Cable perpetrates a certain degree of quality and persistence to brand, almost more than broadcast does. The key is figuring a tendency of forethought despite this hold back which can be more challenging and alluring simply because it allows subjects that might be too niche for certain progressions to be explored.
Beginning with ESPN, the 30 for 30 Film Series continues this angle in Volume 2 with “Big Shot” directed by “Entourage” alum Kevin Connolly about famed (or infamous) New York Islanders coach Joe Spano. Connolly grew up on Long Island and was a rabid fan of the hockey club but that didn’t necessarily mean Joe would cooperate. “Growing up on Long Island, the Islanders were part of my childhood” states Connolly. For him, these films are “really just stories about people with a sports backdrop”. He explains that Joe, as a character, “was not motivated (as much) by greed and money, he just wanted to be a star”. He also relates that Joe really didn’t want to tell his story but that “he knew me from ‘Entourage'”. He agrees that it took a “hardcore Islander fan” to make the film but that “it was a trip inside the mind of a guy where I didn’t know what he was thinking sometimes”. Connolly put in photos of himself as a kid at Islander games and narrated the film in his own voice saying he knows “it is a slippery slope” but that “it is a very personal story and continues to be”. Kevin says in making the movie with Joe, the former coach “knew that there were going to be some unpleasant things discussed” but that “he didn’t tell me to take out anything but he did deny me a couple things”.
Keith Olbermann, in interesting fanfare, marked his return to ESPN where the courtship has always been tenuous. His point-of-view is that it has been “particularly gratifying” and that “we have been talking about (doing) something for a year or more.” He explains that “the idea of burned bridges being a complete impediment [is something] I never really bought” and that “I never believed in giving up on the whole thing”. Time will tell.
Adult Swim, as a perpendicular cross-structure to ESPN, offers an out-there mentality for a succession of like-minded creatives. Integrating Dan Harmon in his brief “Community” sabbatical to help create “Rick & Morty”, an animated adventure series, seems inspired. In terms of why he likes this angle, Harmon explains that “You can make a banana purple. You can put three hats on a cowboy [in the show]” but that the influences rest “more in British sci-fi like ‘Hitchhikers Guide To The Galaxy'”. In terms of the connection creatively after his much ballyhooed struggles with “Community” brass, Harmon speaks of Mike Lazzo (Sr. EVP at Adult Swim) as “a bonafide genius” because “he has the autonomy and mental power to take a script and realize what it is”. His point is that as an executive, Lazzo never tells you that “people are going to perceive it ‘that’ way” in that “he doesn’t confuse the script with the finished product”. In terms of the progression of this series, he says “alot of the episodes hit the traditional A/B structure before they [the characters] head off in the beginning [of an episode] to [some] multi-verse”.
In terms of building story, Harmon says “the thing I learned from ‘Community’ is that if the emotional resonance is dynamic, the genre is a variable”. He illustrates this saying “a mother could worry about her kid being dragged off to a different dimension just as much as when he leaves with his skateboard friends”. He compares these emotional themes rather interestingly with another analogy: “Same thing with a dragon coming in through the living room being used to create the idea “Is God real?”. This encapsulates in Harmon’s mind with “the constraints that come with a different way to reach an audience”. He admits to talking with Adult Swim for a long time to find something right to work on and that the connection speaks to “my insecurity about getting older without getting wackier”. In terms of finally finding the right material with co-creator Justin Roiland, Harmon relates that Roiland “had these two knuckleheads in these cartoons who were unmarketable and my thought was how to make them marketable” Roiland, for his part, says “we are able to create any insane dimension” adding that “it is very ambitious for a cartoon…with very little reuse”.
Velocity, in trying to find a parallel moving through Hollywood, finds an interesting progression with Patrick Dempsey in their reality series “Racing Le Mans“. Dempsey himself reflects on the race’s importance saying that “the heritage is out of Europe” and “it has a broader type of appeal”. In terms of approaching such an in-your-face sport, he says “I think you learn to be private in the public arena”. For him, “the same applies to working on a TV show” in that “you find out how to get privacy publicly”
HBO always constitutes a large structure of cable, since like its network-owned rival Showtime, the possibilities between film, documentaries and series are one-and-the-same progression.
