“the Fien print” Picks the Best & Worst New Shows for Fall 2012

Gotta figure the dood’s probably right. ‘Cuz he usually is:

From ‘Park Avenue’ to ‘Vegas’ -WHICH NEW SHOWS ARE WORTH WATCHING AND WHICH SHOULD BE DESTROYED? – by Daniel Fienberg read article

“The Fien Print” on NBC’S CHICAGO FIRE

Dick Wolf shoots – but does he score? Let’s ask Daniel Fienberg:

Take Me To The Pilots ’12: NBC’s ‘Chicago Fire’ – by Daniel Fienberg

The Pitch:“Let’s do a network-friendly version of ‘Rescue Me.'” “So ‘Rescue Me’ only without the mature themes, instantly vivid characters, boundary-pushing language and humor?” “Yup. Those weren’t exactly essential, were they?” “As long as we’ve got fires, it’s all good.” read article

“The Fien Print” on NBC’s GUYS WITH KIDS

Truth to tell, in principle I don’t mind the idea of a series about dads being dads. But as a dood whose reaction to the sound of any baby crying is total panic the idea of watching this fills my body with dread.

Take Me To The Pilots ’12: NBC’s ‘Guys with Kids’ by Daniel Fienberg

The Pitch: “You know how sometimes babies have fathers? That’s pretty CRAZY, right?” read article

“The Fien Print” Ruminates on NBC’s INFAMOUS

Take Me To The Pilots ’12: NBC’s ‘Infamous’ – by Daniel Fienberg

The Pitch: It’s “Dirty Sexy Revenge”

Quick Response: No. Really. “Dirty Sexy Revenge.” What if “Dirty Sexy Money” had begun with the murder of Samaire Armstrong’s character? [No loss there.] And what if Peter Krause’s character were a cop instead of a lawyer and an African-American woman instead of a man? And what if that interloper returned to the family not to keep them out of trouble, but to get one of them in very deep trouble indeed? What you’d get would be “Infamous.” NBC’s attempt to get in on the Eat the Rich zeitgeist is derivative at every turn, but it’s also yet another midseason drama that introduces plot twists at an almost astounding pace, with characters reversing course and changing their colors two or three times in the opening 44 minutes. Hmm… I used a “but” there as if being twisty were a compensation for being derivative. This is the kind of show that you instantly find yourself distrusting every frame because you know that the truth is like a bet on a roulette wheel: You might get a dose of adrenaline each time your number comes around, but until the ball stops bouncing, *nothing* is going to be the truth, so there’s no point in investing. read article

“The Fien Print” on ABC’s THE ZERO HOUR

Take Me To The Pilots ’12: ABC’s ‘The Zero Hour’ – by Daniel Fienberg

The Pitch: Horologists, Nazis, Rosicrucians and Goose… Oh my!
Quick Response: In previewing “Do No Harm” last week, I mentioned that it was one of “three or four audaciously weird, wacky and possibly terrible (but possibly terribly addictive) new dramas” premiering at midseason. ABC’s “The Zero Hour” is another. Creator Paul T. Scheuring (“Prison Break”) is no stranger to seemingly unsustainable premises that may have been better suited to a miniseries format and I guess you could *kinda* argue that “Prison Break” found ways to regularly reinvent itself frequently enough to justify airing for four seasons, rather than for eight episodes as a Limited Series Event. But “Zero Hour,” with its tenuous and sometimes foolhardy alternate history involving the secret religious orders and scientific exploration and the Holocaust, is possibly even less suited for a long run and even more suited for a strictly capped episode run. Some stories aren’t meant to run for 200 episodes and I get the feeling that with its Rosicrucians, demon babies, underground clockmakers and 12-centric numerology, “The Zero Hour” should maybe run 10 hours, deliver answers and get out while the getting’s good.

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