Upfront Roundup: Fox

Before beginning, let’s review what I said in my previous post:

  • Fox has more spots for new shows than its standing suggests.
  • Is “The War at Home” dead? I haven’t seen anything in my cursory check, but given the ratings since leaving the cushy spot hammocked by “The Simpsons” and “Family Guy” I wouldn’t be surprised.
  • On Mondays, Fox will have “Prison Break” and “24” at various points of the season, but neither show it’s introduced to accompany them seems to have worked, with “Standoff” being DOA when it premiered in the fall on Tuesdays.
  • “Justice” was also DOA and Fox will have to find a new show to pair with “Bones”. “The Loop” is interesting as it hasn’t aired yet at all this season. Does Fox want to renew it for Season 3 with zero numbers for Season 2? Do they want to cancel it under the same circumstances? It won’t have “American Idol” backing it up as originally planned.
  • The two comedies Fox introduced on Thursday have had very different fates. “Happy Hour” was DOA, while “Til Death” is clear for a second season. How confident is Fox in its new comedy slate? If it’s not that confident, and “War At Home” is canned, “Til Death” could be Sunday-bound. Either way Fox has a big hole to fill on Thursdays, and “Are You Smarter than a 5th Grader?” could be the ticket.
  • Friday is definitely FOX’s weakest spot. It’s the second Saturday, true, but it’s been beat by “Friday Night SmackDown!” on the CW multiple times. Any time you get beat by the CW, that’s a problem.
  • Strong nights: Any night “American Idol” is on, Saturday (when NASCAR racing is on). Strong nights compared to the rest of FOX but not to other networks on the same nights: Monday, non-“Idol” Tuesday. Weak nights: Thursday, Friday, Saturday.
  • Quick tip: Don’t be fooled by your tie for second – this is a one-show network in many ways. Having such short nights means there’s no room for error on any show.

Now, how did Fox carry that out?



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The OT
The Simpsons
Family Guy
Amer. Dad

Fox clears out the entire first hour of its Sunday nights and effectively turns them into the same thing as their other nights during football season. “The War at Home” appears exposed and dead.



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Prison Break

“Prison Break”, which has probably already gone on a season too long, will be used to back up “K-Ville“, an evident attempt to create the next “Law and Order”:

When everything changes, so do the rules.

From writer and executive producer Jonathan Lisco (“NYPD Blue,” “The District”) comes a heroic police drama set in New Orleans. Two years after Katrina, the city is still in chaos. Criminals roam the streets with AK-47s, many cops have quit, and the jails, police stations and crime labs still haven’t been properly rebuilt. But the cops who remain have courage to burn and a passion to reclaim and rebuild their city.

MARLIN BOULET (Anthony Anderson, “The Departed,” “The Shield”) is a brash, funny, in-your-face veteran of the NOPD’s Felony Action Squad, the specialized unit that targets the most-wanted criminals. Even when his partner deserted him during the storm, Boulet held his post, spending days in the water saving lives and keeping order. Now, two years later, he’s unapologetic about bending the rules when it comes to collaring bad guys. The stakes are too high, and the city too lawless, for him to do things by the book.

Boulet’s new partner, TREVOR COBB (Cole Hauser, “The Break-Up,” “ER”), was a soldier in Afghanistan before joining the NOPD. He’s tough and committed, but if he’s less than comfortable with Boulet’s methods, it’s because he’s harboring a dark secret. Cobb has come to New Orleans seeking redemption, but redemption can be dangerous. Will Boulet be able to trust him? Will Cobb’s past endanger them both?

Rounding out the crew of cops are hotheaded BILLY “K-9” FAUST (Maximiliano Hernández, “Law & Order,” “Shark”), who often speaks before thinking; wisecracking JEFF “GLUE BOY” GOODEN (Blake Shields, “Sleeper Cell,” “Veronica Mars”), the team’s comic relief; tough-as-nails GINGER “LOVE TAP” LeBEAU (Tawny Cypress, “Heroes”), the only female on the squad, who gives as good as she gets; and CAPTAIN JAMES EMBRY (John Carroll Lynch, “Zodiac,” “The Drew Carey Show”), who wrangles the eclectic personalities of his squad with equal parts humor and tenacity.