“Muhammad Ali’s Greatest Fight” takes a look at the battle over Ali’s stand as a “conscientious objector” from the point of view of the Supreme Court justice system while instituting Ali’s perspective only from news footage of the day. Screen legend Christopher Plummer plays Justice John Harlan and his memories of the occurrence from that time was that he knew that Ali had been accused of being a “conscientious objector” but not much more. For Harlan, from Plummer’s perspective, there wasn’t alot to research but that his character “was given the option of being more human than the others”. As to Frank Langella, who plays a fellow Supreme Court Justice in the film, Plummer says “acting with him was as natural as falling off a log”. Plummer states that they have known each other for years but had never worked together. Benjamin Walker, last seen in the Fox film “Abraham Lincoln: Vampire Hunter”, plays Connolly, who is an amalgamation of a couple different aides in the Justices’ offices at that time, says that the character “wouldn’t readily be in the circumstance” but that “he is a conduit of what is going on in America” in that “he carries it on his back and it influences his behavior”.
“Mike Tyson: Undisputed” takes the former heavyweight champ’s recent one-man show and brings it in up-close visual by filmmaker Spike Lee. Lee, for his part, concedes that the origin of the show started in Vegas. One of his colleagues saw the show there and said that the filmmaker had to see it. Lee tracked down Tyson in Poland. While Lee admits Vegas is Vegas, he pushes that “Broadway is Broadway” which is where the show ended up for a limited run. The aspect that he liked in the show was that “it was about Mike himself” going on to say “that most human beings are not going to display the dark parts of themselves to the world”. With Mike’s show, he explains, there is “no bullshit…no lies”. Mike “talks about the great things he has done and the not-so-great things he has done”. Sitting next to the champ, Lee describes them as “two Brooklyn boys”. When they grew up, he explains “we weren’t living in the projects” and “we grew up at the same time” explaining that there was a “diversty that African Americans experience in this country” that reflects in them. Turning to Tyson, Lee says “to me, you seem the happiest you have ever been”.
Tyson, for his part, always has some interesting angles to express. In looking at his stage performance, he explains “once I got on the stage, I got the energy from the crowd like a live fight”. What surprised him was “that the show came more off as stand-up” which was not originally his intention. For him “what is reckless on stage is splendor in the ring” and vice versa. His point is that “I didn’t want to act like Mike Tyson” but also “I am not Charles Manson but I [also] am not Mother Theresa.” He punctuates that with even more humor saying “don’t get too close as I may bite as you know”. In response to the life he has led, Tyson says that “there is never enough life” and “I have not many regrets” except “I wish I was a better father”. For him, “everything I have was all fun-based”. He relates that when he first met Spike, he almost ran over him in Brooklyn with his Rolls-Royce adding “I didn’t have a license but I had a really nice car”. In terms of how the show came about, he said that he was inspired by seeing Chazz Palminteri doing “A Bronx Tale”. He had been doing similar, almost workshops, where he spoke in Asia. His wife Kiki, who is a writer, was key in creating his voice on-stage. The one thing he does like about performance “is that I don’t have to go to the hospital after unlike the ring”. Like the ring though, he says “I am ready to die quick or kill quick like a war” saying “it is just my spirit”.
“Hello Ladies” starring Stephen Merchant, who with Ricky Gervais, brought “The Office” to the US, stars in this new series that has him playing Stuart, an Englishman that blunders through modern day Los Angeles on adventures. For his character, Merchant explains “he was a loser in England and he is a loser here” adding that Stuart “is socially awkward” but “thinks that this is a world of glamor in Los Angeles”. The importance here for Merchant is “trying to incorporate physical humor”. He explains that he is a great fan of John Cleese in that “he used that frame and gankiness”. Being himself, 6 foot 7 inches, Merchant says “there is something out of place being this tall” adding that “I have never been comfortable with this height” and “I was not good at basketball” though he admits “I like to go to Lakers games because I am among my people”
“Seduced & Abandoned” is a documentary created by writer/director James Toback and Alec Baldwin following them as they try to pitch and get a film funded at the 2011 Cannes Film Festival. The catch is that the film is a sexual thriller (ala “Last Tango In Paris” but set in the Middle East.
