Inside TV+Movies with Daniel Fienberg

Listen: Firewall & Iceberg Podcast No. 144

Dan and Alan talk 'Grimm,' 'Copper,' 'Boss,' 'Strike Back' and more

Listen: Firewall & Iceberg Podcast No. 144

The
Happy Monday, Boys and Girls!
 
In this week's busy installment of The Firewall & Iceberg podcast, we discuss the returns of "Grimm," "Boss" and "Strike Back," plus the premiere of BBC America's "Copper." We also get to "Breaking Bad."
 
In the podcast, I forgot to apologize to Terrell Owens for my inaccurate memories of his last season in the NFL, which was more statistically respectable than I remembered. Then again, the last time y'all insisted I needed to apologize to an NFL wide receiver it was Kenny Britt, when I had the nerve to doubt his reliability as an NFL No. 1 wide receiver. I stand by that ongoing skepticism, which isn't based on Britt's talent, so much as his difficulties staying healthy and his inability to stay unarrested.
 
But anyway... Back to this week's podcast... If you have questions for us, next week would be a good week to ask, since we're definitely gonna have time for Listener Mail...
 
Today's breakdown:
"Grimm" (00:00:50 - 00:14:20)
"Boss" (00:14:25 - 00:26:05)
"Strike Back" (00:26:05 - 00:35:20)
"Copper" (00:35:20 - 00:50:00)
"Breaking Bad" (00:50:25 - 01:10:00)

As always, you can subscribe to The Firewall & Iceberg Podcast over at the iTunes Store, where you can also rate us and comment on us. [Or you can always follow our RSS Feed.] 

And as always, feel free to e-mail us questions for the podcast.

Take Me To The Pilots '12: ABC's 'Nashville'

Music-themed soap is full of terrific elements, but will they gel?

<p>Hayden Panettiere of &quot;Nashville&quot;</p>

Hayden Panettiere of "Nashville"

Credit: ABC

[In case you've Forgotten, and as I will continue to mention each and every one of these posts that I do: This is *not* a review. Pilots change. Sometimes a lot. Often for the better. Sometimes for the worse. But they change. Actual reviews will be coming in September and perhaps October (and maybe midseason in some cases). This is, however, a brief gut reaction to not-for-air pilots. I know some people will be all "These are reviews." If you've read me, you've read my reviews and you know this isn't what they look like.]

Show: "Nashville" (ABC)
The Pitch:"Take 'Dallas,' replace oil with country music, transplant it to Nashville and... BAM!" Or, if you prefer... "You know how NOBODY saw 'Country Strong'? We could ditch the title, turn it into a TV show and nobody would ever know."
Quick Response: ABC's "Nashville" has every element in place to be a potentially great show. Or at least it has every element in place to be a fun primetime soap in an underutilized location with perhaps a little extra substance. And maybe the problem that I have with this pilot, which is solidly written by Callie Khouri and solidly directed by R.J. Cutler, is that it just has too many elements in place and no way to do justice to all of those elements in 42 minutes. Every time I got into one plotline or another, I was abruptly yanked out and forced into another and just when I settled in and decided I was interested in that plotline, it was off to something else. I got no cumulative impact out of the pilot at all, but I could see how I'd happily watch a series that ACTUALLY focused on Connie Britton's Reba-esque Raya (kinda an inverted Mrs Coach, as a woman whose long overshadowed husband decides he wants his own profile) or Hayden Panettiere's Taylor Swift-esque Juliette (kinda an emotionally wounded, sexually voracious singing dwarf) or Powers Boothe's Lamar (kinda JR Ewing, only played by Powers Boothe) or the sweet dynamic between Sam Palladio and Clare Bowen (like a country-tinged "Once"). What I didn't buy was the attempt, at least in the pilot, to pretend like all of the storylines had equal value, when they clearly don't. Boothe and Britton are, of course, two actors who I'd watch do just about anything and this has the potential to be the best project for Britton since "Friday Night Lights" and for Boothe since "Hatfields & McCoys" (yes, I'm well aware that those projects were two years and one year ago). Panettiere doesn't have their chops, but she's actually perfectly cast in this role and I love the visual dexterity required to frame her in a way in which she looks full-sized. Credit to Khouri and Cutler for their treatment of the eponymous city, which gets to be the only character in every scene and therefore the only character I fully bought. And credit to T-Bone Burnett for a few original country songs that, without question, could be hits in the hands of the right artists. This is just a hard sort of sprawling epic to get right in a network TV hour. "Nashville" could be the sort of show that works best cumulatively, rather than one episode at a time. Then again, I have colleagues who loved this one, so they obviously connected in a way I did not.
Desire To Watch Again: Fairly strong. I watched a full season of "Revenge" in this time period and I didn't like "Revenge" and "Revenge" didn't have nearly the number of quality elements that "Nashville" has already, or the grasp on a grounded and interesting reality that "Nashville" may aspire to. In a perfect world, I'd have one or two additional "Nashville" episodes to see before writing a review, just to have a better idea of the focus moving forward.

