Tonight marks the start of the Television Critics Association’s summer press tour. While some scheduling quirks this year are delaying my arrival until Sunday night, I’ll be covering it from afar this week (don’t worry; even though I’m missing the first week, I’ll still be there for almost two weeks). I put together a “What is TCA press tour?” primer before winter tour in January, but given that this will be my first TCA press tour as an Adweek employee, I wanted to update it for new followers to explain what press tour is, what I’ll be doing there for Adweek and why I—and almost everyone else who writes about TV—will be talking (and tweeting, using the #TCA15 hashtag) about it nonstop for the next three(!) weeks.

Twice a year, hundreds of TV critics and writers from all over the U.S. and Canada assemble at an L.A. hotel (the Beverly Hilton in summer; the Langham Huntington in winter) for press tour. Each day, a new network presents a variety of panels featuring talent and producers from their new (and sometimes returning) programs, as well as a panel with their top executives. There is also a “scrum” after each panel where smaller groups of reporters gather around certain panel members to ask additional questions, as well as one-on-one opportunities throughout the day and at receptions held during most evenings.

Between the news that breaks during the panels (and at least one panel per press tour goes completely off the rails; Girls, 2 Broke Girls, Stalker and Fresh Off the Boat are recent examples of this) and the interviews I land outside of the panels, each TCA press tour yields dozens of stories for me, both during the event itself and pieces I bank for the weeks and months to come. I’d estimate that my winter press tour reporting for Adweek generated at least 50 stories, including three cover stories, and influenced countless other pieces I’ve written since then, including Friday’s story about Showtime cancelling Happyish.

I first attended press tour, and became a TCA member, back when I was TV Editor at People. I covered the last few press tours for a variety of outlets—even though I covered winter tour primarily for Adweek as a freelancer, it also led to stories that ran in Quartz, The Daily Beast and Emmy Magazine—but now that I’m working for Adweek, I’ll be covering summer press tour for them exclusively.

It’s an exhausting, but essential, couple of weeks. Wish me luck!

The post What is TCA Press Tour? (Summer ’15 Edition) appeared first on TV & Not TV.

After six mostly-wondrous seasons, tonight it’s finally time for Deputy U.S. Marshal Raylan Givens to hang up his badge for good. It’s the series finale of the FX drama we all know and love, Lawman.

At least, that’s what we might all be saying today if Steven Seagal, of all people, hadn’t forced FX to execute an 11th hour title change for its new drama, based on an Elmore Leonard character, and come up with what turned out to be the perfect name for the series: Justified.

FX has announced the project as Lawman back in 2009, but the network renamed it in early 2010 to avoid a conflict with Steven Seagal: Lawman, a now-long-forgotten A&E reality series about Seagal’s work as a reserve deputy sheriff in Louisiana. The new title, Justified, was taken from a line in the pilot, in which Raylan’s new boss, Art Mullen, asks him about his quick-draw shooting of a mob hitman in Miami, which causes Raylan to be reassignment to Kentucky’s Harlan County. “It was justified,” says Raylan.

When I interviewed Justified creator Graham Yost earlier this year for my Daily Beast story about series finales (a story that is worth rereading before tonight’s Justified farewell), we also talked about the title that wasn’t, and how the show’s fate might have changed had it kept its original moniker.

Once FX decided on a name change, “we didn’t come up with Justified,” says Yost. “That was an FX idea and we went, ‘Okay, they like it; that’s fine.’ We couldn’t come up with anything better. The people who worked on The Shield hated that title at first. It was supposed to be called Rampart, and the LAPD basically said, ‘You will not get any help from us if that’s what you call it.’ So they came up with The Shield, and no one liked it. It became The Shield and Justified became Justified.”

Now, of course, there’s no question that Justified is far superior to the generic-sounding Lawman, which seems more appropriate for a CBS procedural. “There’s a slight question in the title, a little bit of irony, it’s the whole thing of Raylan’s story in that and so it’s great,” says Yost. “And Lawman is far more straightforward. There would have been great posters, and it might have gotten a bigger audience in some ways, or at least sampling it, but I don’t think it would’ve had the core people who really got into it.”

Then again, as Yost points out, the title might not have mattered much in the end, so long as the show itself was as compelling as Justified turned out to be: “It’s absolutely ridiculous to try and equate, but The Beatles is the most ridiculous name for a band,” he notes. “It was modeled on The Crickets, but all these associations go away.”

Farewell, Justified and/or Lawman. And — here’s a sentence no one has likely ever uttered before — thank you, Steven Seagal!

The post How ‘Lawman’ Became ‘Justified’ appeared first on TV & Not TV.

