TV's Top 5 - April 26th, 2019


Welcome back to TV's top five the Hollywood reporter's TV podcast, unless Lee Goldberg west coast, TV editor, and I'm joined as usual by my partner and banter, the one and only Daniel Feinberg what's up, Dan. What is up, Leslie? I don't know, man. Dodgers lose into the cubs right now. The Red Sox looked like they'd gotten off the Schneider with a weekend sweep of the Devil Rays. Always be the Devil Rays to me. But then promptly dropped the double header to the Tigers. So the Tigers and we're just talking baseball because there's no TV news discussing right, Leslie, I'm not at all. I mean, it's wasn't as usual another busy week on the news front. But if you want I can run through some headlines is that what you're seeing me up for here would like that. Leslie, well, let's do that before we get into this week's top five. Well, leave not the week that good fight is back for four season on CBS all access. The marvelous MRs Mazel creators have lined up their next drama for Amazon, and it's going to be you guessed it an art drama. That is also. Yes, a period drama homeland, creators. Howard, Gordon, and Alex Gaza have left their longtime home at Twentieth Century Fox, meaning Disney for a big lucrative deal at Sony. But still sounds weird. No matter how many times you say it absolutely Jean Carlos Zito has said season. Six of better cost soul will be the end which AMC says is premature to confirm, well, if Giancarlo Esposito doesn't know who would possibly no I mean, he's a series regular on that show. I don't know who would know showtimes, doing a four part docu series exploring the stars who cut their chops at the comedy store. That would be really good material to do like a scripted show about safer example, the comedy scene in the nineteen seventies. You're so much recommend that to show. Yeah. I, you know, I think they might be familiar with that, Dan. Yeah. But I mean in a larger sense, it feels like the only headlines anyone is talking about this week is honestly game of thrones. And avengers and game. I mean, it just feels like that's where pop culture is right now. And so as a result, we're gonna talk about neither of those two things in this week's five headlines. That's right with so much going on across the TV landscape, Dan. And I are here on the podcast go beyond those top headlines and offer a deep dive into some of the bigger issues this week with all that out of the way. Let's get into our five topics number one. Leading off this week. The CW did something that has never done before in network history with renewables for all American Roswell and in the dark. It's entire freshmen class is coming back. And that's all five shows joining charmed and legacies, which were renewed earlier this year so five rookies joining its entire slate for is ambi-, Jane, the virgin and crazy ex-girlfriend CW bringing it all back that network will not have a single cancellation. This may that is crazy. And it's one of those things that sounds like it's good news and one hundred percent Yoohoo raw. And I'm not in any particular way convinced that it is. To me, it feels like there's a certain abdication of responsibility here where they're kind of deciding that maybe their brand or the most important thing about their brand is going to be that they're going to have original programming going at all times, which is a fine thing, except that whatever I normally criticize about the w if you ask me, which of the five broadcast networks has the best sense of what their brand is. I would almost always say that it's W. And whether it's even if when it's a bifurcated brand, you know, at this point if you'd asked me last year, I would have said their brand is on one hand, seventy five DC related superhero shows and on the other hand these lower rated but critically acclaimed shows that in the past might have been on the WB. And I would've said that's what the brand is. It makes sense, but part of maintaining a brand is curing the brand. And I feel like there's an abdication of it when you're picking up things like, and I don't want to use it as a whipping dog or whipping horse. Or whatever whipping boy whipping a dead dog whipping a dead horse. Let's just start talking about animal. Sorry. I'm just I'm just messing up my idioms as much as humanly possible. Yeah. When you bring back something like in the dark because in the dark is to me an utterly failed attempt at doing the sort of WBZ show that the CW frequently tries and blessed them for it. But they've had at least a dozen better versions in the past five to ten years that have been canceled after one season or occasionally to and and then there's the rumors that they were going to do an ever would reboot with Greg Berlanti at the helm of it. I mean and nothing ever came from that. But it was at the same time. It's like if you're trying to be the old WB network than just be the WB. Everyone else is doing it. Right. NBC's get long grace and bazillion other reboots across the dial just do it. Yeah. So when the CW says we wanna have programming every night. That's great. But when part of that is keeping something like in the dark around something like the outpost which. Premiered over the summer, and it was really just a a cheap as hell Canadian fantasy knockoff, and you know, was kind of embarrassingly amateurish, but wasn't really a CW show per se. It was just a thing they aired. But they either have to be showing an active hand in saying what the brand of the network is or they're just bring up their arms and saying whatever, and it's hard for us to know. Because as we always say, they're sorta straddling