Toback, in his perspective, says that the “actual result of the film didn’t depend on whether we would get the financing or not” adding that it “was always meant to be an existential film”. He explains that “we didn’t know who we were using from day to day”. The film they would have made (“Last Tango To Tecreate”) was meant to be a serious film as it was “a sexual psychological drama played against a political backdrop”
For Baldwin, speaking via satellite from Long Island, the project offered an interesting and different approach to the film business. The big overarching element is how Hollywood is fueled by franchises now. Baldwin’s part as Jack Ryan in “The Hunt For Red October” is used as an example. In explaining his actions after that film, Baldwin says “I remember at the time, I wanted to continue the films” adding “if I had any brains, I would have stayed with it, knowing what I know now” because doing those franchises “gives you freedom”. The key lesson in his mind is “if you don’t find some way to work in films that make money, it becomes a tough road”. He cites Hugh Jackman as being a successful actor in doing a “one for you, one for me” progression with the different companies. This specific project came about because he and Toback wanted to make a film. They settled on the “Last Tango” idea and work-shopped its possibility by going to Cannes “and asking people who are very in demand” about how it would play. He says “we were elated by the people who said yes” adding that “sitting with [director Roman] Polanski was one of the most thrilling parts of my life”.
When giving advice to younger people. Baldwin says “during your 20s, even privately, give everything you have” because “it is going to require that”. One thing that surprised him when he and Toback met Ryan Gosling in Cannes, is “how much savvier he is about the business than I was at that age”. Looking back then at television where he recently has found much success with “30 Rock”, Baldwin explains that TV “is the world of the show-runner”. For him “when [Aaron] Sorkin or [David] Chase calls the shots, the actors don’t really have as much power as you think they have”. The irony is that the actors “are often handed a piece of the bill when things gets skewered”. Offering some self-reflection, he continues “you never have to wonder where you stand in the business because the business always has a thermometer in your mouth saying how hot you are”. He adds with humor and some seriousness that “when they made ‘Lincoln’, [Steven] Spielberg did not call me.” The reality, from his point of view, is that “all the varied elements are at the big stars’ disposal” and that “for everyone else, the movie business is a lot of whitewater”.
Speaking of interesting choices, Larry David who found great success post-Seinfeld with his HBO series “Curb Your Enthusiasm” decided to make a HBO film in “Clear History” instead of pursuing a new season of “Curb”. While “History” is mostly improvised, it is based off a 30-page outline. For his part, David says “I was thinking about ‘Curb’ but I wanted to do a movie”. His physical appearance at the beginning of the movie is quite jarring but he says “the make-up was intolerable” and “felt like ten thousand insects on my head”. That said he thought “I cut quite a figure” but admits that this film “was more like a ‘Curb’ experience”; the difference being that “I didn’t worry about directing, I could just act in it”.
Cable continues to percolate with distinct voices coming through the channels though personal stories tend to take on a more encompassing structure as evidenced at the TCA 2013 Summer Tour.
NBC has weathered some turmoil over the past months as the structure of returning full bore to the restructured pertinence of scripted programming reflects in many of their aggressive pilot strategies. With new shows like “Parenthood” moving into the fray and “Parks & Recreation” gaining traction in an increasingly powerful Thursday night line-up, the process of recovery within a constantly malleable structure continues.
Parks & Recreation With the new season approaching, the show, always in the shadow of “The Office”, is beginning to make strides and find its own identity.
Michael Schur, one of the exec producers, admits there was an arbitrary pause in their first season. Their set is very simple with a big building and a big long hallway. The role of Chris came through on a technicality and now seems to be one of intense loyalty to the fans. It comes down to when the story calls for it, comedic license can be taken.
Nick Offerman who plays Ron, the boss, said initially, during the auditions, all Shur said was that this guy had a really big mustache. And that is all he said.
Amy Poehler jumps in quickly for her few-words co-star saying that she believe Ron liked her character Leslie because he made her job easier. It became for her all about that co-dependent relationship. She admits that she likes that there was a slow build to the heat. She says “it felt very genuine…like a fine wine”. Even when they were tweaking the rules of the characters, she said Leslie’s fundamental beliefs remained the same.
Greg Daniels, who also exec produces “The Office”, says that the moment when Nick’s character stood up and defended Leslie created a sense of optimism in the show’s trajectory because that began a type of “grudging relationship”. For him the idiom that describes it is “more nope…less dope. Initially the stories were structure within Leslie being responsible for predicatments but found it worked better when she was simply placed there. Most of the time when the camera catches Leslie’s eye rolls, she doesn’t even know it’s happening.