Through its no-holds-barred crime stories and dramatic personal stories, this intriguing series from 20th Century Fox Television and director Deran Sarafian (“House,” “CSI”) will take viewers from the Victorian mansions of the Garden District to the rubble of the Lower 9th Ward. In the aftermath of Katrina, with the future of New Orleans hanging in the balance … the stakes could not be higher in K-VILLE.

Forget the Katrina angle – this is just another cop show. It’s getting a good but not great lead-in, and its competition – “Heroes” and the last half-hour of “DwtS” – will be killer, but it’ll probably attract more viewers than it deserves.



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New Amsterdam

Fox hangs “New Amsterdam” out to dry at the start of the night instead of giving it the “House” lead-in. That’s probably to avoid punishing it at the hands of the “DwtS” results show. The show has gotten mixed reviews:

Directed and executive-produced by visionary Lasse Hallström (“My Life As a Dog,” “The Cider House Rules,” “Chocolat,” “The Hoax”) and written by Allan Loeb (“Things We Lost in the Fire,” “21”) and Christian Taylor (“Showboy,” “Six Feet Under”), NEW AMSTERDAM is the story of a New York homicide detective unlike any other. He is brilliant, mysterious, reckless, magnetic, unknowable. And he has a profound secret – he is immortal.

In 1642, JOHN AMSTERDAM (Nikolaj Coster Waldau, “Kingdom of Heaven”), then a Dutch solider in the colony of New Amsterdam – later to become New York City – stepped in front of a sword to save the life of a Native Indian girl during a massacre of her indigenous tribe. The girl in turn rescued Amsterdam, weaving an ancient spell that conferred immortality upon him. Amsterdam will not age, she told him, until he finds his one true love. Only then will he become whole and ready for mortality.

But Amsterdam has found this to be a mixed blessing. Over the course of three centuries, he’s experienced endless adventure and honed his many talents. But everyone Amsterdam meets must leave him in time; lovers and children die while he remains young. His sole confidant and current lifelong friend is the sage jazz club owner OMAR (Stephen Henderson, “Law & Order: SVU”), the keeper of Amsterdam’s secret, as well as a few of his own. As the exhilaration of eternal life has given way to emotional isolation and bitter loneliness, Amsterdam discovers the blessing has become a curse.

Having witnessed its entire history from colonial outpost to mega-metropolis, John Amsterdam is the living embodiment of New York City. He and the island of Manhattan are now part and parcel of each other. Bringing to bear the unorthodox techniques and unique knowledge gained from his vast life experience, Amsterdam today is one of the NYPD’s best homicide detectives, sparring with his vibrant, strong-willed partner EVA MARQUEZ (Zuleikha Robinson, “Rome,” “The Lone Gunmen”) as they solve difficult murder cases. But when Amsterdam suffers and then recovers from what appears to be a massive heart attack while chasing a suspect, and DR. SARA DILLANE (Alexie Gilmore, “Find Love”) pronounces him dead in the ER, he realizes that the Indian girl’s prophesy may have come true – he felt the pain in his heart that she had foretold so long ago. His soul mate must have been nearby. As he works to find a killer on the streets of New York, Amsterdam understands that his own life – and possibly his death – have changed forever.

From executive producers Allan Loeb, David Manson (“Saved,” “Thief,” “Nothing Sacred”), Lasse Hallström, Leslie Holleran (“Chocolat,” “The Cider House Rules,” “The Hoax”) and Steven Pearl (“Untraceable”), this intriguing series invites viewers to explore the enduring mysteries of life, death and true love.

