In 2006, Morgan Ward was featured on an episode of MTV's "MADE," in which teenagers transform their social status, and attempt to reach a dream they've had for years. Ward, an "emo" kid, as the episode described her, wanted to be a cheerleader for her high school in Worthington, Ohio. After attending a casting in Columbus, Ohio, Ward was picked, and she reached her dream of being on her high school's squad.
Her episode of the show chronicled her ups and downs with her coaches and exercises to get in shape for the squad, as well as arguments with her parents and boyfriend, whom she broke up with on camera.
Now a student at Bowling Green State University, Ward no longer attends school with the people who were a part of her experience on the show, but it still affects her life, and it presents an interesting story for her to tell.
Ward's episode of the show is not available on the Internet (at least, not readily available), but MTV.com does have some features about her episode on their website. Additionally, this 2006 story from the Miami (University) Student interviews Ward's coach, Julian Hutchinson, about his experience with the show.
Saturday, April 24, 2010
Wednesday, April 21, 2010
Claymates: A social group created via TV
Working in the BG News newsroom this evening, I was inspired by the soundtrack of the evening to write this entry.
In previous entries, I've made it clear that I'm not the biggest fan of reality television. However, that wasn't always the case. In fact, for most of my high school life, a reality television show helped to greatly impact my life.
This has become incredibly embarrassing to admit in recent years (which is ironic, given the fact that I used to be quite vocal about it in high school), but here it goes. I am a Claymate.
Yes, I adore "American Idol" season two runner-up Clay Aiken. I have seen him six times in concert, and for the past seven years, I have participated in a number of message boards dedicated to Aiken, particularly Idolforums.com, or IDF. I was not one of those fans who abandoned him when he came out of the closet, in fact, I jumped for joy. I am not as obsessed with him as I was in the past, but I will always have a soft spot in my heart for him.
I've since stopped watching "American Idol," and I was always disappointed in every season besides Aiken's. However, I still post regularly on a site that is dedicated to the show, even if I don't talk about the show.
Why? Sometimes, I'm not so sure. While Aiken does have a new album coming out in June (which, even though it's a cover song album, I'm very excited about), his portion of the message board is not as active as it was in 2004-2005. As previously stated, I don't watch "Idol" anymore. I think the reason that I find myself sticking around on IDF is because the model of "American Idol" allows for people to become addicted to the show, develop an attachment to those featured on the show and connect with fellow fans.
It's incredibly pathetic, but I cried when Aiken lost the "Idol" crown. I had become so attached to him, I voted for him hundreds of times. I would always get so incredibly nervous every Wednesday night, because I was afraid he would be kicked off of the show. I found myself getting in somewhat heated arguments with my eighth grade classmates who supported other contestants, and I bonded with those who shared my affection for Aiken. The "Idol" show model promotes the fervent support of contestants, making it seem incredibly important that they vote for their favorite, so that they can win.
Of course, as Aiken proved, you don't necessarily have to win the "Idol" crown to sell records and concert tickets. The Claymates who supported Aiken were very passionate, and took to the Internet to express their support for him. They organized CD release parties (which I attended), pre-concert gatherings, charity functions and more. I can say that I've made some good friends through the Aiken message boards, both in people I chat with on the Internet, as well as those I have met in person over the years.
People may criticize television for isolating people, and that certainly can happen. However, with shows like "American Idol," fans can take a curiosity and casual support for a show or contestant, and turn it into a social strength.
And, just for fun, my favorite Aiken performance of all time. Actually, this 80 second performance is possibly my favorite song of all time.
In previous entries, I've made it clear that I'm not the biggest fan of reality television. However, that wasn't always the case. In fact, for most of my high school life, a reality television show helped to greatly impact my life.
This has become incredibly embarrassing to admit in recent years (which is ironic, given the fact that I used to be quite vocal about it in high school), but here it goes. I am a Claymate.
Yes, I adore "American Idol" season two runner-up Clay Aiken. I have seen him six times in concert, and for the past seven years, I have participated in a number of message boards dedicated to Aiken, particularly Idolforums.com, or IDF. I was not one of those fans who abandoned him when he came out of the closet, in fact, I jumped for joy. I am not as obsessed with him as I was in the past, but I will always have a soft spot in my heart for him.