Amy volleys back in that it is because “we have the sweet freedom to improvise”. She then jokingly says though that when they give Aubrey Plaza, who plays the sullen and effortless secretary April, money, she throws it back at them yelling “Keep your dirty money!” Aubrey responds in monotone fashion, saying that she “does like these people sometimes” and that she “doesn’t hate everything” but “this her reality”. She deadpans the fact that they shot a scene a couple days ago and she didn’t even know they shot it.
Aziz Ansari who plays the always schemiing co-worker Tom, runs at a nice clip. He says that it surprises him what kinds of lines of his character people quote back at him. He lets loose with another zinger that he “likes dickin’ around and wastin’ my time” but that he “throws in little jokes here and there”. He said that The Roots compared the Parks cast to the WuTang Clan calling Amy “The RZA” and Ron “ODB”. When asked about maybe some cross-over into “30 Rock” or other such shows, he mocks that “it would be a terrible idea”.
The Marriage Ref Jerry Seinfeld returns to television in a format where he hardly needs to be on-screen and admits it was brought to his mind by his wife. Again the angle that brings simple perceptions like this can always make the best ideas.
Seinfeld, for his part, says that what he has learned in talking about the show, is that it is impossible to explain or even nail down what kind of show it is. In trademark style, he puts the question to the media as a challenge. Some of the arguments they encounter on the show are familiar. Some are not. It has to feel like something that is already there which is what most excites him about the scenario. This show is basically about married couples having real fight in their home. The selected panel will watch the argument and comment. He posturizes that sports simplicity is what is missing from marriage. He has lived in his apartment in NY for 10 years and he and his wife have had new differences of opinion. He says that “we are not going to fix your marriage”. One argument for example, involves a couple where the dog dies and there is an argument whether or not to stuff it. What they do is end the argument once and for all. To make another sports analogy, Jerry says that he likes it when an ump blows a call at a game.
His wife again is the one that actually said he should do this show. The crew that works on location is the one who did “Supernanny”. As far as if the panel should be experts, Seinfeld says that is not their thing calling it “more about laughing at yourself”. They won’t be approaching certain subjects like kids or things like that because “that shows that the marriage is really in trouble”. In true Seinfeld fashion, he makes another analogy, saying that he was thinking about the AOL/Time Warner deal the other day and saw it not as a screw up but just that “the timing was wrong”. For him “sometimes it can be the right idea at the wrong time…that’s show business”. In terms of how that figures into his comedic approach, Seinfeld simply says “I’m a stand up comic. There are no rules. Once you have the cameras, it is on you.” He makes the concession that it was the critics that kept “Seinfeld” on the air. In his estimation, there are no refs in show business but, in marriage, everyone has an opinion on it. He said his uncle used to pull him aside and say “Jerry…don’t get married” but reflects that “now experiencing the conversations Jess [his wife] and I have, I thought it was funny enough”. That is why it was his wife’s idea and not his.
Seinfeld then talks about the host of the show Tom Papa whom he calls “a very dangerous man” and “an addictive human being” reflexively calling himself jokingly “like a drug dealer on a school playground” because “the more you get, the more you want”. He says all of his comedian friends love Papa. Seinfeld likes him because “mainly he’s funny and we share a marriage perspective in that it is funny”. In terms of interesting arguments shown on the show, Jerry mentions one couple in which the guy parks his motorcycle in the living room. However, even when Tom approaches them, Jerry says that the man doesn’t raise his voice. In true sardonic style, Seinfeld says “the prizes are not going to be that good” but that the drive “in making the show is making you laugh”. He uses his still popular sitcom as a reference point saying “when I was doing my TV show, people would come up to me and say ‘this would be great on your show, and I would walk away. On this show though, it works”.
Tom Papa, shiny with a glint of mischief in his eye, sits right next to Jerry with the simple idea that “this show is about surviving”. In his mind, the way comedians think is “whether this one is right or this one is wrong”. His role in this experiment is that “if you are married and have trouble, it is the judges’ call is to convince me which way I should go”. His angled perception that when a husband and wife are in a fight, the husband is always trying to find out what the fight is about. Reaction is all about instinct and this show Papa perceives, like Jerry, is sports oriented. For Papa, “ultimate power is quite a responsibility” but says that ” he is just there to be funny” which “is a role very natural for me”.