“Cult following, unceremoniously cancelled.” You probably saw the “he’s found his one true love” bit coming the instant it was mentioned as part of the spell too. The really bad part is that it sounds like it doesn’t know whether it wants to be a science ficion show or a detective show.



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Back to You
Til Death

I can see keeping the weaker comedies on earlier, since it seems a tradition that you have comedies, then dramas, but “Back to You” isn’t even getting the benefit of having “Til Death” as a lead-in:

In the ‘90s, the local TV news scene in Pittsburgh was dominated by one team: CHUCK DARLING (Kelsey Grammer, “Frasier,” “Cheers”) and KELLY CARR (Patricia Heaton, “Everybody Loves Raymond”). They had that elusive quality all news teams need: chemistry … at least on-screen. Off-screen, Chuck was a bit of a self-centered womanizer, Kelly a bit of an uptight know-it-all. So when Chuck got the call to move up to a larger market, no tears were shed.

But after an embarrassing on-air tirade ended up on the Internet, Chuck found himself on the downswing career-wise. He even questioned whether his lifestyle of chasing women and living in hotels was as exciting as it used to be. So when he got the call to return to Pittsburgh, to reunite with Kelly and try to take the newscast back to No. 1, it was an offer he couldn’t refuse.

Back in Pittsburgh, Chuck has a new coworker in RYAN CHURCH (Josh Gad, “Mary and Joe”), the overstressed news director. There are also familiar faces like MARSH McGINLEY (Fred Willard, “Anchorman: The Legend of Ron Burgundy,” “Best in Show’), the affable, endlessly inappropriate sports anchor, and GARY CREZYZEWSKI, pronounced Kre-shoov-ski (Ty Burrell, “In Good Company,” “Out of Practice”), the perennially put-upon field reporter who always seems to get left out in the snow. But, mostly, there’s Kelly, now a single mom to 10-year-old GRACIE (Laura Marano, “Without a Trace”). There was magic between them once. Can they find it again?

BACK TO YOU is created, written and executive-produced by Steven Levitan (“Just Shoot Me!,” “Frasier,” “Wings”) and Christopher Lloyd (“Frasier,” “The Golden Girls”).

One of those shows that’s a comedy but reads like a drama. But hey, we had “NewsRadio” once, and we have “30 Rock”, so why haven’t we seen a TV news sitcom before? It’s not like it’s going to have the strongest competition. But I still wonder why it’s going before “Til Death”. That can’t be a vote of confidence for “Til Death”.



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RU Smarter than 5th Grdr?
Kitchen Nightmares

“Are You Smarter than a 5th Grader?” now becomes the linchpin for the most important night on television, but “Kitchen Nightmares,” Gordon Ramsay’s new show, is thrown into a spot that killed “The OC”:

For restaurant owners in crisis – whether it’s due to lazy chefs in the kitchen, temperamental wait staffs or few and unhappy diners – it’s time to call in the restaurant industry’s equivalent of 911.

Hell hath no fury like an angry chef, and no chef has a sharper temper than Gordon Ramsay when things go wrong in the kitchen. The star of the highly rated culinary boot camp “Hell’s Kitchen” returns to FOX with another sizzling unscripted series. This time, Chef Ramsay hits the road, in each episode tackling a restaurant in crisis and exposing the stressful realities of trying to run a successful food business.

Inspired by one of the UK’s biggest hits, KITCHEN NIGHTMARES is seen in more than 50 territories around the globe, and the series reveals a whole new side to Ramsay. He’s still prone to the explosive outbursts and spectacular confrontations familiar to fans of “Hell’s Kitchen,” but he also shows his sensitive and nurturing side – a unique blend of fury, passion, inspirational leadership and tough love that can coax a small spark of talent into a roaring flame.

There’s no time for polite small talk as Ramsay embarks on his mission to turn things around. If the wine waiter’s service isn’t up to par, he’ll be out the door before he can say “merlot.” If the head chef doesn’t match up to Ramsay’s expectations, Ramsay will hammer him into shape, and if he can’t stand the heat, he may quit the kitchen.

