Another day, another show Fuller leaves
http://www.dreadcentral.com/news/27...tv-series-pilot-is-written-but-fuller-is-out/
I love the guy but come the fuck on dude...
Another day, another show Fuller leaves
http://www.dreadcentral.com/news/27...tv-series-pilot-is-written-but-fuller-is-out/
He beat your estimate by a good five months!Eight months from now: "Bryan Fuller Departs from The Vampire Chronicles"
There can only be laughter in response.Another day, another show Fuller leaves
http://www.dreadcentral.com/news/27...tv-series-pilot-is-written-but-fuller-is-out/
Yeah, it's getting really hard to care about new projects he announces.
obligatory: "just means he's moving to a Netflix Hannibal revival" post
Nope:
Seems like a lot of this happened in February (article about the cost overruns on American Gods, steps down from Amazing Stories & The Vampire Chronicles)
I love Fuller, but at a certain point you just have to accept that the problem is probably him and not the network suits.
One day you'll see a revival of Hannibal gets picked up and a few months later he'll leave it.
Melissa Benoist is going to be on broadway, so supergirl might be dead
Frankly, more Hannibal seems like a Monkey's Paw wish at this point. Series ended well, they should let it lie.One day you'll see a revival of Hannibal gets picked up and a few months later he'll leave it.
It's a limited engagement for only a couple months.Melissa Benoist is going to be on broadway, so supergirl might be dead
No network was attached to it, and it was always a Christopher Rice led joint. People just went hard with the Fuller connection because he's the bigger name. So it's more likely Rice/Fuller drama (if there was any drama) than network/Fuller drama.Is he just hard to work with, or is he just playing chicken with the networks about his vision and always losing?
Frankly, more Hannibal seems like a Monkey's Paw wish at this point. Series ended well, they should let it lie.
It's a limited engagement for only a couple months.
I know for a fact that on at least one of these it was absolutely executives interfering in his creative vision, but I can't imagine it was that for all four shows he has left in the last year or so. So it's definitely starting to seem like he just doesn't play well/refuses to compromise with Executives, which will make it increasingly tough for him to get these kinds of positions.Is he just hard to work with, or is he just playing chicken with the networks about his vision and always losing?
I had no idea she was Metcalf's daughter until I looked it up. I still remember thinking how freaky it was they found a younger lookalike. lolCasting the mom was easy, but the sister and the grandmother are absolutely perfect.
In The Village, The people who reside the building have built a bonded family of friends and neighbors. Sarah's a nurse and single mom raising a creative teen; Gabe's a young law student who got a much older and unexpected roommate; Ava must secure the future of her young, U.S.-born son when ICE comes knocking; Nick's a veteran who's returned from war; and the heart and soul of the building, Ron and Patricia, have captivating tales all their own. These are the hopeful, heartwarming and challenging stories of life that prove family is everything — even if it's the one you make with the people around you.
The cast includes Moran Atias, Chianese, Warren Christie, Frankie Faison, Jerod Haynes, Daren Kagasoff, Michaela McManus, Lorraine Toussaint and Grace Van Dien.
The Enemy Within is a fast-paced thriller set in the world of counterintelligence. It centers on Erica Shepherd, a brilliant former CIA operative, now known as the most notorious traitor in American history serving life in a Supermax prison. Against every fiber of his being but with nowhere else to turn, FBI Agent Will Keaton enlists Shepherd to help track down a fiercely dangerous and elusive criminal she knows all too well. For Keaton, it's not easy to trust the woman who cost him so much. While Shepherd and Keaton have different motivations for bringing the enemy to justice, they both know that to catch a spy… they must think like one.
M. Night Shyamalan busted Margaret Lyons's streak in 2015. The current New York Times TV critic had been reviewing television shows for a decade for various publications including Entertainment Weekly and New York magazine's Vulture, priding herself on never having missed a scripted network pilot. For 10 years, as the television universe proliferated wildly, she had watched every single one that came her way: drama, comedy; half-hour, hour; multi-cam, single-cam. Then came Wayward Pines.
"That show broke me," she said of Shyamalan's mystery series starring Matt Dillon and Carla Gugino that went on to last 20 episodes on Fox. "I just wasn't interested in it, and I knew my dumb streak had to come to an end eventually."
Critics are working longer hours, producing more perfunctory, less eloquent work, and often casting aside shows that really need critical support in favor of high-profile shows that are not nearly as review-dependent. Case in point: the latest season of Game of Thrones generated 12 reviews on Metacritic compared with Netflix's new documentary series Dirty Money, which debuted in January and generated only six.
Yeah it's an odd example but I agree with the point. There is a better example in the article where a critic discovers how good Please Like Me (and it is so good) is after the first season has aired, but it was a less convenient pull quote to cite here.I feel like Dirty Money is a dumb comparison for Game of Thrones considering it's a documentary and most scripted TV critics don't really cover that sub-industry.
Vanity Fair: Is Peak TV Slowly Killing TV Critics?
It's a pretty good look into what it takes to be a critic in the age of Peak TV.
Sepinwall is much more blunt about it: "There is this idea now of everyone making these super, hyper-serialized shows, all of which have more episodes than the story can support, and it's a problem . . . Even shows that are not made for streaming services know they eventually are going to end up there so they are constructing themselves the same way, and it's just sort of this big jumbo plot. That particular type of storytelling is just not sustainable."
Damn, Alan still beating this drum and I'm glad he is. I think this article is spot on with the current problem of just so much content out there. A lot of people will dimiss the critics who move on quick, but as they note there is far too much to even begin to think about sitting through. Its a big reason why I'll just jump off a show, even if it's mid season, if it's not grabbing me
I love Sepinwall but I continue to think this problem is critic-specific. I get why they don't always want hyper-serialized shows and I'm sympathetic how Netflix and the like bing-dumping an entire season in one day plays havoc with their preferred review format. But I don't see why it isn't sustainable.
What's the current title about? Read the last 3 pages and must have missed it. Also lol the Fuller Express does not stop leaving the station.
That it hasn't been cancelled yet is good news for the show but yeah wouldn't be surprised if it got got.
I took his comment to be about the storytelling more than binge. He's praised of online only binge shows before.
It's an article about TV criticism with the words "TV critic" in the title. So that some issues raised in the article about TV critics mainly concern TV critics shouldn't come as a surprise.But why aren't heavily serialized shows sustainable? The more classic mold is certainly a standalone hour show that sets and up resolves it's primary plot in an episode (even if some threads will carry forward to the future) and there is a lot to admire in that model and, not coincidentally, it lines up very nicely with the episodic review format that Sepinwall is a huge proponent of.
But why isn't it equally valid to take the book/chapters approach to serialized story telling on TV? We don't typically critique a novel on the basis of whether it's chapters are standalone.