 

Take Me To The Pilots '12: CBS' 'Made in Jersey'
Take Me To The Pilots '12: The CW's 'Emily Owens, M.D.'
Take Me To The Pilots '12: FOX's 'Mob Doctor'
Take Me To The Pilots '12: NBC's 'Animal Practice'
Take Me To The Pilots '12: ABC's 'Last Resort'
Take Me To The Pilots '12: CBS' 'Vegas'
Take Me To The Pilots '12: The CW's 'Beauty & The Beast'
Take Me To The Pilots '12: ABC's '666 Park Avenue'
Take Me To The Pilots '12: NBC's 'Chicago Fire'
Take Me To The Pilots '12: FOX's 'Ben and Kate'
Take Me To The Pilots '12: CBS' 'Elementary'
Take Me To The Pilots '12: The CW's 'Arrow'
Take Me To The Pilots '12: ABC's 'The Neighbors'
Take Me To The Pilots '12: NBC's 'Revolution'
All of last year's Take Me To The Pilots entries

 

Monkey business reigns on the set of NBC's 'Animal Practice'

Can Justin Kirk and JoAnna Garcia Swisher avoid being upstaged by Crystal?

<p>Justin Kirk of &quot;Animal Practice&quot;</p>

Justin Kirk of "Animal Practice"

Credit: NBC
HOLLYWOOD - For new network TV shows, August is a period of exploration. Actors and producers get together for the first time since the pilot and try to establish a creative rapport. 
 
There's a lot of sniffing around and marking territory. 
 
For one new NBC show, that process is being taken to an extreme. On a hot August day on a frantic stage on the Paramount Lot, the actors are jumping through hoops to impress the producers, they're being reassured at how cute they are by total strangers, they're sniffing the butts of their new co-stars and, in case anybody gets too excited, there are conveniently located hydrants and waste receptacles.
 
This might be hard to imagine, but in a city where a Charlie Sheen sitcom is currently in production, no set in town is a bigger zoo than the one housing NBC's "Animal Practice."
 

Take Me To The Pilots '12: CBS' 'Made in Jersey'

Janet Montgomery has star potential, even in a bland vehicle

<p>Janet Montgomery of &quot;Made in Jersey&quot;</p>

Janet Montgomery of "Made in Jersey"

Credit: CBS

[In case you've Forgotten, and as I will continue to mention each and every one of these posts that I do: This is *not* a review. Pilots change. Sometimes a lot. Often for the better. Sometimes for the worse. But they change. Actual reviews will be coming in September and perhaps October (and maybe midseason in some cases). This is, however, a brief gut reaction to not-for-air pilots. I know some people will be all "These are reviews." If you've read me, you've read my reviews and you know this isn't what they look like.]