“The Office” has become America’s darling marking its intensity over the past couple years. To be able to see the set per se is a study in the new element. The shooting location buried in a corner of would-be considered Van Nuys at the Valley Chandler Studios lives up to the non- descript, below-the-radar permutation of the actual show. Entering into the back loading area, it could very well be a Home Depot delivery staging spot or even a storage center. The lighting scheme plays into this as well with very natural inflection.
Walking out into the parking lot, the small sign detailing Scranton barely peeks out above the wall daring you to make eye contact. Aside from a small amount of passenger vans, the license plates of a couple cars, especially an aptly placed PT Cruiser, are adorned with Pennsylvania license plates. Walking past the craft service truck, you enter the holy grail currently of comedy shows: the main office. Right next to the reception, Kate Flannery, who plays the undeniable Meredith on the show, finds us with her fire red hair.
As we stand and listen, the picture of Pam & Jim on Pam’s desk wisps out of the corner of the eye, abundantly clear. As we take pictures in Michael’s chair, you understand the organic nature of what the set is. Michael (played by Steve Carell) can see Jim’s desk directly from his point of view which is right next to Pam’s. Any specific point has its eye line direct although sometimes it is interesting to say which way the camera would actually be looking when we see it on TV. Unlike most sets the lighting here is done via florescents so the actual keys for shooting are interesting across the board.
Kate takes us through the kitchen area and the undeniably pink bathroom of lore. The vending machines which some characters rudimentally beat the crap out of are there as well, just steps away. Meredith relates that all the cast and crew end up eating a boatload of potato chips so the food never goes bad. The prop department, which we got a good look at when we went through the back aspect of the set (which is the first time you actually you get a sense of its construction), has some great cast and crew photographs based on the wall and there is a lit up sign of Room 728 which begs a question.
Entering back into the main base hall, the entire cast files in as each of us is given our own Mifflin desk appliance. Paul Lieberstein, the exec producer, jokes at the beginning of the session that the Buffalo office was closed because sales went down. It was a toss up between there and here in Scranton. In terms of the new season, he relates that the main storyline will be following Jim & Pam when they going back and meet their families Michael was obviously the antagonist the first season but now has softened a bit which will continue to unfold. In the new season, we will find out that Andy likes Erin but Erin is unaware. But, in all aspects, it might be a rough year for Michael Scott. To this, Steve Carrell retorts rather intently: “Delicious!”
Carell says that the evolution of Michael from the pilot to the first season is that he lost 20 pounds because he did “40 Year Old Virgin”. Carrell jokes that he became extremely changed yet he says that he has always seen Michael as a sympathetic character. With people who are obnoxious and get in your face, there are always gray areas, he explains. With this guy, his intentions are good and his heart is in the right place but he has emotional blind spots, according to Steve. In the first couple seasons, he, as an actor, had to be more willing to guard the character and not show everything. As that happens, the other characters will let their guards down as well.
The next aspect brought to point is the famous “glance” courtesy of Jim (played by John Krasinki). John says that nobody has ever named it before. It came up in the pilot. He says jokingly that he has convinced the powers that be that he will be able to shock the audience with one of these at any given moment so he can get down to business. He says, of course, that all of this comes down to the writing. In terms of his favorite moment so far on the show is on the booze cruise when he is on the top of the ship with Pam. He likes this because there is a moment of silence that allows the gravity to breathe and sink in. He also says that the aspect of having Pam be pregnant before the wedding was a great stroke of genius. In terms of his perception of Jim’s ambition, John says the guy does the work but definitely tries to keep his head low
For Jenna Fischer who plays Pam, she is just surprised by all the attention, especially when she went to Europe recently. She jokes that her relationship with John as Jim started off rough. At first it was unrequited love. When they finally got together, she started to see from her fan mail that the fans were growing up with them and wanting to know when they would get married. Now the aspect of kids has set in. Jenna says that Pam will be walking down the aisle very soon since she is pregnant in the show and that there need not be time to wait. The consensus is that the wedding will be in Episode 4. Jenna was also excited because she got fitted for Pam’s wedding dress literally a couple minutes before we arrived. She says it was a very special moment for her personally. This girl, when she was first started playing her, didn’t know who she was and was with the wrong guy. Now she is with the right guy. She has seen part of the wedding episode and thinks it is really funny.