that in between space between Netflix, and the broadcast networks wherein, we know what their ratings are. We just know that they don't care what their ratings are. I mean for those not familiar with the CW business model is not reliant on linear ratings. This is a network that is owned by its in the name CW CBS television studios and Warner Brothers c and w so the shows that airs are either from Warner Brothers or from CBS TV studios. Like, Jane, the virgin was. CBS show, and so was crazy ex girlfriend, but in a larger sense, these are this network exists is to sell this stuff internationally to sell it in S Fahd deals, but what I'm really curious about is in a long term of the CW because you have the Netflix deal that the CW has output is basically all of their shows wind up going on Netflix. And we've saw what it did with Riverdale between seasons. One and two season. One ends. It was a decent success for CW. It gets released on net. Flicks becomes a monster hit over the summer when it returns for season two. It gets the Netflix bump and is up. I can't remember what the numbers were something like thirty or forty percent in the CWC demos. And that's what they're hoping with shows like all American, which is on Netflix right now and getting good buzz. But when that Netflix deal expires, that's what I'm curious about the future of the CW because right now when you look at their slate, they've got a lot of reboots which are great for them because it comes cheaper to market. It comes with built in. Fairness and more importantly, you can sell dynasty worldwide because people know what dynasty is, and you know, what to expect. So it doesn't matter. How many cash changes that show has had and I've lost track. But at the same time, it's already pre sold based on the on the title. So without a Netflix deal you need to rely on IP. So when you look at their pilot orders this year, and a lot of those things are already going to beat your Marcus part of the Netflix deal, which expires next year. That's why they're looking at stuff like lost boys and another DC show in Riverdale spin off. I mean, these are now valuable IP's of I think it's of all six pilots at the CW has this year. Only one is an original idea. And and that to me makes it all the more important that they nurture the shows that are actually original all the more is why I don't mind seeing renewal for for some of the bubble shows. Like, I mean, look in to your point in the dark is a show that they believe in the creative. That's why it got a season to halfway through its first season. All american. They're hoping is this show that gets Netflix bump over between seasons. One and two. But at the same time, you know, this is when you look at the CW big picture. I mean, I don't know what bulletproof is. But that's a show that exists this summer on the CW. They've got this thing called burden of of truth, which I think is has the woman that vans love from smallville. And I can't tell you what the hell the outpost is. But I know that all three of those shows are low cost Canadian acquisitions that they stick on in the summer, and as the CW shifts its programming continues to shift its programming strategy toward year round originals. What are you more inclined to watch a scripted drama from Greg Berlanti, or whatever the bulletproof is? I'm sorry. I didn't mean to curse. But I really don't know what bulletproof is will. I don't know what bulletproof is I could tell you what burden of truth is. And you really could you really could have read by review in the Hollywood reporter. And I think that's where you have. And that's where to me cancelling things comes into play. Because canceling things is a way of the network saying we are distinguishing. Between this thing. And this other thing and so- burden of truth. I don't think it's a great show. But I kind of understand why it would fit with the CW is branded has Kristen crew who's beloved to fans of the network from both smallville as you mentioned. But also for beauty and the beast, which I think there's at least a twenty five percent chance that show is still airing original episodes. I I can't prove to you that it's not accepted. She has another show, but this is twenty nine thousand nine people can do that. Well, okay. So if you had that kind of show where you're like, okay. I see how that's on the brand. Then maybe you need to be canceling other things. So you can say this doesn't live up to our standards. This doesn't live up to what we wanna do. And I think it's a problem honestly with a lot of CW shows and with a lot of WBZ TV shows where I don't know that there's a strong enough creative hand and steering them to to me in the dark never should have made it on the air in its current form. Somebody should've looked at that pilot from a script stage and said, here's what? We're here's what doesn't work. This does not work concentrate on this make it better. And that should happen at script stage should happen to the pilot stage. It should've happened immediately. By the second episode, and it didn't and something like all American, which I think is a show that still has a lot of potential, but I also would have liked to have seen it getting better in its first season. And I didn't I saw a lot of times it was taking shortcuts, and I think there has to be a stronger creative handed part of that comes from cancelling things that don't work. And so I think keeping all American keeping a burden of proof. Those make sense to me keeping an outpost keeping a in the dark those muddy the brand. And that's not for me to tell the CW how to run their network. It's just for me to say