Ramsay’s reputation is on the line, so there’s bound to be high blood pressure, raised voices and serious clashes as he attempts to do the impossible: turn a deserted dining room into the most sought-after venue in town in just a week.

“Hey, this show is a hit all over the globe, so let’s put it in one of the toughest spots in town!” One problem: It hasn’t appeared on Fox yet. It needs a season to become a hit, then you can move it here. Right now it looks to be one-and-done. But then again, I could be proved wrong.



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Srch for Next Grt Amer. Band

Well, this is one way to try and fix Fridays. Can’t say it’s the best way, though, with two new shows (and both titles are only working titles). But like ABC Wednesdays, Fox is hoping for instant popularity for a spinoff:

“What “American Idol” did for individuals, THE SEARCH FOR THE NEXT GREAT AMERICAN BAND is going to do for musical groups. The producers of “American Idol” will conduct the ultimate search for an undiscovered band. THE SEARCH FOR THE NEXT GREAT AMERICAN BAND is scouring the country, seeking groups from all musical genres who think they have what it takes to make it big. Judges will narrow down bands from all walks of life – musicians of different ages, family acts, garage bands, etc. – to 10 semi-finalists, who will perform in front of a live studio audience. Viewers then will have the opportunity to vote for their favorite bands. The final three acts will compete for a major recording contract and the chance to become music superstars.”

Fox doesn’t seem to like it as much as “Private Practice”, though, sticking it on the Death Night (Fridays) and leaving it out to dry at the start of a night. They shouldn’t be surprised if it underperforms. That would be bad news for “Nashville“:

From the creative minds behind the hit series “Laguna Beach: The Real Orange County” comes NASHVILLE, a high-stakes, high-drama docu-soap set in “the biggest small town in America.” The show focuses on the dreamers and dream-makers in the music industry, as well as those trying to make their mark on Nashville’s big business and high society.

The series features a diverse, vibrant young cast perched on the cusp of achieving their greatest successes in a town that can make you or break you. Talent, power, drive, love and hope are the fuel that makes Nashville burn bright – and makes this unique place the true embodiment of the American Dream.

Behind every song there’s a story waiting to be told, and there are many such stories on NASHVILLE.

Wait, what? What kind of show is this? “Docu-soap”? I’m setting the over/under on number of episodes before cancellation at 10. Who wants to make their pick? Anyone? Anyone? Bueller?



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America’s Most Wanted

Apparently there’s some rule that if Fox Saturdays ever wavered from this formula the universe will explode. “24”, “Idol”, “Hell’s Kitchen”, “Nanny 911”, “On the Lot”, “So You Think You Can Dance”, and “Trading Spouses” are all held for midseason. Here’s the rundown of the new shows waiting for a midseason shot.


PHIL HURLEY is the owner of a tiny Texas news station, KYTX Channel 19, and he is desperate to turn the tide of his mediocre ratings, or even just compete with a rival channel. Phil has shocked the station and town of Tyler, Texas, by bringing in a gorgeous model and ex-WWE diva with no previous news experience to be his next ANCHORWOMAN – all in hopes of reinventing the look of Channel 19 and overhauling its below-average 6 share to a number more like his competitor’s dominating 36.

Former Miss New York and über-vixen LAUREN JONES packs up her Versace dresses and heads to the middle of nowhere – Tyler, Texas – to start a new career. Can this bombshell cut it as a serious reporter? Will she save KYTX, or make it the laughingstock of the Lone Star State? Lauren wants to show everyone she’s no airhead, and this is her big chance to prove she’s more than just a pretty face.