Greg Daniels, who was the brains along with Ricky Gervais, in bringing the aspect of “The Office” to America originally told NBC that, like the British version, it might take a couple seasons to establish an audience and the ratings on the show. Why this concept seemed to work is that it had the energy of a reality series because it was in a mockumentary format but that structural angling and writing made all of the difference. Daniels jokes that to keep Jim and Pam from moving on and evolving in the show in terms of not leaving the company, he conspired to have the economy destroyed so they could stay.
Lieberstein, when pressed for ensuing story lines next season, says that Michael will meet with an Italian American gentleman the week after Jim and Pam get married and are on their honeymoon. The thought that starts to permeate around the office is that Michael is meeting with the mob and setting up an insurance scam. Liberstein also alludes that there will be a shareholders meeting that occurs sometime this season,
The essence of the entire cast in this would-be playhouse is an embarrassment of riches. A thick and vibrant sense of humor seems to run through the whole cast and crew led by Carrell and exec Paul Lieberstein which seems to infect the whole cast. What also seems apparent is that the show works so well because of that synergy in that it creates a sense of symbiosis. In a show that is all about the problems of the workplace, it seems to create a complete paradox in its actuality making the show as original and funny as it is.
Comedy becomes more of a deal breaker on this next set of new spring shows. Some take from an established set of parameters while others take a new approach and work or literally go off the deep end. Success is in the ratings but creativity in the eyes of the beholder.
Parks & Recreation Amy Poehler’s new series bears more than a striking resemblance to “The Office” but it is her want to make this the best it can that comes through. In sticking with the one character, she creates an element of self deprecation that shines. In the first two episodes, the jokes are still finding their footing and some go on too long but the basis is there. The characters themselves will be flushed out but it is one of her co-workers who is revealed to be an Indian man raised in North Carolina that really creates a nice volley back and forth. And Amy’s looks at the camera as an inside joke perfectly hit the mark. So far though the actual episodes are interconnected and not so much stand-alone which needs to be considered. The crux of the series is that they are making a park but there needs to be other problems at hand that they have to deal with. A love interest should and will find its way into this character’s life. You have to love it when Amy is pushing down a drunk that got stuck in the slide on the kids’ playground with a broom, smiling all the while.
Krod Mandoon & The Flaming Sword Of Fire This new entry from Comedy Central has some elements of Mel Brooks and other low budget humor. It is very British in its possibilities but the cast is inherently American. There are some moments of zany goofiness but a lot of the jokes tend to fall flat. There is an almost parallel to “Blazing Saddles” even though that piece is a much superior work. The pagan girlfriend is a hoot since Krod, the lead, is pining for her to be a nice girl but that needs to come to a head. The ruler of the kingdom is very much a King John-type even though he likes to wear a furry codpiece. The concept sounds good on paper but the talent involved never quite pulls it up to snuff.
The Unusuals Like “Life On Mars”, this cop fusion drama tries to take the genre and make it a little more eccentric. While “Life On Mars” had the time travel element, this episodic focuses on the weird cases without making them seem small, like a cat serial killer or an bungling crime family who robs banks to pay for their father’s kidney transplant. The cast is good and diversified from Jeremy Renner and Amber Tamblyn in the lead to Harold Perrineau (hot off “Lost”) and Adam Goldberg as cops contemplating when their mortality will come. The show has much more sarcasm than humor although a little more chemistry needs to come through. It is an adequate set up and the pace is nice. However, nothing truly comes off as exceptional or cinematic, although the music and editing is quite hip and moving which does set it off from others of its kind.
Better Off Ted Coming out of nowhere, this retro modern ironic comedy is half “Mad Men”, half “Office Space” and all fun. The comedy and stylistic elements of its creativity come fast and furious. The writing is unbelievably good and the actors can really sell it while still being aware of its tongue-in-cheek nature. This is the kind of series that only ABC can pull off once in a while that is so sardonic and whimsical that it can’t possibly last. But unlike “Pushing Daisies” which was much more expensive, this outing is economical letting the words speak for themselves. And it is not just the leads. The two doctors in the lab are phenomenally funny and take it to another level. The chemistry between the two leads of Ted and Linda is palpable and are playing it with the right kind of push and shove that makes this work (much like currently on “Chuck”). And Portia De Rossi as the cold, foxy and unique boss comes off unlike anything we have seen recently in this kind of role. She makes it all her own. Plus this is a half hour show so by the time it really gets going, it leaves you wanting more…as all good things do. It is a good one. Here’s hoping it survives.
And the rock keeps on coming…