I've since stopped watching "American Idol," and I was always disappointed in every season besides Aiken's. However, I still post regularly on a site that is dedicated to the show, even if I don't talk about the show.
Why? Sometimes, I'm not so sure. While Aiken does have a new album coming out in June (which, even though it's a cover song album, I'm very excited about), his portion of the message board is not as active as it was in 2004-2005. As previously stated, I don't watch "Idol" anymore. I think the reason that I find myself sticking around on IDF is because the model of "American Idol" allows for people to become addicted to the show, develop an attachment to those featured on the show and connect with fellow fans.
It's incredibly pathetic, but I cried when Aiken lost the "Idol" crown. I had become so attached to him, I voted for him hundreds of times. I would always get so incredibly nervous every Wednesday night, because I was afraid he would be kicked off of the show. I found myself getting in somewhat heated arguments with my eighth grade classmates who supported other contestants, and I bonded with those who shared my affection for Aiken. The "Idol" show model promotes the fervent support of contestants, making it seem incredibly important that they vote for their favorite, so that they can win.
Of course, as Aiken proved, you don't necessarily have to win the "Idol" crown to sell records and concert tickets. The Claymates who supported Aiken were very passionate, and took to the Internet to express their support for him. They organized CD release parties (which I attended), pre-concert gatherings, charity functions and more. I can say that I've made some good friends through the Aiken message boards, both in people I chat with on the Internet, as well as those I have met in person over the years.
People may criticize television for isolating people, and that certainly can happen. However, with shows like "American Idol," fans can take a curiosity and casual support for a show or contestant, and turn it into a social strength.
And, just for fun, my favorite Aiken performance of all time. Actually, this 80 second performance is possibly my favorite song of all time.
Saturday, April 17, 2010
The week in late night laughs
Stephen Colbert's send-up of various aspects of politics and popular culture are always spot-on and hilarious. Since television is my life, I have to admit that I have not missed an episode of "the Colbert Report," ever. I began watching the show on its debut, Oct. 17, 2005, and I haven't looked back. Is that pathetic? Probably, but at least I've been entertained in that time!
Anyway, my point is that I've seen Colbert mock a lot of people and trends over those four-and-a-half years he has been on the air. Thursday night Colbert took on the "hipster" demographic, and it was easily in one of my top 25 Colbert moments. Apparently, hipsters feel that it's cooler to ironically refuse to fill out the census than to help make their area a better place. Then again, as Colbert points out, maybe that is the point! There has to be a point where gentrification becomes even too much for those poor hipsters. If they have to pay higher rents for their run-down apartments, how will they afford they Pabst Blue Ribbon?
I'm sure that the more exciting news from Thursday's episode is that Colbert will be traveling to Houston next month to participate in NASA's astronaut training. While that will surely be an epic piece of television (as were his Iraq and Philadelphia shows), in the meantime, I'm too busy laughing at hipsters to think of the upcoming trip.
Check out Colbert's segment on the hipsters here:
In other late-night TV news, "Saturday Night Live" delivered yet another lackluster episode this week. I can't really place the blame on host Ryan Phillippe (even though he often looked bored to tears to be there), because once again, I feel that the weak links of the show are the writing. However, instead of focusing on the weak parts of the show, I have to share with everyone the absolutely hilarious portion of Saturday's broadcast.
If you live in or around Ohio or Michigan (well, really anywhere in the Midwest, but especially in these states), you're probably familiar with Insane Clown Posse, and their fans, the Juggalos. They are, well, unique, for a lack of a better word. For those who are outside of the Juggalo fandom, ICP can offer utter hilarity, as their latest video for the song "Miracles" shows (lyrics are NSFW).
On SNL, they beautifully parodied the "Miracles" video and the Juggalos. "Why are pants different than shirts?" is a question for the ages.
Anyway, my point is that I've seen Colbert mock a lot of people and trends over those four-and-a-half years he has been on the air. Thursday night Colbert took on the "hipster" demographic, and it was easily in one of my top 25 Colbert moments. Apparently, hipsters feel that it's cooler to ironically refuse to fill out the census than to help make their area a better place. Then again, as Colbert points out, maybe that is the point! There has to be a point where gentrification becomes even too much for those poor hipsters. If they have to pay higher rents for their run-down apartments, how will they afford they Pabst Blue Ribbon?