The entire newsroom thinks the boss has made a giant mistake. Reigning anchor ANNALISA PETRAGLIA is not about to lose her Queen Bee status to some L.A. hottie. News Director DAN DELGADO is fit to be tied as his beloved journalistic standards go out the window. MICHELLE REESE, a hard-nosed reporter bound for CNN, will take no prisoners. Lauren will struggle not only with the news team and an unfamiliar town, but also with the not-so-Hollywood news stories – covering bake sales, cowpie-tossing contests and county fairs like they were Watergate. News anchor or dead weight? Only the ratings will tell, so stay tuned for the next ANCHORWOMAN: Lauren Jones.

ANCHORWOMAN is created and executive-produced by Brian Gadinsky (“American Idol,” “Mr. Personality,” “America’s Most Wanted”).

Everyone in the cast is listed as “as him/herself”, so I can’t tell if this is a reality show, a comedy, or a drama. It’ll probably be too short-lived no matter which way it goes.

Canterbury’s Law“:

From executive producers Denis Leary and Jim Serpico (“Rescue Me,” “The Job”) and writer Dave Erickson (“Murder in Greenwich”) comes CANTERBURY’S LAW, a courtroom drama about a rebellious female defense attorney who’s willing to bend the law in order to protect the wrongfully accused.

ELIZABETH CANTERBURY (Julianna Margulies, “ER”) is a force of nature. An attorney on the rise, she puts her career on the line to take on risky and unpopular cases, even when they take a toll on her personal life. Elizabeth and her law professor husband MATTHEW CANTERBURY (Linus Roache, “Batman Begins,” “The Chronicles of Riddick”), haunted by the disappearance of their young son, have settled in Providence, Rhode Island, in an attempt to distance themselves from the tragedy and put their relationship back together. But those goals become elusive whenever Elizabeth’s work provides a stark reminder of the justice absent in their own lives.

At the office, Canterbury has surrounded herself with a brilliant but motley crew of attorneys. RUSSELL CROSS (Ben Shenkman, “Pi,” “Angels in America”) was forced out of the Providence District Attorney’s Office when he went toe-to-toe with his morally bankrupt boss, D.A. Zach Williams. His reputation tarnished, Russell turned to Canterbury, the only attorney willing to take him in. Now Russell provides a much-needed voice of reason for Canterbury even when she doesn’t want to hear it, his position of influence well-earned by their years of friendship.

CHESTER FIELDS (Jocko Sims, “Dreamgirls,” “CSI: Crime Scene Investigation”) and MOLLY McCONNELL (Trieste Dunn, “United 93”) are the associates rounding out Canterbury’s legal crew. Chester is a blue-blooded congressman’s son who is embarrassed by his privileged upbringing and has turned his back on politics. Molly, in contrast, is headstrong, passionate and quick to take sides – even if she finds herself in the opposite corner from Canterbury.

Created by Dave Erickson and directed by Mike Figgis (“Leaving Las Vegas,” “Cold Creek Manor”), this captivating series from Sony Pictures Television and Apostle introduces an attorney like no other: whose professional battles are as vivid as her personal ones; whose strengths and vices, victories and demons all combine to serve those in need of justice.

Standard legal drama. “The Return of Jezebel James“:

Can two estranged sisters, polar opposites, live together when one agrees to carry the other’s baby?

SARAH THOMKINS (Parker Posey, “For Your Consideration,” “Best in Show”) is a bright, optimistic, determined woman who seems to have it all – a great job as a children’s book editor, an eager-to-please assistant, BUDDY (Michael Arden), who helps keep her life together, and a no-strings-attached personal relationship with successful businessman MARCUS SONTI (Scott Cohen, “Kissing Jessica Stein”).

Nevertheless, as her father, RONALD (Ron McLarty, “Law & Order”), is constantly pointing out, something is missing from Sarah’s life. Her hard work may garner accolades, but when she goes home at night, she is very much alone. All too aware that she isn’t getting any younger, Sarah decides to have a baby on her own and gets the shock of her life when the doctor tells her she can’t get pregnant. Having no concept of the term “can’t,” Sarah wills herself to execute a plan.

