TV Espionage & Spies


DANGEROUS ASSIGNMENT “The Knitting Needle Story.” Syndicated, though largely to NBC stations. 02 June 1952. (Season 1 Episode 30). Brian Donlevy (Steve Mitchell), Jim Flavin, Jan Arvan, Steve Roberts, Fay Baker, Frances Rafferty. Writers: Writers: Eddie Forman, Adrian Gendot, Robert Ryf. Directo: Bill Karn.

   Before its one and only one season on TV, Dangerous assignment had already been on the radio for several years, in a series also starring Brian Donlevy as a secret agent whose job took him on, well, dangerous assignments all over the world. When the series was passed upon up by all of the then current TV networks, Donlevy decided to pick up the tab himself for one season’s worth of 39 syndicated episodes.

   I did not choose to watch “The Knitting Needle Story” for any particular reason. Although the complete series is available on DVD, I just happened to come across this one on YouTube. Based on my memories of watching this when I was young, I can’t say this with certainty, but I think it’s about average for the series, better than some, but perhaps not as good as others.

   In this one Steve Mitchell is assigned to be the bodyguard of an Italian news reporter heading by plane back to his native country with a scoop about The Black Hand, important information with international implications. There are naturally those who do not wish him to make it home with the story he has to tell.

   Most of the action takes place on the plane, not that there’s a lot of action. There are several twists to the story, though, plus one huge red herring that sounds worth investigation but is dropped almost as quickly. There has to be a lot of skill involved in putting together a story as complete, complicated and still coherent as this one is, and in only 25 minutes.

   But as agent Steve Mitchell, Brian Donlevy tries his best to appear suave and debonair, but he comes off as only stolid and solid. James Bond hadn’t come on the scene yet: in book form, he was only a year later. Even if their careers had overlapped a little, Bond would still have had nothing to worry about, not in comparison with he rather dull Steve Mitchell. The latter was of an earlier time, and a different era.


TV IN 2019: PART TWO –
BROADCAST AND CABLE NETWORKS
by Michael Shonk


   Comparing the broadcast and cable networks to the streaming services is like comparing cassette tapes to CD. Both have entertaining content, it is just the formats are different.

   The broadcast networks are fading dinosaurs, no longer a place where mass audiences gather on a daily basis. Cable networks are doomed to be devoured by the streaming world that features original programming as well as the programs of the cable networks.

   TV has changed in so many ways. Because of devices such as Apple TV, Roku TV, and Amazon’s Firestick you can watch nearly all of cable TV without cable and even without a TV set. TV has left the living room and is following you, waiting to fetch for you whatever and whenever you want to watch. Part One of this two part survey looked at the streaming services, so now it is the broadcasting and cable networks turn.

   With the exception of some time as the top rated network in the 1970s-80s, ABC has never gotten much respect. Having been born during the radio days as a rib off NBC, ABC tends to get treated like third in line. Things have not improved since Disney bought them.

   ABC’s announced goal for the 2019-20 season is to finish first among women. One reason is they have to share most of the sports with their Disney family brother ESPN. ABC has also found success in the past with the women market and in today’s diversity culture women are in increasing demand.

   ABC shows have a real problem writing male characters that men want to watch. ABC’s best dramas tend to feature a gorgeous independent likeable female lead. The problem is few of their series characters are likable or deep enough for the audience to care. The writing focuses on emotion over plots and romance over action. Shows such as TAKE TWO and WHISKEY CAVALIER are good examples of this.

   I do have hopes for two of ABC announced new series. REEF BREAK airs this month. It stars Poppy Montgomery (UNFORGETTABLE) as an ex-thief turned trouble-shooter for a tropical island government.

   The broadcast networks new fall series I most look forward to is ABC ‘s STUMPTOWN. Based on a comic book, the story is about a gorgeous wise cracking kick ass female PI. How could I resist after watching this trailer?

   Not so long ago CBS’s future looked bright. It had defeated the evil conglomerate Viacom and had won its freedom. But there were problems. CBS’ powerful successful ruthless womanizing media mogul Les Moonves had faced down Viacom but would be crushed by a bunch of women and the rising power of the me-too movement. Only CBS stockholders were sorry to see Moonves leave, and they had to watch in horror as Viacom began to rise and turn its eyes back on them.

   CBS may continue to attract the most viewers on linear TV, but such numbers mean less and less. Those at CBS remain clueless about diversity. Diversity is not taking your ancient series format and change the white guy to a woman or minority.