Show: "Made in Jersey" (CBS)
The Pitch: "My Cousin Vinnie," if you got rid of Joe Pesci and it just turned out that Marisa Tomei was a talented lawyer, in addition to being a hilarious ethnic stereotype.
Quick Response: There was a period a few summers ago when kept looking up an attractive, vivid supporting actress who I couldn't immediately identify and it turned out to be Janet Montgomery each time, even though the parts were as different as a British Hollywood secretary and a fantasy football advice-dispensing Las Vegas stripper. After two IMDB searches and one casting announcement, I finally got her name locked in, which isn't bad by my standards. Janet Montgomery *is* a star. I agree with FOX, which brought her in in an unsuccessful attempt to goose ratings for "Human Target" and I agree with CBS, which cast Montgomery in a show called "Made in Jersey," despite a natural accent that's distinctly from the wrong side of The Pond. I don't really know what to make of "Made in Jersey," unfortunately. CBS has been running trailers which focus more on Fish Out of Water humor than the actual tone of the show, which is closer to a straight-forward character-driven legal procedural with hints of cartoony local color. Montgomery, whose Jersey accent is acceptable, if not flawless, is very good playing a woman who comes off as kinda a Sherlock Holmes for trashy, blue collar details. She's sexy and straight-forward and Montgomery really isn't mugging or over-relying on stereotypes. The same cannot be said of Donna Murphy and Erin Cummings as two members of the main character's Big Stereotypical Italian Family, an element that the producers said at TCA press tour that they intend to play up. Ugh. Bad idea. I'm also concerned by Stephanie March, whose character only exists to waltz in and out of scenes underestimating our heroine and spitting out WASP-y condemnations of Jersey. I sense that creator Dana Calvo is using March as the one-dimensional embodiment of all of the people who underestimated her, but when half of the cast seems to be living down to Jersey stereotypes, it's tough to know what to take seriously. Coming out of the pilot, I think I have a good sense of what Felix Solis and Toni Trucks are going to contribute to this show, but I don't have a clue why Kyle MacLachlan is here.
Desire To Watch Again: I think I'm curious to see what show "Made in Jersey" actually ends up being. The more serious version of the show could live up to Montgomery's talent and could make an appropriate hammock show between "CSI: NY" and "Blue Bloods" in CBS' schedule. The hammier, more gag-driven version of the show will stick out like a sore thumb in CBS' Friday lineup and will likely be gone by midseason, setting Montgomery up for better and maybe bigger things down the road. I'll give this one another week or two to see which show it becomes. Watching CBS meddle "A Gifted Man" into an early grave last year didn't give me confidence.

Take Me To The Pilots '12: The CW's 'Emily Owens, M.D.'
Take Me To The Pilots '12: FOX's 'Mob Doctor'
Take Me To The Pilots '12: NBC's 'Animal Practice'
Take Me To The Pilots '12: ABC's 'Last Resort'
Take Me To The Pilots '12: CBS' 'Vegas'
Take Me To The Pilots '12: The CW's 'Beauty & The Beast'
Take Me To The Pilots '12: ABC's '666 Park Avenue'
Take Me To The Pilots '12: NBC's 'Chicago Fire'
Take Me To The Pilots '12: FOX's 'Ben and Kate'
Take Me To The Pilots '12: CBS' 'Elementary'
Take Me To The Pilots '12: The CW's 'Arrow'
Take Me To The Pilots '12: ABC's 'The Neighbors'
Take Me To The Pilots '12: NBC's 'Revolution'
All of last year's Take Me To The Pilots entries

 

Take Me To The Pilots '12: The CW's 'Emily Owens, M.D.'

Is Mamie Gummer enough to make up for a weak title and predictable plotting?

<p>Mamie Gummer of &quot;Emily Owens, M.D.'</p>

Mamie Gummer of "Emily Owens, M.D.'

Credit: The CW

[In case you've Forgotten, and as I will continue to mention each and every one of these posts that I do: This is *not* a review. Pilots change. Sometimes a lot. Often for the better. Sometimes for the worse. But they change. Actual reviews will be coming in September and perhaps October (and maybe midseason in some cases). This is, however, a brief gut reaction to not-for-air pilots. I know some people will be all "These are reviews." If you've read me, you've read my reviews and you know this isn't what they look like.]