as I perceive the network. Some things are good for the way, I perceive the network and its brand other things annoying. Right. But maybe there's hope for the creative and season in the second half of the dark. Maybe that becomes a show that in its second season airs. In late April or may or June. Maybe the creative is better. But more importantly, maybe the financials of that are more interesting because that's a show that you can still sell internationally. I don't know how it works. But if you can sell that to Netflix and offset whatever cost you're you're putting into that verse is show like the outpost where you're just paying to air it. And then that's it. It's not a revenue generator for you in any way. Maybe that's that's part of the business. That's what I'm curious about. If you're doing both of them, then you're not distinguishing between one and the right? So maybe we're going to start to see them doing less of these Canadian acquisitions and more true year round scripted originals. I mean, they got some good unscripted stuff that that's been pretty stable for them in the summer, which I don't know the most TV viewing decreases in the summer because well, it's beautiful outside and people need to go out and go to movies and do other things. So when you do a good you have a good unscripted brand. But then you're pairing it with some of these Canadian shows that don't cut through and aren't to your point that don't make sense for the brand in a big picture. Maybe you do originals then instead maybe in the dark becomes your perfect June show to pair with whose line is it. Anyway, I don't know we will definitely be back with future. What the bleep is up with the CW segments in future podcasts. Well for our next topic this week we have an update in the jussie smollet saga. With executives at Disney and FOX making decisions on bubble shows. And then in coming weeks a lot of executives are now looking at whether to bring back empire for six season. These are the conversations that are happening in top offices over at Disney, which now owns the show and at new FOX, which is now being controlled by Charlie Collier, as the network heads into its future as an independent broadcaster aware that these are the meetings that are happening now empire stars including Terrence Howard Terachi. Pinson sent a letter to Charlie call your Dana Walden, Michael Thornely Daniels, and Danny strong and other producers encouraging them to bring the embattled actor back for potential sixth season. The whole story. Just oh, if I had three eyebrows, I would raise all three eyebrows. And none of it makes any difference to me because I'm not going to watch. But it still is. It's just spiraling. And spiraling the upcoming Showtime for part documentary of Mike Sanmen about the Wu Tang clan. The fourth episode a lot of it focuses on the notorious once upon a time in shout Lynn album, the one of a kind of them that the Tang clan. Basically cobbled together mostly the risen one of their producers and then sold for two million to disgraced pharmaceutical asked why Martin Shelley and one of the things is that after like ten minutes of people talking about what a disgrace this album is Rizza comes on. He looks a little bit sheepish. And he says, yeah, it wasn't good. But it got the tank brand out there with roughly twenty five million dollars worth of free publicity for us. And that's the thing of value. Well, I'm kind of feeling the same way about empire and with jussie smollet. This is an awful situation where we still don't know what the. True story is we don't know anything about the true story. But one thing we do know is the people are definitely talking about empire much more than they were last year at this time. I guess if you're new FOX is there value in that he had that's the big question is to your point. It's is any press good press. And I think what we've seen in the past especially for a company like Disney bad press is good press for Disney. This is a company that is very very aware of its brand. And is very protective of it. I mean, when you think Disney using family friendly, I mean, when he saw the you know that what was it three hour almost four hour presentation for Disney, plus co viewing family, these are the big takeaways. They want family friendly fare. They don't want controversy. And I don't know how a network like new FOX is going to do that. I mean, what from everything that? I'm I'm hearing right now as conversations about what FOX is going to renew and pilots it'll pick up. Is they want to be considered the scrappy underdog? And I think when you see Charlie Collier's first order being nine hundred zero revival. That's has a lot of the original stars playing heightened versions of themselves shopping a reboot of to know that to me screams. Hey, we want to take some risks. And we want to reinvent what people think of FOX. And at the same time. This is a show that they don't own. This is now a empire is now a Disney owned show. So how those two things go together. How new FOX has to pay a licensing fee to Disney for empire. I don't know. I don't know how you do that. And I think one thing is for sure is that I would love to be a fly on the wall in those conversations because how do you bring back this show? How do you market the show and your star is is surrounded in controversy? How does he do his job effectively? I mean when I have something that's bothering me. I struggled to do my job when the dodgers are getting creamed in the playoffs. I come in here, and I'm grouchy. So when you just-you it's being sued. How does he show? Up to work. I mean, I know these folks are paid