Skip to main content

The Daily Beast: "NBC Unveils Its 2013-14 Schedule: Parenthood to Thursday, Revolution to Wednesday, and More"

I examine NBC’s fall and midseason 2013-14 schedule, which shifts around a lot of returning shows. Plus, watch trailers for The Black List, Ironside, and more.

Over at The Daily Beast, you can read my latest feature, "NBC Unveils Its 2013-14 Schedule: Parenthood to Thursday, Revolution to Wednesday, and More," in which I offer full details on NBC's 2013-14 primetime schedule, complete with video trailers for their new fall dramas and comedies (sadly, the network isn't releasing the midseason trailers that they showed at today's upfront yet), thoughts, and reactions.

On Sunday, NBC unveiled the sweeping changes hitting its 2013-14 primetime schedule, which includes several night and time changes to pre-existing shows: Parenthood will move to Thursdays at 10 p.m., following the network's traditional two-hour block of comedies (though there was no word on when Community would be returning to the lineup), Chicago Fire will get relocated to Tuesdays, and freshman hit Revolution will be moving to a new Wednesday programming block with an emphasis on dramas, including Law & Order: SVU and the new Ironside reboot.

Those aren't the only changes afoot at NBC, however. Critical darling Parks and Recreation will move to 8 p.m. on Thursdays, while The Biggest Loser will move to Tuesdays at 8 p.m.

Elsewhere, two of the potentially strongest new entries, J.J. Abrams' Believe (pictured above) and Rand Ravich's Crisis, are being held for midseason launches. Also on tap for midseason: Crossbones and comedies About a Boy and The Family Guide.

“The overriding strategy this year was to develop enough strong comedies and dramas to take advantage of the promotional heft of the Winter Olympics and devise two schedules for the upcoming season: one for fall and a slightly different one for midseason," said NBC Entertainment Chairman Robert Greenblatt in a prepared statement. "I’m pleased to say that our development groups—headed by Jennifer Salke (scripted) and Paul Telegdy (alternative/reality)—really delivered. This is the most robust and highest-testing slate of new shows we have had in years.”

“And aside from our Olympics planning, we also wanted to create better flow and compatibility on each night," he continued, and deploy our strongest lead-in (The Voice) to maximum effect."

Read on for a look at NBC's new primetime schedule for fall and midseason 2013-14 and read what Greenblatt had to say about each night. Details for each of NBC's new shows can be found here.)

Continue reading at The Daily Beast...


Popular posts from this blog

Pilot Inspektor: CBS' "Smith"

I may just have to change my original "What I'll Be Watching This Fall" post, as I sat down and finally watched CBS' new crime drama Smith this weekend. (What? It's taken me a long time to make my way through the stack of pilot DVDs.) While it's on following Gilmore Girls and Veronica Mars on Tuesday nights (10 pm ET/PT, to be exact), I'm going to be sure to leave enough room on my TiVo to make sure that I catch this compelling, amoral drama. While one can't help but be impressed by what might just be the most marquee-friendly cast in primetime--Ray Liotta, Virginia Madsen, Jonny Lee Miller, Amy Smart, Simon Baker, and Franky G all star and Shohreh Aghdashloo has a recurring role--the pilot's premise alone earned major points in my book: it's a crime drama from the point of view of the criminals, who engage in high-stakes heists. But don't be alarmed; it's nothing like NBC's short-lived Heist . Instead, think of it as The Italian

What's Done is Done: The Eternal Struggle Between Good and Evil on the Season Finale of "Lost"

Every story begins with thread. It's up to the storyteller to determine just how much they need to parcel out, what pattern they're making, and when to cut it short and tie it off. With last night's penultimate season finale of Lost ("The Incident, Parts One and Two"), written by Damon Lindelof and Carlton Cuse, we began to see the pattern that Lindelof and Cuse have been designing towards the last five seasons of this serpentine series. And it was only fitting that the two-hour finale, which pushes us on the road to the final season of Lost , should begin with thread, a loom, and a tapestry. Would Jack follow through on his plan to detonate the island and therefore reset their lives aboard Oceanic Flight 815 ? Why did Locke want to kill Jacob? What caused The Incident? What was in the box and just what lies in the shadow of the statue? We got the answers to these in a two-hour season finale that didn't quite pack the same emotional wallop of previous season

The Daily Beast: "How The Killing Went Wrong"

While the uproar over the U.S. version of The Killing has quieted, the show is still a pale imitation of the Danish series on which it is based. Over at The Daily Beast, you can read my latest feature, "How The Killing Went Wrong," in which I look at how The Killing has handled itself during its second season, and compare it to the stunning and electrifying original Danish series, Forbrydelsen , on which it is based. (I recently watched all 20 episodes of Forbrydelsen over a few evenings.) The original is a mind-blowing and gut-wrenching work of genius. It’s not necessary to rehash the anger that followed in the wake of the conclusion last June of the first season of AMC’s mystery drama The Killing, based on Søren Sveistrup’s landmark Danish show Forbrydelsen, which follows the murder of a schoolgirl and its impact on the people whose lives the investigation touches upon. What followed were irate reviews, burnished with the “burning intensity of 10,000 white-hot suns