From Robert Rorke of the New York Post:
The best new comedy of the new year is on a network you’ve never heard of: Pop TV.
It’s the rebranded TV Guide Network, and they were onto something when they booked “Schitt’s Creek†into their winter schedule. Continue reading.
Join Greg and Diane on Mondays as we debate a TV-related issue that’s on our minds. This week: the merits of stand-alone episodes versus serialized shows.
Diane said:Â
Though I loved sinking my teeth into it, reviewing Strange Empire was a challenge because each episode was a slice of a 13-hour story. It was a little like reviewing each chapter of a book as I was reading. (Which is even more descriptive of reviewing The Book of Negroes). So when I heard that if there’s a second season of Strange Empire the episodes will be more stand-alone, I was relieved.
But at least neither CBC show used contrived cliffhanger endings that resolved in the first few minutes of the next, like the episodes of 24 and Alias I’ve seen. That’s cheating. When I love a show, I watch it every week. I hate feeling forced to watch every week. The first show I ever reviewed regularly was early season House, which some dismissed as formulaic. But the way it twisted the formula and overlaid character development on top of it were what intrigued me.
My ideal television show has episodes that are satisfyingly complete unto themselves, with continuing arcs for long-term interest that don’t gobble up all 44-ish minutes and aren’t all about the “will they or won’t they.” So yay The Good Wife and boo late-era X-Files.
Greg said:
I totally agree with Diane. Since she just referenced The X-Files, let me go off on a little rant. Those first and second season episodes tracking Agents Mulder and Scully were my favourites because—for the most part—they were monsters of the week (that frigging Fluke gave me nightmares) accented with the mystery surrounding the disappearance of Mulder’s sister. The black goo and conspiracy theories bogged down the show in latter seasons.
It’s a trend that has hamstrung Supernatural in recent years. Gone are the tales of the wendigo, the phantom traveler and Bloody Mary in favour of angels and demons. I love me some Castiel, but not every darned week.
On the other hand, serialized works very well for Vikings. There is, admittedly, no other way to tell the historical tale of Ragnar Lothbrok without it, but creator Michael Hirst manages to entertain with episodic plot points while staying true to the long-term journey the Viking king and his mates are on.
The same is true of Murdoch Mysteries and the relationships between its main characters. The folks on that series successfully combine a Canadian history lesson (social mores, technology and beliefs) with a murder of the week while tossing in a healthy dose of humour and character development. To me, that’s the mark of a truly great TV tale.
Do you agree with Diane and I? What do you want to hear our thoughts on? Comment below or @tv_eh.
Murdoch Mysteries, CBC – “The Incurables”
Dr. Ogden’s life is threatened by a group of deeply troubled and violent inmates at the asylum, including Eva Pearce, Mrs. Lynd and Rose Maxwell.
Ascension, CBC – Premiere
In 1963, President Kennedy and the U.S. government launched a covert space mission sending hundreds of men, women and children on a century-long voyage aboard the starship ASCENSION to populate a new world, assuring the survival of the human race. Fifty-one years into the Ascension’s journey to find a new world, the first murder onboard the spaceship reveals the cracks in the isolated community.
19-2, Bravo – “Tribes”
Nick and Ben draw the squad into a simmering feud with a squad of firemen. Small mistakes have permanent consequences.
From a media release:
Uncovering the truth behind aviation disasters from around the world, Discovery’s original Canadian series MAYDAY returns for its 14thseason, airing Fridays at 10 p.m. ET/7 p.m. PT beginning March 6. But first, on the eve of the anniversary of the disappearance of Malaysian Airlines Flight 370 and on the heels of the declaration that it was an accident, the program’s new season launches with a feature episode MAYDAY: MH370, airing at a special time on Sunday, March 1 at 8 p.m. ET/9 p.m. PT. The season premiere examines possible scenarios for the cause of the flight’s disappearance – one of greatest aviation mysteries in history – drawing on the expertise of leading accident investigators to reveal a chilling portrayal of the final hours of the plane that never landed.
The one-hour MAYDAY: MH370 premiere special examines all existing data to explore the five leading theories as to what could have caused the disappearance of Flight 370. While it’s possible no one will ever know exactly what happened aboard flight MH370,MAYDAY explores how, in the end, the evidence clearly points to one logical and horrifying scenario.
MAYDAY is produced by CIneflix (Mayday 14) Inc. production in association with Discovery Canada. Executive Producer is Alex Bystram. The series producer is Alix MacDonald. Bruce Glawson is Production Executive, Discovery Networks. Edwina Follows is Director of Commissioning, Discovery Networks. Ken MacDonald is Vice-President, Programming, Discovery Networks.
From Kate Taylor of the Globe and Mail:
Numeris is calling, but Canadians need more information about TV ratings
You’ve probably noticed the nice lady from Numeris. She’s on those television ads, sweetly suggesting that when Numeris calls you might want to pick up the phone and help shape the future of TV. Continue reading.