millions of dollars to put on a happy face and do their job and play make believe, but I don't know how how that doesn't impact the show even with the backing of the entire cast, which is wonderful to see by the way. It's sweet. So you'd always brother see that than the entire cast signing a note saying that we won't come back. If you bring back jussie smollet, and I wouldn't have expected them to do that several of them have been known for trouble in their own passed and know there, but for the grace of God go they so might as well get behind Jesse in this case, I think that you hate to be callous about this. But empire could be renewed without jussie smollet, and you would know that basically it would premiere next year with the only coverage being shrug or it could be renewed with jussie smollet in you know, that there would be coverage in t- HR and other various publications going. How are they handling it? What does it look like can you look at the actors and tell that they're uncomfortable with what's happening? So you'll get coverage. For it. And that's a strange way of doing business. I do do you think that the decision is really gonna come down to kind of who has the control in this situation between the sort of Disney owned twentieth and new FOX like, do you think new FOX probably all things considered would want this back and and twentieth would all things considered probably just too soon up the publicity. I mean, like, it's still a massive hit. It's FOX's number two overall drama in adults eighteen to forty nine which is the demo that is the most appealing for advisors. It's number two on the network behind nine one one which has already been renewed. So, you know, at the same time FOX's in network that it has the baseball player. Major league baseball playoffs. Thursday night. Football wrestling on Fridays. It has reduced shelf space for scripted originals next year where does this fit in what the new FOX strategy is. That's the question that I don't know. And when you look at some of their pilots, it's not impair, you know. So do you bring empire back and star the spin off that no one talks about back. I mean, I don't know. But I think it's definitely a big conversation that I would love to be privy to. But I think that's to me that's one of the biggest questions heading into the broadcast up fronts in mid-may. Look, the only reason I know stars still on television is because our offices are on the same floor as their production offices. That is the only reason I know that show and see Lee Daniels from time to time and never pops into the bathroom and his pajamas. But otherwise, I would not know that show existed. But either way look the show is is really set up to do what it's going to do with Jesse small at. I mean this week's episode saw his character. Spoiler alert get married, so they can easily write him off into the sunset if they wanted to they could have them on an extended honeymoon is they figure it out. Maybe he suspended if the show comes back for season six maybe he suspended for a certain number of episodes. I don't know because you know, he's being sued if there's a trial. I mean that's time away from production. That's a whole other mess. You know, I don't know Jamal still on his funny moon. Yes. Okay. Let's move. Onto the next plot. One. But look either way it's definitely a story worth worth monitoring. And in a larger sense. I love seeing a cast United together. I mean, big bang theory. Did it a couple of years ago when Melissa Raozan miam- Bialik, we're an extended contract negotiations, and they couldn't get they're trying to get salary parody with Kelly in Johnny? And Jim and the original stars, basically said, you know, what if the studio won't give them the same money. We're gonna take cuts so that we're all in the same page. So we're going to give them money from our pocket to bring them up to what we're making it all balances out. And when a cast does that I mean, I think that's something special and worth mentioning. So that's all I got on that topic. Feels like it could not move onto our third topic this week, and it's been a busy one over at HBO another of our favorite networks to discuss. This week alone. HBO picked up avenue five the space comedy starring Hugh, Laurie and produced by veep, creator, Armando Iannucci, they also picked up a Lakers drama called Showtime, which will never get over HBO doing a show called Showtime, and they're currently casting for actors to play Magic Johnson and cream of dual Jabbar and coach Pat Riley as it retains with succession director Adam McKay for a scripted drama about the nineteen eighties era L A Lakers. I believe we need to contractually referred to that as t h our award-winning culture columnist Kareem Abdul Jabbar and noted reality superfan Kareem. Abdul-jabbar? Meanwhile, HBO also casts Laura Donnelly of outlander to play a lead role in just Wedenesday never's a Victorian drama that will Mark. The Buffy grads. First TV series that he's created since FOX's Dollhouse. And if that wasn't enough, Brian cognition this week told ta Josh Josh Wheeler that his. Game of thrones successor show is no longer active. So that's down to I think four out of the five scripts remain in contention. And of course, one of them is a pilot starring Niamey watts. So that's a big week in H, B O script development and at the same time. You've got berry and veep who are both crushing their currencies ins kind of almost being overshadowed by the final season of game of thrones. This is not a what the bleep is up with HBO second because I feel like we just did that a couple of weeks ago. This is mostly a