn’t really trying to save pay television as a long-term business proposition. The company isn’t lowering prices to try to beat reduced customer demand, it’s accepting that this will keep shrinking and they’re simply trying to squeeze the customer base for all their worth. But the really good news for America’s #1 cable company is that high-speed internet revenues grew 9.6 percent and they have over 1 million more billable internet customers than they had a year ago.
Vox: 13 classic scenes that explain how horror movies work
During Halloween season, horror movies are everywhere — on cable, in theaters, and in endless marathons you curate for yourself at home. But what makes scary movies tick? What sort of techniques do directors use to make you scream? Here is a broad overview of those techniques, using 13 classic horror-movie scenes.