I'm sure that the more exciting news from Thursday's episode is that Colbert will be traveling to Houston next month to participate in NASA's astronaut training. While that will surely be an epic piece of television (as were his Iraq and Philadelphia shows), in the meantime, I'm too busy laughing at hipsters to think of the upcoming trip.
Check out Colbert's segment on the hipsters here:
| The Colbert Report | Mon - Thurs 11:30pm / 10:30c | |||
| ||||
In other late-night TV news, "Saturday Night Live" delivered yet another lackluster episode this week. I can't really place the blame on host Ryan Phillippe (even though he often looked bored to tears to be there), because once again, I feel that the weak links of the show are the writing. However, instead of focusing on the weak parts of the show, I have to share with everyone the absolutely hilarious portion of Saturday's broadcast.
If you live in or around Ohio or Michigan (well, really anywhere in the Midwest, but especially in these states), you're probably familiar with Insane Clown Posse, and their fans, the Juggalos. They are, well, unique, for a lack of a better word. For those who are outside of the Juggalo fandom, ICP can offer utter hilarity, as their latest video for the song "Miracles" shows (lyrics are NSFW).
On SNL, they beautifully parodied the "Miracles" video and the Juggalos. "Why are pants different than shirts?" is a question for the ages.
Tuesday, April 13, 2010
Conan O'Brien returns to TV in November
It's rare in this day and age for any major business deal to go undiscovered and unannounced. Thanks to the Internet, it seems as though any inside deal, particularly with the media, is leaked days, weeks or months ahead of time. That's why Conan O'Brien created quite the anomaly Monday (you know, other than the anomaly of being a six feet tall, gangly, redheaded pale hero, or, depending on who you ask, sex symbol to an entire generation).
For months, it seemed as though, after defecting from longtime home NBC in January, O'Brien was set to start a show on Fox in the fall. Every day on ONTD, I'd read "insider" post after post about the various stages of O'Brien's contract negotiations with the network, and it seemed as though fans were just playing the waiting game until Fox made the official announcement.
That was until O'Brien Tweeted that he inked a deal with TBS to begin a show in November. Both the general public and media industry workers were stunned; TBS was never considered a serious contender in the quest for O'Brien. Plus, as many were keen to point out, O'Brien's deal to have a show weeknights at 11 p.m. would push George Lopez's "Lopez Tonight" an hour later to 12 a.m.; in other words, he was doing to Lopez what NBC and Jay Leno did to him.
However, the stakes are different for Lopez, I believe. Lopez's show does very well already, and its lead-ins are syndicated television shows and movies, not brand-new comedy content. Imagine the types of ratings he can receive with a boost by O'Brien's high-profile show right before, as his fans will likely stick around to watch "Lopez Tonight." It's not like NBC, where an already failing show ("The Jay Leno Show") would be rewarded with a better time slot, to harm O'Brien's "Tonight Show". Instead of harming the current show, it can help it.
Lopez apparently realized this as well. According to an interview with Turner Entertainment Networks President Steve Koonin, Lopez called O'Brien personally to convince him to make the deal, and has coined the new lineup "LoCo," combining the two names. I'm not a fan of Lopez's comedy, but I have to give him credit for being savvy about his prospects, and for personally trying to make this happen. Plus, TBS deserves a lot of credit for taking such a risk and just making an attempt to court O'Brien. They saw an opportunity and took it, and they did it while blindsiding the media and public, making the story all the more exciting.
Reading Koonin's interview gives me so much hope for O'Brien's show. TBS clearly believes in O'Brien, and realizes that he is a funny man who can bring a lot of attention to the network and its programming. They know what to do with O'Brien and his brand of comedy, something NBC (and, arguably, O'Brien and his staff) lacked when O'Brien made the switch to "the Tonight Show." As Koonin said, "He can do whatever he wants to do here. We think he is an incredibly talented artist and we want him to make his show and if he wants it edgier, we are 100 percent supportive." I always preferred O'Brien's sillier antics on "Late Night" to his watered-down "Tonight Show" bits (which isn't to say that he wasn't funny on "the Tonight Show"), and if he can use this cable platform to regain some of that irreverence, it would be for the better.