With nowhere else to turn, Sarah sets up a meeting with her quirky younger sister, COCO (Lauren Ambrose, “Six Feet Under”), and proposes a plan for Coco to carry her baby. They haven’t seen each other in a while, and Coco refuses to go along with such a huge favor. But something happens when Sarah mentions that she’s turned Coco’s imaginary childhood friend Jezebel James into a children’s book. Even though she doesn’t say so out loud, Coco is clearly touched, and, realizing that her current living situation – sharing a couch with her friend’s sick dog – isn’t working out, Coco decides that this just might be worth a try.

THE RETURN OF JEZEBEL JAMES comes from executive producer Amy Sherman-Palladino (“Gilmore Girls”). The series is produced by Regency Television.

WTF? As before, I can’t tell if it’s a comedy or a drama. If it’s a comedy, it has potential; as a drama, well, it sounds like it would run right off the rails.

The Rules for Starting Over” (working title):

Dating is like going to the farmers market – if you get there early, there’s plenty of fruit, all ripe, juicy and yours for the taking. That’s dating in your 20s. But if you get there at closing time, it’s a completely different story. What little fruit is left has been sitting in the sun all day. It’s been dropped, squeezed and handled by a thousand different people. That’s dating in your 30s.

From the creatively fruitful minds of the Farrelly Brothers comes a single camera comedy, set in Boston, about a group of newly single friends learning the painful lessons of starting over in their 30s. They’d all love to get remarried, if they could just find their true loves.

JACK “GATOR” GATELY (Craig Bierko, “Cinderella Man,” “Boston Legal”) is a charismatic, optimistic leader who never expected to be single again. But now that he is, he’s determined to make the best of it. He’s going to sift through all the bruised, damaged, occasionally psychotic fruit until he finds “the one.”

Joining Gator in bachelorhood redux is his thrice-divorced best friend TOMMY (Johnny Sneed, “The Guardian,” “Fever Pitch”). The founder and brewmaster of an upstart microbrewery, Tommy has a voracious appetite for food, beer and women. He falls in love easily and always disastrously, yet truly hopes his fourth starter marriage will be “the one.”

DR. FREDDY SAHGAL (Shaun Majumder, “24,” “Harold & Kumar Go to White Castle”) has seen some pretty strange stuff during his years as a successful surgeon, but he’s never seen any of it through the eyes of a single man. Probably the least equipped of the group to handle this unexpected life change, Dr. Freddy can execute a triple bypass in his sleep, but he’s all thumbs when it comes to the opposite sex.

Rounding out the group is KATE (Rashida Jones, “The Office”), a smart, successful attorney who handled all three of the boys’ divorces. Having just turned 30, Kate finds herself dumped after a seven-year engagement. She reluctantly joins the guys in negotiating the treacherous waters of dating. Kate owns the brownstone next to Gator’s. Over time, this pair may find that “the one” is just a brick wall away.

THE RULES FOR STARTING OVER is executive-produced and directed by Bobby and Peter Farrelly (“There’s Something About Mary,” “Fever Pitch”).

Do you notice that a lot of Fox’s shows would be at home on the CW? It’s a clear attempt to recreate “Friends” and it would have a shot (it would also probably have a home on CBS) if it weren’t by the Farrelly Brothers, the kings of shameless.

The Sarah Connor Chronicles” (a spinoff of the “Terminator” movies):

Executive producers Josh Friedman (“War of the Worlds”), David Nutter (“Supernatural,” “Smallville”) and C2 Pictures (“Terminator 3: Rise of the Machines”) bring to television an intense new drama based on the celebrated heroine of the “Terminator” movies: Sarah Connor.

At the end of “Terminator 2: Judgment Day,” Sarah vanquished the liquid metal Terminator sent from the future to kill her teenage son, John. Sarah and John now find themselves alone in a very dangerous, complicated world. Fugitives from the law, they are confronted with the reality that still more enemies from the future, and the present, could attack at any moment.