Show:"Emily Owens, MD" (The CW)
The Pitch: "We need a medical drama that we can pair with 'Hart of Dixie,' but one that people won't mock because the central doctor wears formal shorts!"
Quick Response: Part of a gut reaction to a show is the reaction to its title and "Emily Owens, MD" has one of the worst titles on TV. It's a name that's evocative of literally nothing other than the main character's name and profession. "House" was briefly "House, MD," but the name/word "House" is immediately evocative. It's a word with ingrained value. "Doogie Howser, MD" has an immediate hook because the name "Doogie" juxtaposed with the profession tells you almost everything you need to know about a show focusing on a diminutive doctor. "Emily Owens, MD" is the combination of a generic name and a profession. The CW might as well just call the show "Pretty Lady Doctor," which is a crappy title, but at least contains narrative information [FOX's "Mob Doctor" has basically taken this naming approach]. And it's not like "Emily Owens, MD" doesn't have a workable hook. Mamie Gummer's eponymous character is a fresh-faced doctor who thinks she'll be able to reinvent herself in her new workplace, only to discover that the medical world is just like high school. Oh and she's at the same hospital as her med school crush Will. So the hook is something like "Undeclared" meets "Felicity" by way of "Grey's Anatomy." You won't find a second of "Emily Owens, MD" that isn't familiar, but shows of this type, shows so completely and utterly centered around a single character, can rise or fall beyond their pedestrian roots if the lead actor is good enough. Mamie Gummer -- still not quite entrenched enough in her own identity not to be best-known as Meryl Streep's eerily similar daughter -- is a good enough lead actor that I'm probably willing to give "Emily Owens" a couple episodes not instantly warranted by the awful title, the corny voice-over, the perfunctory love triangle and the rehashed medical procedure. She's funny and vulnerable when she needs to be and when she's supposed to display that the character is actually a good doctor, she's properly assertive. I sense that Gummer may be playing a slightly funnier version of the main character than the script required, but as Gummer showed on "The Good Wife," she's able to play characters who function semi-comedically within a drama. Such as the show is, Gummer makes it semi-watchable and occasionally she even makes it enjoyable, though it's going to take more than one episode before Justin Hartley, Michael Rady and Jack Coleman make impressions that go beyond "Tall," "Guy from 'Greek'" and "Guy from 'Heroes.'" None of the female supporting players make impressions that are even that concrete. 
Desire To Watch Again: Not huge, but I certainly won't actively avoid it. I watched every episode of "Hart of Dixie" and likely will continue to watch and I don't know if I'd be able to give you an empirical, objective reason why "Hart of Dixie" is markedly better than "Emily Owens, MD." It just happens that "Hart of Dixie" has more people I like in it and it also seems less hung up on its medical trappings. So OK. There's my answer for why "Hart of Dixie" is better. It's a portrait of a fantastical, imaginary Southern town that happens to have a generic medical procedural occasionally dancing around the edges. "Emily Owens, MD" is a generic medical procedural that just happens to have an interesting lead performance. I can still imagine watching "Emily Owens, MD" again at some point.

Take Me To The Pilots '12: FOX's 'Mob Doctor'
Take Me To The Pilots '12: NBC's 'Animal Practice'
Take Me To The Pilots '12: ABC's 'Last Resort'
Take Me To The Pilots '12: CBS' 'Vegas'
Take Me To The Pilots '12: The CW's 'Beauty & The Beast'
Take Me To The Pilots '12: ABC's '666 Park Avenue'
Take Me To The Pilots '12: NBC's 'Chicago Fire'
Take Me To The Pilots '12: FOX's 'Ben and Kate'
Take Me To The Pilots '12: CBS' 'Elementary'
Take Me To The Pilots '12: The CW's 'Arrow'
Take Me To The Pilots '12: ABC's 'The Neighbors'
Take Me To The Pilots '12: NBC's 'Revolution'
All of last year's Take Me To The Pilots entries

 

 

 

Set Visit Preview: 'Beautiful Creatures' brings the world of Casters to life

Richard LaGravenese is directing the February 2013 release

<p>&quot;Beautiful Creatures&quot; opens on February 13, 2013.</p>

"Beautiful Creatures" opens on February 13, 2013.