This seems like a winning situation for O'Brien, his staff, TBS and their shows, as well as O'Brien's fans. While I'm not thrilled about having to make the painful choice of watching O'Brien's show versus "The Daily Show" and "the Colbert Report" at the same time (thank God for Comedy Central's 1:30 and 2 a.m. reruns of those shows), it's still exciting.
In other O'Brien news, Monday night, he also began his hyped (but too short, Midwest-ignoring) live tour last night in Eugene, Ore. To add insult to injury, and to make me all the more jealous of those people who are seeing him on this tour, Twitter user Robert Kremers has posted pictures of the event, such as this one, featuring O'Brien and one of my favorite actors/people on the face of the Earth, Jack McBrayer of "30 Rock" pulling the "Chuck Norris, rural policeman" lever (similar to O'Brien's "Walker: Texas Ranger" lever, which he likely had to change the name of thanks to his exit deal with NBC to give up certain creative properties):
(Images via TweetPhoto)
What do you think about O'Brien's new show? Will you watch? Are you crying yourself to sleep tonight knowing you're missing O'Brien's epic tour, like I probably will tonight? Leave a comment!
For months, it seemed as though, after defecting from longtime home NBC in January, O'Brien was set to start a show on Fox in the fall. Every day on ONTD, I'd read "insider" post after post about the various stages of O'Brien's contract negotiations with the network, and it seemed as though fans were just playing the waiting game until Fox made the official announcement.
That was until O'Brien Tweeted that he inked a deal with TBS to begin a show in November. Both the general public and media industry workers were stunned; TBS was never considered a serious contender in the quest for O'Brien. Plus, as many were keen to point out, O'Brien's deal to have a show weeknights at 11 p.m. would push George Lopez's "Lopez Tonight" an hour later to 12 a.m.; in other words, he was doing to Lopez what NBC and Jay Leno did to him.
However, the stakes are different for Lopez, I believe. Lopez's show does very well already, and its lead-ins are syndicated television shows and movies, not brand-new comedy content. Imagine the types of ratings he can receive with a boost by O'Brien's high-profile show right before, as his fans will likely stick around to watch "Lopez Tonight." It's not like NBC, where an already failing show ("The Jay Leno Show") would be rewarded with a better time slot, to harm O'Brien's "Tonight Show". Instead of harming the current show, it can help it.
Lopez apparently realized this as well. According to an interview with Turner Entertainment Networks President Steve Koonin, Lopez called O'Brien personally to convince him to make the deal, and has coined the new lineup "LoCo," combining the two names. I'm not a fan of Lopez's comedy, but I have to give him credit for being savvy about his prospects, and for personally trying to make this happen. Plus, TBS deserves a lot of credit for taking such a risk and just making an attempt to court O'Brien. They saw an opportunity and took it, and they did it while blindsiding the media and public, making the story all the more exciting.
Reading Koonin's interview gives me so much hope for O'Brien's show. TBS clearly believes in O'Brien, and realizes that he is a funny man who can bring a lot of attention to the network and its programming. They know what to do with O'Brien and his brand of comedy, something NBC (and, arguably, O'Brien and his staff) lacked when O'Brien made the switch to "the Tonight Show." As Koonin said, "He can do whatever he wants to do here. We think he is an incredibly talented artist and we want him to make his show and if he wants it edgier, we are 100 percent supportive." I always preferred O'Brien's sillier antics on "Late Night" to his watered-down "Tonight Show" bits (which isn't to say that he wasn't funny on "the Tonight Show"), and if he can use this cable platform to regain some of that irreverence, it would be for the better.
This seems like a winning situation for O'Brien, his staff, TBS and their shows, as well as O'Brien's fans. While I'm not thrilled about having to make the painful choice of watching O'Brien's show versus "The Daily Show" and "the Colbert Report" at the same time (thank God for Comedy Central's 1:30 and 2 a.m. reruns of those shows), it's still exciting.