here. HBO had a really really busy week. Let's see what we can sort of glean from it because things that all sorts of stages of development, an actual series order for avenue five, and the fact is that if you are offering me a a space comedy from our Mondo Ianucci, starring Hugh, Laurie judge Gavin, Zach woods, I will be watching that I will be watching that eagerly, and that would be the kind of thing where if it hadn't gone to series, the raised eyebrows would have been far greater than. The alternative then you have this Lakers series where that's to be clear. It's a pilot. That's currently casting just a pilot and the casting is going to be so crucial. The casting is going to be everything. And I will be very very curious as to how they actually handle it. Because I want to see the casting process for for six foot nine actor in Hollywood with a killer. Skyhook I think those are two different people. Did you just combined? Magic Johnson and Kareem. Well, listen cream. Six foot nine seven foot one or seven two magic six foot to Korean. But I wanna see the casting breakdowns for for. I want to see the list of actors who can do a headshot and are six or seven foot one. I think you can definitely cast a little bit lower than that. I think you can probably catch someone who's say six four six five as magic and someone who's six six or six seven is curry, you know, you don't necessarily need to have them the exact heights. It's a tough thing to do. And the question of how much actual. Basketball. They're going to include is is a huge one. You look at a great show survivor's remorse on stars. They played basically, no basketball on that show. They never gone on the court with the players they rarely went back in the locker room with the players. They were rarely in uniform or saying anything at all about the actual basketball. This sounds at least in theory like it's going to be a little bit more basketball than that. Right. HBO describes it as an exploration of one of basketball's most dominant dynasties both on the court and off and in his quote about the project atom occa- said it will explore topics including sexism, racism tragedy, redemption, no look passes, and a giant cultural shift in America that to me sounds like must watch. It sounds great slam dunk. Yes. Get the get the idiom, right? Yeah. The the no look passes part is though is the hardest part of that though. You can always talk about sports, but showing sports is where it gets complicated. So really it is gonna come down hugely to casting. And Adam McKay is extremely talented, and I want to put in a plug for succession for EMMY consideration. Because I feel like not enough people are talking about inter remember that it's actually still part of this award cycle because the first season came out so very long ago, and really it was one of the best things on TV last year. And you remember HBO put all of its any marketing campaign behind something else. Sharp objects well, sharp objects and a little show called game of thrones which succession will be going head to head with for no reason because successions a comedy and should not be. Instead that means it should be going head to head with the Burien veep. So really and truly HBO is just in one of those luxury problems kind of things, and I feel bad that that leaves succession. Out of mixed. Because if you ask me between all of those four shows, it's the best of them. But. That is the best out of out of what out of game of thrones, veep and berry succession does my and and sharp objects. If you look in my top ten from last year, succession, outranked all of them. And if you ask me right now game of thrones. I'm not saying it wasn't. But prefer succession to gave it thrones. In general rather significantly. Wow. Dan, putting yourself out there? Whatever gotta gotta oh my opinions and nothing nothing else. If if I'm not doing that what exactly I is podcast for. But but yes, so we are in the middle of a very good last season for veep, which has been caustic and on the nose in terms of its Cyril targets as well as ever and it's been a transitional season for berry as it's basically gone from being a half hour comedy with dramatic elements to pretty much half hour drama that HBO is still going to pretend as a comedy, even though it's not funny. But that doesn't mean it's not good because it turns out that Bill haters. Really good dramatic actor last week's episode. He was about as scary and intense and dramatic as I've ever seen him before. So there's a lot of good stuff. And then I believe we both have been enjoying at least the early episodes of gentleman, Jack, which is a drama that HBO kinda just grabbed and pay. Look there. It is. It's very good. I'm all in on Jack, Jack is celebrating. Right. Who's the creator of the show is so ridiculously talented if she were American show runner, she would be in the pantheon, and she just happens to be in the pantheon on the other side of the Atlantic. But she's incredibly talented in the show is weirdly fun for a period drama. It is it is a jaunty and entertaining show, which it wouldn't necessarily you wouldn't necessarily think it would be based on the premise. Danny's my favorite word. Jonty Jonty is a good word. Perfect word to describe gentleman, Jack. Well, feels that can good opportunity to move onto our fourth topic this week. Let's take a look at what's going on in the live space at the broadcast network. Works. No number four. Late last week ABC announced the Jimmy Kimmel and comedy. God. Norman Lear a rebooting the jeffersons and all in the family as part of a ninety minute star studded production set to air may twenty