According to Deadline, the network is moving the freshman comedy to its Tuesday night comedy block to see how it performs in that time slot. 'Breaking In' has only aired after 'American Idol,' so maybe a new audience on a new night could change things for the show.
The season (and possible series) finale will now air at 9:30PM on Tuesday after 'Raising Hope,' and the 'American Idol' performance show will run two hours.
Additionally, Fox has not quite closed the doors on its pilots 'Exit Strategy' with Ethan Hawke, 'Family Album,' 'Little in Common,' 'Smothered' and 'Locke & Key.' All are either under consideration for midseason or being shopped to other networks. NBC's 'Metro' and 'A Mann's World' are also still alive, according to Deadline.
These pilots, on the other hand, are definitely dead: At ABC, 'Identity,' 'Hallelujah,' 'Grace,' 'Georgetown,' 'Poe,' 'Partners,' 'My Freakin' Family,' 'Other People's Kids,' 'Bad Mom' and 'Lost & Found.' At NBC, 'Wonder Woman,' 'Reconstruction,' '17th Precinct,' 'Brave New World,' 'I Hate That I Love You,' 'Lovelives,' 'My Life As An Experiment' and 'Family Practice.'
In other weekend TV news ...
• 'Game of Thrones' star Lena Headey will guest on 'White Collar.' She'll play a "skilled hacker" in an episode of the USA series. [TV Guide]
• Katie Couric's last day at CBS Evening News will be May 19. The anchor's contract expires June 4, when she's expected to announce plans to host a daytime talk show, possibly on ABC. [THR]
The show is based on George R. R. Martin's best-selling 'A Song of Ice and Fire' novels, which, admittedly, I have never read. Still, I'm excited about the possibilities for this series. HBO did family drama right ('Six Feet Under'), reinvented the Western ('Deadwood'), gave us a wonderfully quirky vampire show ('True Blood'), and the greatest police drama of all time ('The Wire'). I can't wait to see what an epic HBO fantasy series will look like.
I'll not get into the specifics of her character arc in the series, as the series will likely deviate from it anyway. But I can tell you that she is a beautiful, ambitious and powerful woman as the saga unfolds. It's a role that Lena Headey has proven herself more than capable of handling.
She's joining an already impressive and massive cast for the ambitious fantasy series. Certainly her ties to both 300 and T:TSCC might help raise awareness of this project in just the fan communities it needs. I'm looking for this to be the more sophisticated big brother of Legend of the Seeker, which tackles another massive book series.
Entertainment Weekly's Michael Ausiello is reporting (from various sources he has skulking around the television world) that FOX is just about to cancel The Sarah Connor Chronicles. The ratings haven't been great for the sci-fi show. FOX paired it with Dollhouse on Friday nights and there has been no reason to keep the show alive for another season (ratings-wise, anyway - I'll leave it to the fans to judge the quality of the show itself). Things don't look that great for Dollhouse either, but that's another story.
Officially, the network won't announce its fall schedule for another month or so, at their annual upfront presentation. Unofficially, you probably shouldn't look for the show on that fall schedule. Now I guess we'll just have to wait for the premiere of the movie where Christian Bale yelled at everyone.
(S02E21) Wow. Just, wow! This was one of the best episodes of the season. It was also one of the most heartbreaking episodes of the entire series.
I loved everything about this ep -- the pacing, the storytelling, and the surprises. It was all great. But did I mention the heartbreak? Click through for the spoils.
(S02E17) It feels good to have our show back, doesn't it? After taking a mostly tedious three-episode trip inside of Sarah Connor's head, TSCC returned with a solid ep that addressed Riley's suicide attempt and featured Cameron getting a little twitchy. "Ourselves Alone" was light on Skynet conspiracy theories, but it delivered some definite payoff for one of the season's most talked about plot lines. Click through for the spoils.
(S02E16) This was, according to show creator Josh Friedman, the last of a trilogy of episodes devoted to examining Sarah Connor herself. If you're like me, the show has been trying your patience since it's return two weeks ago. I'm not against introspection or character examination, but so far these "back nine" eps haven't been too thrilling. "Some Must Sleep" was a lot more compelling than last week's ep, "Desert Cantos," but that's not saying much.