In other O'Brien news, Monday night, he also began his hyped (but too short, Midwest-ignoring) live tour last night in Eugene, Ore. To add insult to injury, and to make me all the more jealous of those people who are seeing him on this tour, Twitter user Robert Kremers has posted pictures of the event, such as this one, featuring O'Brien and one of my favorite actors/people on the face of the Earth, Jack McBrayer of "30 Rock" pulling the "Chuck Norris, rural policeman" lever (similar to O'Brien's "Walker: Texas Ranger" lever, which he likely had to change the name of thanks to his exit deal with NBC to give up certain creative properties):
Plus, guitar playing? I don't mean to sound whiny, but why am I not at this show?
(Images via TweetPhoto)
What do you think about O'Brien's new show? Will you watch? Are you crying yourself to sleep tonight knowing you're missing O'Brien's epic tour, like I probably will tonight? Leave a comment!
Friday, April 9, 2010
On location: Famous TV landmarks
While many TV shows create fictional towns and landmarks, many also film at real-life locations, or they mention existing locations on the show. Of course, real locations are also used as exterior locations as well. Here is a select list of some famous locations seen or heard on TV shows.
View TV locations in a larger map
Do you have any other real-life locations that are used on TV that you've visited or heard about?
View TV locations in a larger map
Do you have any other real-life locations that are used on TV that you've visited or heard about?
Wednesday, April 7, 2010
David Simon returns to TV with "Treme"
Last week, I posted about how there are shows that just did not live up to their expectations, and end up falling flat. It's probably not best to continue having such lofty expectations for television shows, but at the moment, I am incredibly excited about the prospects of a new show.
"Treme," premiering on HBO this Sunday, Apr. 11, is the latest creation by David Simon, the creator of "Homicide: Life on the Street," "The Corner," "Generation Kill" and what is widely considered to be one of, if not the best television show of the last decade, "the Wire." Instead of focusing on the harsh realities of living and policing in inner-city Baltimore (like "Homicide," "the Corner" and "the Wire"), Simon's new show follows a group of New Orleans residents trying to rebuild their lives three months after Hurricane Katrina.
Even if you don't normally watch dramatic shows like the ones Simon creates, it is absolutely essential television viewing to see "the Wire." His works are incredibly depressing, but they also give you an odd sense of hope. Although there are concerns that Simon, who worked in Baltimore as a reporter for years, will not be able to capture the nuances of New Orleans, I am of the strong belief that anything Simon works on is guaranteed a certain level of brilliance. That is why "Treme" is a show that should be on everyone's must-see list.
Simon has brought back many faces that are familiar to fans of his work to "Treme." "Wire" star Wendell Pierce will trade in Bunk Moreland's (his "Wire" character) cigar for a trombone, and will play a musician living in the city. "Corner" alumnus and "CSI: Miami" star Khandi Alexander plays his estranged wife. Pierce's "Wire" co-star Clarke Peters also stars, and Steve Zahn makes his television debut as a DJ and musician. As if that was not enough, Academy Award nominee (and "Homicide" alumnus) Melissa Leo will play a civil rights lawyer, and John Goodman will play her husband, a college professor (based on the trailers showing Goodman's character, it appears that one can imagine Walter Sobchak in a classroom).
"Treme" is one of those shows that has an embarrassment of riches with its cast, creators and writers (including David Mills, who sadly passed away on set last week). Even if it is one-tenth as epic and amazing as "the Wire," it will still be one of the best shows on television. Positive reviews are already pouring in, and if fans love it as much as they loved "the Wire," it will likely become just as beloved.
I encourage everyone to check out "Treme," and when you have the chance, begin watching "the Wire." By the third episode, its brilliance hits you like a ton of bricks. I cannot wait to see if "Treme" is as brilliant. I just cannot stress enough how amazing "the Wire" is, and how everyone needs to see it. You don't want to make Bunk Moreland angry and annoyed, do you?
(Image via TinyPic)
"Treme," premiering on HBO this Sunday, Apr. 11, is the latest creation by David Simon, the creator of "Homicide: Life on the Street," "The Corner," "Generation Kill" and what is widely considered to be one of, if not the best television show of the last decade, "the Wire." Instead of focusing on the harsh realities of living and policing in inner-city Baltimore (like "Homicide," "the Corner" and "the Wire"), Simon's new show follows a group of New Orleans residents trying to rebuild their lives three months after Hurricane Katrina.