second. This is basically the next evolution in TV's live musical format. So you don't have any single live musicals on tap for twenty nine thousand nine hundred and now ABC's during its hat with a ninety minute presentation now with both comedies star-studded Cazes, incredible casts. And this is from everything I've told FOX is also trying to do the same with whether it be a scripted comedy. They do live in terms of a series. So basically think if undoable on NBC a couple of years ago was actually planned to be live from the very very start, and including commercials or something like that too. And FOX's also trying to do stuff that what I'm told is basically a jukebox in which if you think of the die pardon specials at NBC aired a couple years ago where you take an artist's musical library and turn it into a scripted movie. But you do it live. Instead of what NBC did that's also something that FOX's considering? I mean, it's an interesting evolution to the live. Marketplace right now, you did not make that sound anymore logical to me by explaining it. So I will be very curious to see what it is a good idea. And it's a good idea for any number of reasons, if you're in LA, you know, that one of the things that's been happening for a few years now is Jason Reitman staging these live readings of classic movies with basically, his friends, and he has some rather famous friends. And so he gets these fantastic casts. They do one time only readings of these movies on stage and people love them people think they're absolutely fantastic. I don't know why you wouldn't attempt to do that on TV, and you're probably not going to know the answer to this. But I'm still going to ask you anyway. So feel free to just say, oh, do you have any clue what the copyright situation is on this like how it differs from doing a remake up to just do a ninety minute. Reading of one of these things go. I mean, I don't know that it's going to be a reading I think they're going to recreate these that's from. My understanding. I mean, I'm not entirely sure. But from everything that it sounds to me is you're going to see Woody Harrelson playing Archie bunker and Mersa Tomi as Edith and Wanda sikes as George Jefferson's wife. And of course, Jamie FOX is gonna play George Jefferson. I mean, if you're just doing a reading to me, why do you wanna see a bunch of actors sitting there on a stage doing a reading will you'd find a way to mix it up a little bit. I think that I really did just assume it was going to be in the vein of the Jason Reitman things where people sit on a stage and read it in. I would watch that I need to do that live, especially when you've got Kimmel and Norman Lear who are both going to be hosting this and look ABC's hope is to turn this into a franchise. The name of the actual project is called live in front of a studio audience in this case Sony is participating so there's where your rights issue comes in Sony acquired the rights to Norman Lear, libraries parv large overall deal with him a couple of years ago, and the hope for ABC is insect sess that Kimmel has other comedies in mind to recreate. Eight with live star studded casts, its smart. I remember what was it? The thirty rock episode a few years ago that was live. Everyone was talking about that. I think it's a great idea. I just do wonder how much staging is going to be involved because it's one thing to say to Woody Harrelson here, you can sit on a stage or even walk around the stage holding the script in your hand, and whatever and it'll be maybe loosely staged for whatever purpose versus doing it as an actual play. Like the difference in rehearsals is multiple months to avoid embarrassment on TV versus week, you know. And I think you get a much higher grade of talent the less staging and memorization is required. So I would be very curious to see how minimalist they tried to keep it simply because I think it's an incentive. I think you can get almost anybody to come in. And do a pseudo read I think you can get many fewer people to come in and do a one night play of something. So that would be all I would wonder is how simple they can make it. So that you can keep getting people. Like Woody Harrelson and Jamie Foxx and Mersa Tomi people who would not necessarily want to give up four months of their scheduled to make sure they get this perfect. But who might get a kick out of the roughness of it. And I think that would be where my interest would be not so much the re staging of the sitcom starting these people in a polished form, but just to see if you put Woody Harrelson and a live stage production how high does he seem to be when he's up on stage. And you know, how much fun is he having with it. I would wanna see them having fun not him being perfect. So that would be what I would be looking for. I think and that's exactly why they're probably doing this. And look we're gonna find out one way or the other may twenty second in a big picture of this. This is the latest push by the broadcast networks for relevancy. I mean, these are networks that are struggling with scripted shows. I mean outside of show like this is us and big bang theory. You don't really have something that dominates the conversation. And neither one of those shows really due to the same point that they once did now. But right now the way that we talk about game of thrones every single episode in that final. Season is water. Cooler must see watch live or you will get spoiled and things will be up in the air. And this experience will be ruined. The same thing that people are talking about vendors end game this weekend, and broadcast networks are struggling for