Back at TCA’s winter press tour, I sat down with Showtime Networks President David Nevins for an Adweek Q&A that I banked for April, closer to when his spring shows — particularly Showtime’s new comedy, Happyish — were premiering. As April approached, I made arrangements for a quick followup interview with Nevins, to update a few topics we had discussed, including Showtime’s OTT plans.

Then, a couple days before our interview, David Lynch announced he had left Showtime’s Twin Peaks revival. Nevins briefly addressed the status of the project in our interview, and as a result, my Adweek Q&A has Nevins’ only public comments to date on Lynch’s departure:

It’s either a negotiation, or he’s had cold feet. But I am hopeful.

In addition to our Twin Peaks talk, Nevins also gave me a timetable on when Showtime will launch its standalone streaming service, talked about sticking with Happyish after last year’s death of original star Philip Seymour Hoffman and explained why he’ll never leave for a broadcast job like his predecessor, Robert Greenblatt. It’s a great, and unexpectedly newsy, interview; check it out!

Showtime’s Boss Talks About the Twin Peaks Avalanche

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Each month, 18 million U.S. viewers access the Sony-owned, advertising-supported streaming network Crackle. But despite popular shows like Jerry Seinfeld’s Comedians in Cars Getting Coffee, Crackle still has a it of an identity crisis as it looks to make a name for itself among the likes of Netflix and Amazon.

That’s the challenge for Crackle’s general manager Eric Berger, who is making his loudest statement yet by moving Crackle out of the NewFronts, held primarily for digital enterprises, and into the upfronts, generally reserved for the major TV networks, on April 14.

At Adweek, I spoke with Berger about a number of topics, including his bold upfront movie, why Crackle didn’t stream The Interview last December and why he didn’t pick up the Sony-owned Community when it was looking for a home last summer:

It’s a great show. It didn’t fit in our slate at the time. Everything that we’ve done on the scripted series side to date has not been comedy. They’ve all been action, drama and thrillers. Features are different—with Joe Dirt, obviously, but the other features are action, horror and zombie type of stuff that fares really well for us.

There’s a lot more from Berger, who hopes to finally put the “What’s Crackle?” question to bed once and for all.

Why Crackle Wants You (and the Industry) to See It as a Mainstream TV Network

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While I’ve written dozens of stories for Adweek’s site since last fall, I hadn’t yet written anything for the actual magazine — until today. I made my Adweek print debut in the best and biggest possible way: with a pair of cover stories tied to Thursday’s Two and a Half Men series finale.

In addition to my Jon Cryer Q&A, I also spoke with a dozen network presidents, comedy showrunners and sitcom stars for this deep dive into the not-so-funny state of broadcast comedy as two more long-running sitcoms prepare to say farewell. As I wrote,

With CBS’ How I Met Your Mother closing shop last year, Two and a Half Men wrapping this week, and Parks and Recreation—NBC’s top-rated sitcom in adults 18-49, airing its series finale on Feb. 24—broadcast comedy is in a state of transition. While formidable comedy blocks remain on Sunday night on Fox (The Simpsons, Brooklyn Nine-Nine, Family Guy), Thursday on CBS (Big Bang, Mom, Men) and Wednesday on ABC (The Middle, The Goldbergs, Modern Family, Black-ish), sitcom ratings are down across the board, and this season is littered with failures: ABC’s Manhattan Love Story and Selfie, NBC’s A to Z and Bad Judge, Fox’s Mulaney, and CBS’ The McCarthys and The Millers (the latter last year’s top-rated sitcom in 18-49 but canceled this season after just four episodes).

The news seems grim, but no one is ready to pull the plug on network comedies:

Despite all the struggles, in conversations with network executives, showrunners, stars and media buyers, a surprising consensus emerges: There is still plenty of fight left in the sitcom. Comedy might not be the dominant broadcast force it was a decade ago, but it is still an essential part of the TV landscape and everyone remains optimistic that the next hit could happen as early as, well, this week.

This was such a fascinating and fun story to report and piece together, thanks to invaluable insights from network presidents like CBS’s Nina Tassler and Fox’s Dana Walden, comedy executive producers like Mike Schur (Brooklyn Nine-Nine, Parks and Recreation), Mindy Kaling (The Mindy Project), Stephen Falk (You’re the Worst), Robert Garlock (Unbreakable Kimmy Schmidt) and Chris Miller (The Last Man on Earth) and sitcom stars like Cryer, Kaling and Billy Gardell (Mike & Molly).

Almost all of them arrived at the same conclusion: it’s only a matter of when, not if, the next hit sitcom is created.