Even if you don't normally watch dramatic shows like the ones Simon creates, it is absolutely essential television viewing to see "the Wire." His works are incredibly depressing, but they also give you an odd sense of hope. Although there are concerns that Simon, who worked in Baltimore as a reporter for years, will not be able to capture the nuances of New Orleans, I am of the strong belief that anything Simon works on is guaranteed a certain level of brilliance. That is why "Treme" is a show that should be on everyone's must-see list.
Simon has brought back many faces that are familiar to fans of his work to "Treme." "Wire" star Wendell Pierce will trade in Bunk Moreland's (his "Wire" character) cigar for a trombone, and will play a musician living in the city. "Corner" alumnus and "CSI: Miami" star Khandi Alexander plays his estranged wife. Pierce's "Wire" co-star Clarke Peters also stars, and Steve Zahn makes his television debut as a DJ and musician. As if that was not enough, Academy Award nominee (and "Homicide" alumnus) Melissa Leo will play a civil rights lawyer, and John Goodman will play her husband, a college professor (based on the trailers showing Goodman's character, it appears that one can imagine Walter Sobchak in a classroom).
"Treme" is one of those shows that has an embarrassment of riches with its cast, creators and writers (including David Mills, who sadly passed away on set last week). Even if it is one-tenth as epic and amazing as "the Wire," it will still be one of the best shows on television. Positive reviews are already pouring in, and if fans love it as much as they loved "the Wire," it will likely become just as beloved.
I encourage everyone to check out "Treme," and when you have the chance, begin watching "the Wire." By the third episode, its brilliance hits you like a ton of bricks. I cannot wait to see if "Treme" is as brilliant. I just cannot stress enough how amazing "the Wire" is, and how everyone needs to see it. You don't want to make Bunk Moreland angry and annoyed, do you?
(Image via TinyPic)
Friday, April 2, 2010
Crashed and burned: shows dead on arrival
It's almost that time of year when television networks announce their upcoming fall season schedules. After the pilots are filmed and the deals are made, networks are ready to tell audiences and critics about the shows that they hope will become their network's new flagship shows. This allows for television viewers to eagerly anticipate that season's crop of new shows, and the shows will develop a certain amount of hype.
Sadly, oftentimes shows that are often greatly hyped do not deliver. One of the side effects of the Internet's popularity is that people can become more excited about TV shows before they premiere, because the Internet can provide plenty of fodder and discussion about the shows, and I think that for a lot of people, that can make them more excited about television shows, increasing their expectations.
Over the past decade, many TV shows with plenty of promise failed to captivate an audience or television critics, and they are canceled quickly. Here are some of the most disappointing shows that did not live up to their intense hype.
"Studio 60 on the Sunset Strip:" I have to admit, I watched this show when it was on NBC in the 2006-07 season, and I enjoyed it for the most part, even though it was imperfect. However, now that I have seen creator Aaron Sorkin's other television shows, "Sports Night" and "The West Wing," I see why people were so disappointed in "Studio 60." The show-within-a-show faced the difficult challenge of debuting in the same year as "30 Rock," which quickly outpaced "Studio 60" with critical acclaim. It reeked of self-importance, especially the executive producers of the fictional titular comedy show, played by Matthew Perry and Bradley Whitford (when I watched the show, I was never a fan of the main characters, rather, I enjoyed seeing the writing staff of the show, namely Nate Corddry and Lucy Davis' characters). Sorkin developed two great "behind the scenes" shows in the past, but it seemed as though this show became unrelatable to the audiences, and was a Hollywood insider show. However, Hollywood critics were unimpressed, and ratings kept sinking.
"Sit Down, Shut Up:" It breaks my heart to put this on my list. Like "Studio 60," this show was greatly hyped because of the creator. Mitchell Hurwitz, who created the excellent, amazing and genius "Arrested Development" reteamed "Arrested" cast members Jason Bateman, Will Arnett and Henry Winkler, along with Will Forte and Kristin Chenoweth to create this series. Telling the story of a group of disaffected high school teachers, the animated comedy was seen by "Arrested Development" fans as a sort of sequel to the brilliant but cancelled show. However, "Sit Down, Shut Up" lost much of the charm of "Arrested Development." It took the most juvenile moments of "Arrested," which were few and far between but always brilliant, and tried to make a complete series out of them. Unlike its predecessor, these characters were not unlikeable but endearing, they were just plain unlikeable. The show was canceled by Fox even faster than "Arrested Development" was, and us desperate "Arrested" fans are still left without that long-promised movie.