Credit: Warner Brothers/ John Bramley
NEW ORLEANS - Being up all night in The Big Easy isn't unusual, but this May, I skipped revelry on Bourbon Street and, like many a teenager, I stayed up until 3 a.m. finishing "Beautiful Creatures," the first book in Kami Garcia and Margaret Stohl's Caster Chronicles series.
 
The novel -- you can find it in the Young Adult Occult Romance section of your local chain bookstore -- was hard to put down and I've subsequently finished the sequel "Beautiful Darkness" (I'll get to "Beautiful Chaos" at some point), but I was really doing my homework. The following day, I joined two other journalists in crossing the Lake Pontchartrain Causeway to Covington, Louisiana to visit the set of Warner Brothers' feature adaptation of the book, set to hit theaters on February 13, 2013.
 
Garcia and Stohl's Gatlin, South Carolina may be fictional, but on that steamy May day, Covington was doing a terrific job of playing the archetypal Southern town, with humidity and Spanish moss dripping from every surface. 
 
For the uninitiated, "Beautiful Creatures" is the story of fairly ordinary high school student Ethan (Alden Ehrenreich), who falls in love with the exotic Lena Duchannes (Alice Englert) and discovers that Gatlin is actually a hotbed for supernatural activity, including witches and other... well... beautiful creatures. 
 
While the young ensemble of "Beautiful Creatures," which also features Zoey Deutch (playing Emily Asher) and Thomas Mann (as Ethan's comic relief buddy Link), may be dominated fresh-faced relative unknowns, what should draw viewers beyond fans of the wildly popular genre is a supporting cast that features Oscar winners Emma Thompson and Jeremy Irons, Oscar nominee Viola Davis and Emmy winner Margo Martindale. 
 
Those are some heavy hitters and they were drawn, no doubt, by the presence of Oscar nominated writer-director Richard LaGravenese.
 
"I know people are going to compare it to 'Hunger Games' or 'Twilight' or whatever, but those are just big franchises with heightened and/or supernatural themes," says "Shameless" star Emmy Rossum, who plays the bewitching Ridley. "So we definitely fit in that realm, but I think even moreso than the book -- I mean the book was definitely different than those in that the core of it being a love story between star-crossed lovers, very Romeo and Juliet: one's a witch, one's not, and they can't be together, that whole thing. That's totally a universal theme --  But to me, when you've got somebody Richard, who's such an amazing writer to adapt the book, because it's really an adaptation, it's not verbatim the book. A lot of things are changed. Some plot points are changed, some things are explained further than they were in the book or changed, and the world is completely visually created by [cinematographer Philippe Rousselot] and Richard in a very -- going with what we did with Ridley -- a very haute couture, kind of fantastical, magical place, some of which references when you read the script directly from paintings that Richard loves. He's going to visually recreate the world in that way. So I think, visually, we're going to be very different from those films."
 
Rossum, it should be noted, is a big fan of the books and although her Ridley looks very little like Garcia and Stohl's description of the character, trust me when I say that nobody will be disappointed by her interpretation.
 
And Thompson offers reassurance that one needn't be fluent in the world of casters and incubi to enjoy what the "Fisher King" and "Bridges of Madison County" scribe is doing here.
 
"I haven't read the books yet, I will," Thompson says. "But I love the script, I thought the script was funny and witty and very much a kind of intelligently-told very fun story. And the part was one of the most interesting I've been asked to play in a long time."
 
In our day on the "Beautiful Creatures" set, we saw the filming of two scenes and chatted with Deutch, Mann, Ehrenreich and the marvelously gracious Thompson, who swapped in an out of her Southern accent during the interview, and the equally gracious Rossum, who delivered cups of melon water during lunch when we were initially skeptical at the beverage's magical properties. 
 
Stay tuned for those conversations, plus on-set production details -- Spectacular craft service fried chicken and more! -- as we get a little closer to the February 13 premiere.