Hollywood remains solidly confident that TV’s next great comedy is just around the corner. “Television’s a very cyclical business,” points out Walden, noting that when she started at 20th Century Fox Television in 1992, the powers that be had decided dramas were done. Then, the studio developed The X-Files for Fox and Steven Bochco created NYPD Blue for ABC, and they were suddenly hot again. “You can’t ever rule out a genre of storytelling,” says Walden. “There’s going to be another breakthrough comedy, and then we’re going to say, ‘Oh, comedy is back!'”

In addition to following the link and reading the whole story, make sure you pick up this week’s issue!

The Not-So-Funny State of TV Comedy

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When you’re the first place network in the 18-49 demographic, there’s nowhere to go but down. But NBC Entertainment chairman Robert Greenblatt likes the view from on high, and doesn’t plan on relinquishing the top spot anytime soon. And thanks to the huge events lined up February, he likely won’t have to. First up: Super Bowl XLIX, this Sunday.

Then, two weeks later NBC will air SNL 40, a three-hour live special celebrating Saturday Night Live’s 40th anniversary. Plus he’s making a huge gamble by moving The Blacklist, NBC’s top-rated scripted series, from Monday nights after The Voice to Thursdays at 9 p.m. ET, where it will square off against Scandal beginning next week.

Before diving into NBC’s biggest month of the year, Greenblatt spoke with TV & Not TV about the network’s plans for February — and next season.

You’ve got the Super Bowl on Sunday. How will you be promoting your shows to an audience of 100 million-plus?

It’s one of the great things that we have every three years, and we couldn’t be happier to have it this year as we go into this midseason with all these new shows. To have that huge audience see these promos is a great thing. We try to promote everything that we can, and hopefully there’s retention. There’s a lot of stuff going on that day for people, but I know the commercials actually are embraced by the audience, so hopefully we’ll also get some of that love. We also are making new, fresh Super Bowl commercials for many of our shows. There’s a special Blacklist commercial, there’s a special Voice commercial and I hope they’ll be noticed just like the great Budweiser and Pepsi commercials that are in there.

Super Bowl XLIX coordinating producer Fred Gaudelli told me it will be a “huge disappointment” if the Super Bowl doesn’t end up as the most-watched telecast in history. Do you agree?

Everyone’s fixated on record-breaking and numbers and stuff. Even if we don’t break the record — like we didn’t with Peter Pan and we didn’t with the Golden Globes this year — to aggregate 100-plus million people for an event like that for all those hours, is going to be phenomenal. Whether it’s 100,000 viewers more than last year, or 2 million less!

You made a good case for why you’re moving The Blacklist to Thursdays opposite Scandal, and why you need to be patient to build the night back up. That said, if the show is soft on Thursdays and Mondays are hurting without it, how tough will it be to stuck to your plan?

We’ll have to play it by ear. If it doesn’t work, and I don’t know exactly what that means yet, but if it’s a disaster, we won’t just live with it. We’ll change things around. I expect it’s not going to be everything we hope it’s going to be right off the bat, but I also think you have to plant the seed and over time, grow it and water it and nurture it, and hopefully rebuild it. But if it’s a big miss, then we’ll try to correct it, sooner than later.

All your focus right now is on the Super Bowl, but just two weeks later, you’re doing SNL 40 on Feb. 15. Very little has been revealed so far. How are things going, and will it be similar to the big 25th anniversary special in 1999?

Lorne [Michaels] is still putting it together. It’s going to be a big, three-hour, live event, in Studio 8H, with a lot of people who’ve been on the show or been involved with the show over the decades. Some very exciting live things are going to happen. It’s not going to be a preponderance of clips; there’s going to be a lot of stuff happening in the studio. To try to celebrate 40 years in three hours is not going to be easy, but it’s going to be a big event and we’re going to make a big noise.

It’s going to be featured in the Super Bowl. We have several big priorities happening before Feb. 15: the Blacklist episode after the Super Bowl, the Thursday move, the launch of The Slap [Feb. 12] and Allegiance [Feb. 5]… So there’s a lot to do, but SNL 40 is going to be a big agenda for us. I think it’s going to do well.

The Voice returns on Feb. 23. As you look ahead, do you still envision sticking with two cycles each year?

Look, there’s been some erosion there, as we knew there would be, as we play it again and again. But I’m really proud of the quality of the show, and I think the last cycle we just had was as good as any cycle we’ve had in the last seven cycles. As long as the creative stays really strong and we keep monitoring the erosion, we’ll keep doing it.