THE SARAH CONNOR CHRONICLES reveals what happens when SARAH (Lena Headey, “The Brothers Grimm,” “300”) stops running and goes on the offensive against an ever-evolving technological enemy bent on destroying her life, and perhaps the world. Her son, 15-year-old JOHN CONNOR (Thomas Dekker, “Heroes”), knows that he may be the future savior of mankind, but is not yet ready to take on the mantle of leadership that he’s told is his destiny. John finds himself inextricably drawn to CAMERON (Summer Glau, “Serenity,” “The Unit”), an enigmatic and otherworldly student at his high school, who soon proves to be much more than his confidante – she assumes the role of Sarah and John’s fearless protector. On their trail are not only threats from the future, but an intelligent and tough FBI agent, JAMES ELLISON (Richard T. Jones, “Judging Amy”), who soon becomes a powerful ally.

Directed by David Nutter and produced by Warner Bros. Television and C-2 Pictures, THE SARAH CONNOR CHRONICLES represents an exciting reinvention of the “Terminator” franchise, in which the strong and intrepid Sarah discovers that protecting her son and stopping the rise of the machines is more difficult than she had ever imagined.

“Cult following, unceremoniously cancelled.”

When Women Rule the World” (working title):

What if it was “a woman’s world”? What if women made ALL the decisions? If men were their obedient subjects?

These questions and more will be explored when a group of strong, educated, independent women, tired of living in a man’s world and each with a personal axe to grind, rule over a group of unsuspecting men used to calling the shots on WHEN WOMEN RULE THE WORLD.

The unscripted series will reveal how women and men react in a world where women are in charge and men are subservient, and each gender’s ability to adapt to a new social order will be put to the test.

The participants will be brought to a remote, primitive location where the women will have the opportunity to “rule” as they build a newly formed society – one where there is no glass ceiling and no dressing to impress. For the men, their worlds of power and prestige are turned inside-out and upside-down. And for these women, turnabout is fair play!

In order to win, the men must accede to the women’s every demand, 24/7. Here, women command and men obey. Over the series’ duration, the men will be eliminated by the women until one last man is standing.

How will the men react? How will the women treat the men? Can women effectively rule society? Will the men learn what life is like for some women in today’s world? Will this new society be a Utopia or a hell on earth? And in the end, who will be man enough to succeed in the new social order?

Similar to CBS’ “Kid Nation” but, in keeping with Fox, far more vindictive and exploitative. So, how did Fox do on the points I laid out?

  • New Monday shows. Grade: B+. It all depends on “K-Ville”‘s execution, and ratings.
  • Pairing with “Bones”. Grade: B. Fox likes “Back to You”‘s ability to lead the night because of the big names in the top two roles. It could work, or it might not. Fox clearly believes it’s taking advantage of a vacuum Wednesdays at 8.
  • Thursdays. Grade: B-. Thursdays were left in shambles when the comedies didn’t work, but I actually think it might be better for “Kitchen Nightmares” to lead Thursday night than to put it in such a killer timeslot.
  • Fridays. Grade: D. “The Search for the Next Great American Band” is the only show I’m half confident about, and I’m not completely convinced it can repeat “Idol”‘s success, especially on Fridays.
  • Overall grade: C. Too many new shows being left exposed at the start of nights for me, and a surprising number of new shows being held for midseason.
  • Nights that improved: Sunday, Monday, Wednesday – none of them by a whole lot. Nights that look like a train wreck: Friday, especially if “Next Great American Band” falters.

Stay tuned, because my CW roundup will be posted soon! Find out why the CW is taking a tremendous risk on Sundays, and scratch your heads at the CW introducing only one more new show than last year! And tune in tomorrow afternoon for my rundown of the entire schedule!

2 thoughts on “Upfront Roundup: Fox

  1. I hate that stupid network. The O.C. was a great, great show and was not cancel worthy with the ratings it was still getting. I hope these guys rot in ratings hell for cancelling The O.C. I will never watch that network again. Won’t say the name of it either.

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