Listen: Firewall & Iceberg Podcast No. 143

Dan and Alan talk 'Go On,' 'Animal Practice,' 'Hell on Wheels' and Olympics

Listen: Firewall & Iceberg Podcast No. 143

The
Happy Wednesday, Boys & Girls!
 
As promised, here's a mid-week bonus installment of The Firewall & Iceberg Podcast.
 
We came in under an hour on this one and it's fairly straight-forward: We review NBC's "Go On" and "Animal Practice," chat about the start of the second season of AMC's "Hell on Wheels" and we use one piece of Listener Mail as our opening to chat about NBC's Olympics coverage a bit.
 
Here's the breakdown:
"Go On" (00:01:30 - 00:15:30)
"Hell on Wheels" (00:15:30 - 00:25:40)
"Animal Practice" (00:25:45 - 00:38:25)
The Olympics (00:38:25 - 00:55:00)
 

As always, you can subscribe to The Firewall & Iceberg Podcast over at the iTunes Store, where you can also rate us and comment on us. [Or you can always follow our RSS Feed.] 

And as always, feel free to e-mail us questions for the podcast.

Interview: Julia Louis-Dreyfus talks Emmys, 'Veep' and the new Nicole Holofcener film

What does tying Lucille Ball for an Emmy milestone mean to her?

<p>Julia Louis-Dreyfus of &quot;Veep&quot;</p>

Julia Louis-Dreyfus of "Veep"

Credit: Bill Gray/HBO
Last month, Julia Louis-Dreyfus picked up her 13th career Emmy nomination as a comedy lead actress, tying Lucille Ball for most nods within the category. 
 
When it comes to select company, it's tough to top Lucille Ball, though it should be noted that Ball picked up all of her nominations for playing characters named "Lucy," doing variations within one of the most iconic personas in TV history. In contrast, Louis-Dreyfus picked up seven nominations (and a win) for playing Elaine on "Seinfeld," five nominations (and a win) for playing the title role in "The New Adventures of Old Christine" and she's now got her first nod for playing Vice President Selina Meyer on HBO's "Veep." That's three very different roles on three very different shows on three different networks.
 
Louis-Dreyfus is also a a producer on "Veep," which means she'll theoretically be part of the team honored for the show's Outstanding Comedy Series recognition, her first nomination in that capacity. 
 
Last week, in the heart of TCA press tour, I was able to catch up with Louis-Dreyfus to talk about her Emmy nomination and Emmy night rituals, her new experience shifting to cable, her favorite "Veep" obscenity and her first lead role in a feature film in a long, long time.
 
Click through for the full Q&A...
 

Listen: Firewall & Iceberg Podcast No. 142

Dan and Alan talk more TCA Press Tour, 'Buffy' finale and 'The Dark Knight Rises

Listen: Firewall & Iceberg Podcast No. 142

The
Happy Monday, Boys & Girls!
 
Time for our first Monday installment of the Firewall & Iceberg Podcast in a few weeks. 
 
And this will also be the first of two podcasts this week.
 
In this episode, Sepinwall and I wrap up TCA Press Tour, discuss this week's "Breaking Bad" and the Season 1 finale of "Buffy the Vampire Slayer." And, because people requested it and because we'd both seen the movie, we also discuss "The Dark Knight Rises."
 
Come back on Wednesday for our reviews of "Animal Practice," "Go On," "Hell on Wheels" and for our answer to any mail y'all happen to provide. 
 
Good times!
 
Here's Monday's breakdown:
TCA Press Tour (00:01:00 - 00:34:25)
"Breaking Bad" (00:34:35 - 00:57:40)
"Buffy the Vampire Slayer" (00:57:40 - 01:15:15)
"The Dark Knight Rises" (01:15:20 - 01:33:00)
 

As always, you can subscribe to The Firewall & Iceberg Podcast over at the iTunes Store, where you can also rate us and comment on us. [Or you can always follow our RSS Feed.] 

And as always, feel free to e-mail us questions for the podcast.