John and Cameron remained in the background, Derek, Ellison, John Henry and the Weaverbot took the week off, and most of the ep featured Lena Headey walking around in pajamas. Like I said – not too thrilling. Things picked up in the end, but I found the unreliable narrative a little distracting. It was confusing trying to figure out what was real and what was a dream. I'm sure that's what Friedman was going for here – he wanted to truly put us inside Sarah Connor's scrambled head. Well, it worked in that sense, but it didn't really translate to great TV.
(S02E15) Have you ever been to a funeral? They're not usually very thrilling. All that awkward silence, standing around, and the hard-to-watch mourning will deflate anyone's day. So why set an episode of Sarah Connor at a funeral?
I guess the writers wanted to remind us about the Skynet war death toll. It's high. We get it. Can we move on now?
(S02E14) After a two-month break, The Sarah Connor Chronicles returned to kick off the final nine episodes of the season (series?). Last December's mid-season ender, "Earthlings Welcome Here," was high on mystery and good character moments, but it felt a little drab, especially after all of the exciting developments of the previous five episodes. "The Good Wound" was more absorbing, and it reminded me a lot of the original Terminator movie. The stakes were high, but almost every scene felt quiet and intimate. The return – if you can call it that – of one of the first film's classic characters had a lot to do with that intimate feeling. Click through for the spoilery details.
It's hard to believe the season is so far along. If this season is the traditional 22 episodes, then there is only nine to go when the series returns in February. On Friday nights. On Fox. I hope it makes the full nine.
This episode didn't thrill me and was disappointing for something hyped as the "Fall finale". I was hoping for more of an action-oriented episode rather than a Riley backstory. Even the Riley flashbacks and flash-forwards weren't as interesting as previous episodes.
Mind you, time jumps and parallel storytelling is not a new method. I think Pulp Fiction started the craze and the show Lost has pretty much been built on such a concept. However, in this instance the three separate stories involving past, present and future (or perhaps more accurately cause and effect) tied into one instance. There is even a parallel to John Connor himself (who played a virtually non-existent role this episode) when the baby Sydney born at the end (although fully grown in the future-flashes) became the savior of humanity. If John Connor is supposed to be a modern take on Jesus Christ, who would Sydney be? I liked how they ended the show with Sydney's birth, an experience your average story tends to associate with hope.
I got a laugh when the Fields named the dog Charles Barkley. Get it? "Bark"ley? This show does a lot of play on words.
(S02E11) If ever the show Cold Case did an episode involving killer robots from the future, it would be tonight's Sarah Connor Chronicles. The reverse is also true.
Cameron certainly earned her "most efficient killing machine on the planet" title tonight. And she didn't even have to do laundry. Obviously, the mystery of her constant attendance at the hall of records at night is not going to be solved this episode (since it was only brought up this episode). The real mystery is what happened to Eric at the end? Did he succumb to his cancer? Did he take sick leave? Did he just up and quit? I wouldn't mind knowing.
This episode was entirely Summer Glau, and she was brilliant in it. I think this is her best acting on the show to date. John Connor did play a minor role in the B plot with some development of his relationship with Riley (who is, at this point, either playing with his head, insane or both).
(S02E10) The nice thing about being a Terminator and dying is that provided the body isn't destroyed, you could always come back. Although how Cromartie came back at the end was a bit of a shocker.
My review is going to ramble somewhat. I'm writing this after imbibing some rum. It's what separates us from the machines.
Come on, people. When Ellison saw Cameron stick the metal pole into the ground, you'd think he'd be somewhat suspicious. Perhaps that will be a plot point later.
I consider myself to have at least average intelligence, but tonight's episode had me confused. What was the significance of Sarah touching the three dripping blood dots on the wall at the end? Is it just something to make Sarah and the audience cogitate further on the mystery behind them?
On a side note, I was very glad they tortured the real Charles Fisher (Fischer?) and threw him in jail. I'm still pissed off at him for killing Tara back when he was Warren.
My first question is: why does Skynet even take human allies? I thought the goals of the machine were to exterminate all humans and set up a more organized and logical society (on a sad note, I know people who agree with at least one of those goals). Is the idea that humans know how to torture other humans better than machines do?
Michael N. Todaro/FilmMagic.com
Michael N. Todaro/FilmMagic.com
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