their place in that water cooler conversation and live programming and moving beyond the hate watching of a live musical and doing a scripted comedy. For example, is a new way that networks are trying to bust DVR's and get you the viewer to tune in and get eight thousand other advertisers to buy money as part of this ninety minute special. And look, it's an interesting idea. And I think this is just the beginning this year, we saw ABC expand the live episodes of American idol and the bachelor they're doing the NFL draft live. We're seeing a lot of these broadcasters. Try take bigger swings. When it comes to live programming, and they're still musicals in the works. Nothing's set for this year. I'd honestly for me anything where I see the news, and my reaction is that seems odd makes me happy. When it comes to broadcast network. It doesn't matter if I think, oh, that's the best idea in the world are, oh, that's the worst idea in the world. This one is much closer to the best idea in the world. But anything that actually shakes me out of my own. It's just another remake of complacency is good. And I can't be the only one who feels that way. I, you know, I may watch more TV than most people. But I think most people feel the same way that anything that kind of causes us to reread headline and go that doesn't make any sense taking a risk. Let's see what FOX is doing with the nanotubes thing. That's a risk. We'll see I it will either feel like a risk when we actually see it or it will feel like not. I don't know that we have a clue yet. What that is going to be. But no, this is good. And I'm very very curious to see what it is. And the talent assemble this spectacular spectacular. Well, as always we wrap things up with our weekly Critic's corner segment this week. Netflix launches Tony Goldwyn and Emma Thurman, thriller chambers. CBS turns to Eva do Varney and Greg Berlanti for Noah wyle vehicle the red line. And hey, Dan, I'm not sure if. You heard this. But game of thrones is dominating the conversation. Number five. If you ask me what the thing is to watch the next week. The answer really is going to be this Sunday's game of thrones battle winter foul in which we anticipate, and which everyone is really excited about eighty two minutes nonstop action and lots of deaths so many deaths that we're gonna be disappointed if there aren't five or ten major deaths or semi major or minor but recognizable. If it just turns out to be a bunch of red shirts and zombies I don't think anyone is going to be happy with that. And given the first two episodes of the season really were completely and totally build up to whatever's going to happen on Sunday. It puts a probably an unfair amount of pressure on this one episode. But you know, who who is actually a fan of this show is not going to be watching Sunday night's episode completely and totally live. This is not a I'm going to tune in a minute late and start zipping through. So I don't have to watch the credits the minute the episode is airing. I am going to be watching it because I don't want anything in the world. Despoil this episode for me. And there's nothing else coming this week that I. I can say that about I can tell you that the red line on CBS as you say comes from executive producers, Abe diversion a and Greg Berlanti, but neither is actually a writer or director on the show. So they're producers, and it is a better than average broadcast network show in two thousand nineteen it really does want to be about politics and law and order injustice in Chicago. It's very on the nose. It's very broadcast network trying to do a serious cable drama, but not quite being able to on the other hand. I don't want to tell a broadcast network that they shouldn't be trying and this is one that they are clearly trying on. And so I give it credit for that full credit for that. And chambers is another kind of binge friendly nutty Netflix show, it's not very good. But if you already made it through the away, and you're kind of perplexed that whatever that strange Scandinavian show. Was the innocence that no one's mentioned it since it premiered. But you really like shows with a lot of mythology and kooky wacky things happening. And in this case, the kooky wacky things involved horror, supernatural native, American mysticism all manner of things they're all happening here. And as I tweeted when I got to the end I sat through forty five minutes of the finale going. This is horrible. Why am I watching that? And suddenly with thirty seconds to go. It got to the quote unquote point of the season. And Michael man now, I kinda wanna see where it's going next season. And that to me is Pt all over that's ringing endorsement, Dan, I try well as always that's it for us this week, Dan, and I will be back next week with all things TV. Thank you for listening to TV's top five the Hollywood reporter's TD podcast. And if you like us be sure to check out Josh wig, lers genre, focus podcast series, regular covering all things game of thrones. And Scott, by Berg's amazing words chatter which nex. Week will feature special. Guests Allison Brie as EMMY season continues its brought, and if you really like us going rate us on your favorite podcast platform. If you really really like us writer review talk to us on Twitter. We're happy to talk to you. Tell your friends on Twitter. We're happy to see it. And if you have questions for future mailbags or just want to tell us, we got something very very wrong. Our podcast Email address is TV's top five at T H, R dot com. Email us until next week Lesley until next week. Dan.

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