Take Me To The Pilots '12: FOX's 'The Mob Doctor'

Jordana Spiro is trapped in two generic genre shows at once

<p>Jordana Spiro of &quot;The Mob Doctor&quot;</p>

Jordana Spiro of "The Mob Doctor"

Credit: FOX

[In case you've Forgotten, and as I will continue to mention each and every one of these posts that I do: This is *not* a review. Pilots change. Sometimes a lot. Often for the better. Sometimes for the worse. But they change. Actual reviews will be coming in September and perhaps October (and maybe midseason in some cases). This is, however, a brief gut reaction to not-for-air pilots. I know some people will be all "These are reviews." If you've read me, you've read my reviews and you know this isn't what they look like.]

Show:"The Mob Doctor" (FOX)
The Pitch:Isn't this one kinda self-explanatory? "You see... She's a doctor... but she also works for the MOB. Oh and she's hot."
Quick Response: Jordana Spiro is an underutilized resource in Hollywood. She had a kinda-hit show, at least by TBS standards, but that means that maybe 1 percent of the population has a clue who she is. Expect that number to soar to 2 percent by the time FOX is done promoting "The Mob Doctor," but I doubt that this mediocre jumble of genres is going to be the show that makes her the star she probably deserves to be. "The Mob Doctor" -- Don't forget the "The," because unlike the tag line for "The Bourne Legacy," when it comes to mob doctors, there was always only meant to be one -- is a generic medical procedural grafted onto a stereotypical mobster show. That produces a unique, but not necessarily effective, world in which you can have an ethically complicated case-of-the-week getting upstaged and rendered entirely disposable by a gratuitous and jarring car chase under the L in Chicago. At least in the pilot, the hospital is a world of theoretically serious dramas and emotions, while the mob storylines are set aside for cheap jokes, one-dimensional characterizations and dialogue that feels filched from countless movies and TV shows. It'd be like "dr. vegas" except for how central Sin City and the casino backdrop were to that failed CBS drama. That's why "dr. vegas," for all of its failings and its risible title, actually *was* kinda distinctive and interesting. The use of Chicago in the "Mob Doctor" pilot only sporadically adds value and the blending of two sets of perfunctory genre elements results less in one distinctive, fresh show and more in a doubly-unengaging Frankenshow. Spiro is not at fault at all. She's tough when she needs to be tough and sensitive when she needs to be sensitive. The character has a self-righteous streak that I found off-putting immediately, but I think it's just a set-up so that she can undergo a moral or ethical slide as the "Mob" half of the title pushes against the "Doctor" half. Zeljko Ivanek is wasted. Zach "QB1!" Gilford is wasted. William Forsythe is seemingly playing the mob heavy from the nonexistent sensationalistic Lifetime original movie "I Was a Doctor For The Mob!" That is to say that he's having fun, but he's not in the same show as the rest of the actors (who are all pretty much forgettable, if I haven't mentioned them). When it comes to "The Mob Doctor," I see the hook in the premise that might get some viewers to tune in, but I don't see the value in the execution that might bring them back.
Desire To Watch Again: Middling-to-low, but "The Mob Doctor" is in a time slot that isn't all that competitive for my DVR attentions. Especially in the early-going before "Gossip Girl" returns, I'll have space to give this one a couple episodes to find a voice, any voice.

 

Take Me To The Pilots '12: NBC's 'Animal Practice'
Take Me To The Pilots '12: ABC's 'Last Resort'
Take Me To The Pilots '12: CBS' 'Vegas'
Take Me To The Pilots '12: The CW's 'Beauty & The Beast'
Take Me To The Pilots '12: ABC's '666 Park Avenue'
Take Me To The Pilots '12: NBC's 'Chicago Fire'
Take Me To The Pilots '12: FOX's 'Ben and Kate'
Take Me To The Pilots '12: CBS' 'Elementary'
Take Me To The Pilots '12: The CW's 'Arrow'
Take Me To The Pilots '12: ABC's 'The Neighbors'
Take Me To The Pilots '12: NBC's 'Revolution'
All of last year's Take Me To The Pilots entries

 

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