   CBS made a big deal out of Alan Cummings playing a gay man in INSTINCT but didn’t bother to update its tired format. The formula has one strange unconventional male paired with an over serious all business female cop and they solve crimes together. This summer INSTINCT returns and if you like old-fashioned procedurals, it is worth a peek, if you are bored with TV from the 20th century, CBS is not for you.

   The best thing CBS has going for it is the showrunnners Michelle and Robert King who have blessed the unworthy network with THE GOOD WIFE and THE GOOD FIGHT. Ok, they also created the hideous failure BRAIN DEAD. CBS is hoping EVIL, a show about a Catholic Assessor and a non-believing profiler joining forces to fight psychopaths, is one of the King’s good shows.

   Among the cable networks owned by CBS are SHOWTIME and POP TV. POP TV is best known for SCHITT’S CREEK. The Canadian sitcom and cult TV favorite has been renewed for its sixth season. Also on the network are FLORIDA GIRLS (comedy about four girls in a Florida small town) and FLACK (comedy about public relations).

   CW has its own measurement for success rather than Nielsen’s live ratings. They are not alone. Because there is no accepted metric for digital viewing, every network and many of the media buyers (advertisers) have their own set of numbers beyond Nielsen’s. When the totals are as small as TV has gotten, how many mean less than who, what, where and devotion to content/product.

   CW was a merger of UPN (Paramount) and WB (Warner Brothers). CBS and Warner co-own CW and supply nearly all its programs. Perhaps my biggest question about CW this fall is are they going to weird out Nancy Drew like they did to Archie in RIVERDALE? The trailer is inconclusive.

   Today’s FOX is a pale version of itself when it was the number one rated TV network. Disney swallowed up most of FOX, leaving just the broadcast TV network, Fox News cable networks, and Fox sports. Fox is saving most of its original scripted series for the midseason. Meanwhile, it is mainly games shows this summer and sports this fall. Perhaps its most successful original scripted series this fall will be WWE pro wrestling. For drama fans this fall offers PRODIGAL SON (serial killer Dad wants son to join the family business), and 9-1-1 has Jennifer Love Hewitt joining the cast.

   The technology of today is able to create extremely detailed analytics and it has changed television as much as sabermetrics has changed baseball.

   Hollywood REPORTER (May 20, 2019) discussed commercial television with some media buyers, “Buyers also expressed a collective eye roll at the emphasis on total viewers…But even the so called sweet-spot of viewers 18-49 has become an antiquated benchmark.”

   So NBC winning the 18-49 means little and all the media coverage of Nielsen’s live ratings mean even less.

   Bob Greenblat who had taken NBC from a laughing stock to respected network left NBC to run part of the WarnerMedia streaming service.

   Today NBC has the best fiction among the broadcast networks. An NBC show is more interested in the heart, more interested in examining the characters than who done it.

   Supernatural cop series THE INBETWEEN currently airing is a good example. Every character has a sob story for depth. I have seen two episodes and what is the “inbetween” is still a mystery. Not that it matters, as long as you accept the concept the drama is watching the other side help Cassie stop the villain and save the victim. If you like supernatural mysteries try it out.

   AMC NETWORKS is made up of cable networks: AMC (WALKING DEAD), IFC (PORTLANDIA), WE (BRAXTON FAMILY VALUES), and Sundance (RECTIFY). AMC NETWORK co-owns BBC America (DOCTOR WHO) with BBC studios.

   It has been a busy year for AMC. Final seasons aired of martial arts action series INTO THE BADLANDS, historical drama THE SON, and (starting in August) supernatural PREACHER. Also airing in 2019 are FEAR OF THE WALKING DEAD, NOS4A2, and THE TERROR.

   BBC America and AMC both air KILLING EVE. The critically acclaimed thriller has just ended season 2 and has been renewed for a third season, coming most likely in 2020.

   BBC America is best known for DOCTOR WHO. My favorite Doctors remain Tom Baker and Matt Smith, but Jodie Whittaker as Momma Who is terrific, it was the writing and the supporting cast that made last season unwatchable for me.

   Fans of ORPHAN BLACK will be happy to learn the series is coming back in a 10 part audio series, starring Tatiana Maslany. There is a possible new TV series in development.

   Sundance Channel has a new eight-part adaption of the book NAME OF THE ROSE.

   A&E is a group owned in part by Disney and Hearst. It has A+E, History, and Lifetime. A+E is into reality programming. Lifetime is best known for its original scripted movies for women. In the past Lifetime has tried original scripted TV series such as VERONICA CLARE, ANGELA’S EYES and MARY KILLS PEOPLE, but today its schedule features reality shows such as DANCE MOMS. History Channel has a mix of reality programming (AX MEN and FORGED IN FIRE), and historical dramas (PROJECT BLUE BOOK and THE VIKINGS). THE VIKINGS are due to air its sixth and final season during the 2019-20 season. There are plans for a spin-off but not enough details to expect it soon.