"My Big Fat Greek Life:" It was the little indie movie that could. I first heard about "My Big Fat Greek Wedding" because *NSYNC's Joey Fatone was to be featured in the film, and as your typical 12-year-old girl who supported everything the group did, I planned on seeing this movie. Little did I expect it to become one of the highest-grossing romantic comedies of all time. As a result of the movie's success, this show, based on the movie, was commissioned by CBS in 2003. Lacking one of the movie's star, John Corbett, as well as the heart and passion of the film, the show only lasted seven episodes. Instead of entertaining audiences past the movie, it simply appeared to be a last-chance way to keep the trend alive.
"Dirt:" The premise of this FX show seemed fascinating; Courteney Cox starred as a tabloid magazine editor who attempted to gain the often tawdry scoop on celebrities. It was like an "E! True Hollywood Story" about the people who would make "E! True Hollywood Story," it was a brazen and lifeless show. The characters were not sympathetic, and, even against channel-mate "Nip/Tuck," it reeked of desperation, using ridiculous and controversial plots to gain attention. When they brought in Cox's "Friends" costar Jennifer Aniston to engage in a lip lock with Cox, I knew that this show was grasping at straws.
"FlashForward"/"Invasion:" In 2004, ABC debuted "LOST," which changed the game for television shows in terms of storytelling, audience participation and plot twists. The show was such a success that ABC tried to recreate that formula, first with "Invasion" in 2005. Granted, I think a lot of "Invasion's" failure stems from ABC and unfortunate circumstances. It depicted a Florida town whose inhabitants were being taken over by aliens after a hurricane hit; it was scheduled to premiere shortly after hurricane Katrina. Tensions in America were high following Katrina, and I don't think audiences were ready to watch a fictionalized and more disturbing account of what they had been watching on the news all month, and ABC was more than willing to sideline the show in terms of promotion. However, the show itself lacked the suspense of "LOST," and it really was not as frightening as it could have been.
Last year, the network tried again with "FlashForward," a show about the aftermath and search for the cause of a worldwide two-minute blackout, in which people got a glipse of their lives six months in the future. I was very excited about the concept of the show, because it was original and seemed addicting. However, as with "Invasion," there was little suspense, and the show is rather boring. Nothing happens in the first 35 minutes, and then they drop a bombshell in the last segment, leaving you wondering why you wasted so much time watching it, when you could just skip to the end and understand it. However, there isn't much to understand or to care to understand, it's confusing, but unlike "LOST," it doesn't leave viewers with a desperation to find answers. Additionally, for reasons I cannot explain, Joseph Fiennes' character bothers me beyond belief. After a long hiatus and behind-the-scenes creative conflicts (it's already on its third show-runner), it looks like "FlashForward" will suffer the same fate as "Invasion."
I know I'm not the only person who has been burned by the promise of a great show. What shows have disappointed you? Did you enjoy the ones on my list?
Sadly, oftentimes shows that are often greatly hyped do not deliver. One of the side effects of the Internet's popularity is that people can become more excited about TV shows before they premiere, because the Internet can provide plenty of fodder and discussion about the shows, and I think that for a lot of people, that can make them more excited about television shows, increasing their expectations.
Over the past decade, many TV shows with plenty of promise failed to captivate an audience or television critics, and they are canceled quickly. Here are some of the most disappointing shows that did not live up to their intense hype.
"Studio 60 on the Sunset Strip:" I have to admit, I watched this show when it was on NBC in the 2006-07 season, and I enjoyed it for the most part, even though it was imperfect. However, now that I have seen creator Aaron Sorkin's other television shows, "Sports Night" and "The West Wing," I see why people were so disappointed in "Studio 60." The show-within-a-show faced the difficult challenge of debuting in the same year as "30 Rock," which quickly outpaced "Studio 60" with critical acclaim. It reeked of self-importance, especially the executive producers of the fictional titular comedy show, played by Matthew Perry and Bradley Whitford (when I watched the show, I was never a fan of the main characters, rather, I enjoyed seeing the writing staff of the show, namely Nate Corddry and Lucy Davis' characters). Sorkin developed two great "behind the scenes" shows in the past, but it seemed as though this show became unrelatable to the audiences, and was a Hollywood insider show. However, Hollywood critics were unimpressed, and ratings kept sinking.