That said, it’s not inconceivable that we could decide to cut it back to one a season. But it still does better than almost anything else we have, even at the level that it’s at now. So selfishly, it’s hard to say, oh, for half a season, we’re going to give up that rating. We just have to keep watching it. I don’t know if the ratings are going to go up if we do it one season a year. We’ll see. I think the next cycle will tell us a lot, and then we’ll make a decision for next season.

Earlier this month you said that your next December live musical will either be The Music Man or The Wiz. Given how essential you said Carrie Underwood was to boosting The Sound of Music Live!’s audience in 2013 compared with Peter Pan Live! in December, will the decision come down to casting? Or will you pick the show first, then cast it?

I think it could be either. For something like The Music Man, we really need a central star to play the role of Harold Hill. But for The Wiz, I don’t think it’s as necessary to have one featured star, because there are six iconic characters that we know and love. So I actually think in case of The Wiz, we could build an ensemble of really interesting actors that maybe aren’t superstars.

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Scandal is known for its labyrinthine twists and turns, and its fall finale ended with a doozy: Jake Ballard (Scott Foley) discovered that Olivia Pope (Kerry Washington) had seemingly been kidnapped. Two agonizing months later, the show finally returns to TV tonight, with Olivia still MIA. Foley, who yesterday talked about being dropped from the show four years ago, opened up to TV & Not TV about Scandal’s return and the search for Olivia:

Does Jake feel responsible for Olivia’s disappearance?

I think he does. I think given his position in life, his job, his employment and the nature of who he is, I think he’s very protective of Olivia, and for that to have happened, basically under his watch, is pretty troublesome for him.

What would he go through to find her?

I think he would go through everything to find her! I can’t tell you exactly what he’s going to go through to find her!

What can we expect in tonight’s episode?

The first two back are going to jump in right where we left off, so you’re going to see what happened to Olivia, where she went, who took her, how we get her back. You’re going to see Jake working with the Gladiators to get her back, you’re going to see Fitz dealing with his Vice President, Andrew, and all the crap they’ve been dealing with. You’re going to see the return of Mellie. She’s no longer “Smelly Mellie” or “Fucked Up Mellie,” she’s Mellie and pulling strings in the White House. You’re going to see David Rosen dealing with his new job as United States Attorney General, you’re going to see Abby straddling the line between the White House and OPA [Olivia Pope & Associates] and succeeding in both. You’re going to see Cyrus helping the President out.

Why should Olivia end up with Jake over Fitz?

Why shouldn’t Olivia end up with Jake? I believe that Jake is the better choice. He’s available, he’s not married, he’s willing to give up everything. And he believes in them. However, there’s something to be said for maybe fate, maybe true love, maybe meant to be. I think Fitz and Olivia have something that is unquantifiable and no matter how far away they get from each other, they’re always going to be dealing with that.

The post Where’s Olivia? Scott Foley Teases Tonight’s ‘Scandal’ Return appeared first on TV & Not TV.

Scott Foley will never forget the day that Shonda Rhimes broke the news to him that he no longer would be on Scandal.

Relax: Foley’s Jake Ballard isn’t going anywhere when the ABC drama returns Thursday night after a two-month hiatus. Instead, the actor was recalling the moment four years ago when ABC decided he was the wrong actor to play “gladiator” Stephen Finch (portrayed by Henry Ian Cusick in the first season), even though Rhimes had already promised him the part.

“I had read the Scandal pilot script very early on in the process and really wanted to be a part of it,” says Foley. “I went through the process and ABC didn’t think I was the right choice for it. It was probably one of the hardest phone calls that Shonda’s had to make, to me at least. Saying, ‘Hey, I know I said you had this role…but you don’t have this role any more!’”

Of course, Rhimes and Foley had the last laugh, as the actor ended up on Scandal anyway, in a much juicer, higher-profile role, while Cusick quietly disappeared from the series after Season 1. “Thank God I didn’t get it!” Foley says now. “Shonda, true to her word, got me on the show and found a great role and has really turned this character, with the ‘meet cute’ that Olivia and Jake had in a coffee shop, into a really important, viable part of the story. …Everything always works out!”

ABC’s scandalous Scandal behavior wasn’t the only juicy revelation that Foley shared with TV & Not TV as he prepared for the show’s midseason return on Jan. 29:

His wife hates Scandal spoilers. Lots of people press Foley for Scandal intel, but not his wife, Marika. “This is the first job I’ve ever had where I can’t run lines with her. I can’t tell her anything. She won’t let me! And it’s hard, because I have a lot of lines,” says Foley. “Shonda does a great job, unlike other shows, of giving you things to say and really strong, tough dialogue, and I have, for 12 years now, the night before, always been able to run my lines with my wife. I can’t do that on this. She doesn’t want to know anything. She gets mad when I say, ‘Babe, just this once!’ She won’t do it.”

He’s addicted to HGTV — and Downton Abbey. The passion that Scandal fans have for his show is rivaled only by Foley’s devotion to all things HGTV. “I’m a big HGTV watcher,” he says. “I have my cable box turned to HGTV so when my cable turns on, it’s on HGTV. Property Brothers, Fixer Upper, Income Property, House Hunters, Love It or List It…I’m pretty handy!”

The actor is also savoring the chance to catch up on the new season of Downton Abbey with his wife, Marika. “Downton Abbey’s back, and I’m very excited,” he says. “Given our schedule, we’ll usually sit down and watch two or three episodes at a time. We’ll probably watch it all in a week and a half. We like to hold out, though, because once it’s gone, you’ve got to wait another year. It’s like Orange is the New Black!”

Raising three kids is overwhelming. As the father of a two-month-old newborn, son Konrad, Foley realizes he may be in over his head now that he has three kids, all under 5. “I only have three, but I recently read that someone with four kids said, ‘Imagine drowning, and then someone throwing you a baby,’” he says. “And I thought, that’s right! I kind of feel like I’m drowning right now!”

He doesn’t miss filming love scenes with a pregnant Kerry Washington. Shooting Scandal last season proved to be a challenge for the cast and crew, who had to disguise the fact that star Kerry Washington was pregnant in real life — but not on the show. “It was so strange,” says Foley. “They did such a good job last year of not really having to deal with it. Look, it was obviously a presence in every scene we did, but the only times I really thought about it was the love scenes we would have, which made it a little awkward.”

But not any more: “Having her back in full force this year, and having her around and able, it’s a blessing for the show,” says Foley.

Check back Thursday, when Foley teases Scandal’s big return, and Jake’s frantic search for the now-missing Olivia Pope.

The post Scott Foley: ABC Dropped Me From ‘Scandal’ — Four Years Ago appeared first on TV & Not TV.

While at winter press tour, I sat down with Larry Wilmore to talk about his succeeding Stephen Colbert as Comedy Central’s new 11:30 p.m. late-night host for this Adweek profile. His new show, The Nightly Report with Larry Wilmore, kicked off this week. But as Wilmore told me, the show was originally supposed to be called The Minority Report with Larry Wilmore before Fox began developing a series based on the 2002 Tom Cruise film:

We made the call on the field, so to speak, before it really got too late. Part of our constructing the show was understanding how the audience sees content these days. They see it through social platforms—Twitter, Facebook—so your show has to live in those environments. And it was becoming very difficult to operate in those environments and having to use The Minority Report with Larry Wilmore as a complete tag all the time. We were being confined legally by doing that in all forms of everything, and it was becoming a nightmare. And I thought, “Guys, I don’t want it to be March and we have to change our name, after we’ve already been on.” I said, “Let’s just do it now, before it really came to a head.” It was in late October or early November, so there was still enough time. But the show didn’t change, only the name did.

Wilmore also talked about stepping down as Black-ish showrunner to take the Comedy Central job, how TV has changed since he launched The PJs and The Bernie Mac Show and how John Oliver’s recent late-night success has emboldened him.

Larry Wilmore on How He Landed The Nightly Report and What He Learned From Jon Stewart

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Lots of crazy things have been said over the years at TCA press tour — like when Kevin Reilly declared the death of pilot season last January — but on my last day at winter tour, FX Networks CEO John Landgraf said something I’d never heard uttered there before: he’d rather be the “best” channel instead of the top-rated one. As I wrote at Adweek,

“Obviously we want as many people as possible to watch our shows, we want them to be as highly rated as possible, but there’s quite a range [of ratings], and we can support that range,” said Landgraf, referring to some of FX’s critically acclaimed, but lower-rated, shows like Louie and The Americans. “We’re not really a channel that’s trying to be the highest-rated channel in television. We’re trying as hard as we possibly can to be the best channel in television, whatever that means. If we weren’t therefore supporting shows that would help us get there, just because [they weren’t among the highest-rated], we’d be idiots.”

While Landgraf is sticking by critically-acclaimed yet low-rated shows like Louie and The Americans, his patience does have its limits, as he explained to me last fall after he canceled The Bridge. He talked about the two-horse race to be the “best” network on TV (look out, HBO!), the glut of programming on television (more than 1,700 original seasons of TV last year!) and the need to break out of a format “dictated by the terms of business.”

FX Wants to be the ‘Best’ Channel on TV, Not the Highest-Rated One

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