"Sit Down, Shut Up:" It breaks my heart to put this on my list. Like "Studio 60," this show was greatly hyped because of the creator. Mitchell Hurwitz, who created the excellent, amazing and genius "Arrested Development" reteamed "Arrested" cast members Jason Bateman, Will Arnett and Henry Winkler, along with Will Forte and Kristin Chenoweth to create this series. Telling the story of a group of disaffected high school teachers, the animated comedy was seen by "Arrested Development" fans as a sort of sequel to the brilliant but cancelled show. However, "Sit Down, Shut Up" lost much of the charm of "Arrested Development." It took the most juvenile moments of "Arrested," which were few and far between but always brilliant, and tried to make a complete series out of them. Unlike its predecessor, these characters were not unlikeable but endearing, they were just plain unlikeable. The show was canceled by Fox even faster than "Arrested Development" was, and us desperate "Arrested" fans are still left without that long-promised movie.
"My Big Fat Greek Life:" It was the little indie movie that could. I first heard about "My Big Fat Greek Wedding" because *NSYNC's Joey Fatone was to be featured in the film, and as your typical 12-year-old girl who supported everything the group did, I planned on seeing this movie. Little did I expect it to become one of the highest-grossing romantic comedies of all time. As a result of the movie's success, this show, based on the movie, was commissioned by CBS in 2003. Lacking one of the movie's star, John Corbett, as well as the heart and passion of the film, the show only lasted seven episodes. Instead of entertaining audiences past the movie, it simply appeared to be a last-chance way to keep the trend alive.
"Dirt:" The premise of this FX show seemed fascinating; Courteney Cox starred as a tabloid magazine editor who attempted to gain the often tawdry scoop on celebrities. It was like an "E! True Hollywood Story" about the people who would make "E! True Hollywood Story," it was a brazen and lifeless show. The characters were not sympathetic, and, even against channel-mate "Nip/Tuck," it reeked of desperation, using ridiculous and controversial plots to gain attention. When they brought in Cox's "Friends" costar Jennifer Aniston to engage in a lip lock with Cox, I knew that this show was grasping at straws.
"FlashForward"/"Invasion:" In 2004, ABC debuted "LOST," which changed the game for television shows in terms of storytelling, audience participation and plot twists. The show was such a success that ABC tried to recreate that formula, first with "Invasion" in 2005. Granted, I think a lot of "Invasion's" failure stems from ABC and unfortunate circumstances. It depicted a Florida town whose inhabitants were being taken over by aliens after a hurricane hit; it was scheduled to premiere shortly after hurricane Katrina. Tensions in America were high following Katrina, and I don't think audiences were ready to watch a fictionalized and more disturbing account of what they had been watching on the news all month, and ABC was more than willing to sideline the show in terms of promotion. However, the show itself lacked the suspense of "LOST," and it really was not as frightening as it could have been.
Last year, the network tried again with "FlashForward," a show about the aftermath and search for the cause of a worldwide two-minute blackout, in which people got a glipse of their lives six months in the future. I was very excited about the concept of the show, because it was original and seemed addicting. However, as with "Invasion," there was little suspense, and the show is rather boring. Nothing happens in the first 35 minutes, and then they drop a bombshell in the last segment, leaving you wondering why you wasted so much time watching it, when you could just skip to the end and understand it. However, there isn't much to understand or to care to understand, it's confusing, but unlike "LOST," it doesn't leave viewers with a desperation to find answers. Additionally, for reasons I cannot explain, Joseph Fiennes' character bothers me beyond belief. After a long hiatus and behind-the-scenes creative conflicts (it's already on its third show-runner), it looks like "FlashForward" will suffer the same fate as "Invasion."
I know I'm not the only person who has been burned by the promise of a great show. What shows have disappointed you? Did you enjoy the ones on my list?
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