   Among the better parts of FOX that Disney devoured is Fox entertainment cable networks FX and FXX. Both feature critically approved programs with unlikable characters and a premise that scream edginess.

   FX is beloved by TV critics everywhere. Some of the series to air this year are BASKETS (life of an clown), FOSSE/VERDON (Bob Fosse and Gwen Verdon’s relationship), LEGION (superheroes), POSE (life in gay culture in New York during the 80s), SNOWFALL (drug dealer), and WHAT WE DO IN THE SHADOWS (vampire comedy).

   FXX is a comedy offshoot of FX and a place of endless THE SIMPSON reruns. ARCHER began as an animated spoof on spies and over time has turned its attention to genres such as action, PI noir, adventure, and this year space opera. This is ARCHER tenth season and may be its last.

   Disney still has its multiple cable networks for kids and families. It also owns Freeform that has found an audience for gossipy mysteries (PRETTY LITTLE LIARS) and supernatural series. I can hardly wait to see just how fun bad is MOTHERLOAD: FORT SALEM – a series about gorgeous young witches who serve in the American army.

   Now that AT&T has bought Time Warner and dubbed it WarnerMedia there will be changes. At this time, Warner’s focus is less on cable and more on its future streaming service. HBO has been told to produce more series, quality be damn.

   There may be changes in the formats of TNT and TBS. TNT currently is for drama and TBS is for comedy. TNT has dramas such as CLAWS, and ANIMAL KINGDOM. TBS has comedy such as AMERICAN DAD, FULL FRONTAL and SEARCH PARTY.

   CHASING THE CURE is a live series to simulcast on both TNT and TBS. The series features a real person with a mystery disease and the audience from all over the world offers up possible cures.

   Will Warnermedia bring changes to cable’s best channel TCM, one of the few places left to enjoy film’s classics? Cartoon fans wonder what the future has in store for Cartoon Network (modern cartoons), Boomerang (cartoons featuring new versions of older characters such as Bugs and Scooby Doo), and popular Adult Swim (for adult fans of cartoons). This August Adult Swim favorite and one of the greatest TV cartoons ever made, the VENTURE BROTHERS return for a seventh season.

   Comcast owns NBC Universal studio and a variety of cable networks including E (Kardashians), SYFY, USA, and Bravo.

   Bravo is more a reality and lifestyle network, which is why DIRTY JOHN will air its second season on USA in 2020. DIRTY JOHN is based on a true crime podcast.

   One of the most popular cable networks, USA will say good-bye to MR ROBOT as I await BRIARPATCH, a series based on Ross Thomas book (I expect it in 2020). This summer SUITS ends and spin-off series PEARSON begins.

   SYFY has had problems only cable networks can have. THE EXPANSE is one of the TV’s greatest science fiction series, but it cost too much so SYFY cancelled it. Fortunately Amazon Prime saved it and will be showing the fourth season soon.

   WYNONNA EARP may have a small audience but it is a passionate audience advertisers love. It has been renewed for a fourth and fifth season. However IDW that produces the series ran out of money and had to stop production. EARP fans refused to let it die, even at one point buying ad space on the giant billboard in Times Square begging fans to help save the show. SYFY (and Canadian channel Space) still want the series.

   THE MAGICIANS (based on Lew Grossman’s trilogy) just finished its season 4 and has been renewed. Airing this summer will be the last season of KILLJOYS and the second of KRYPTON (Superman’s home planet).

   SYFY has an affection for bizarre creepy series that generally don’t last long. Some examples have been DEADLY CLASS, high school for assassins, and BLOOD DRIVE, a Death Race 2000 like car race but this time the cars run on blood. This year saw the second season and maybe the last of HAPPY. Christopher Meloni stars as Nick, an ex-cop with endless number of vices including the fondness of killing people, and his imaginary friend Happy. Ann-Margret joined the cast this year and…well…

   Viacom has long enjoyed collecting a variety of cable networks. A recent reorganization has made the cable networks more team players than independent networks.

   BET will continue to specialize in programs for the black audience such as AMERICAN SOUL and IN CONTEMPT. Comedy Central focus is on comedy, from live shows (DAILY SHOW) to scripted comedy (THE OTHER TWO). MTV will likely drop any future attempts at scripted TV (anyone remember scripted thriller EYE CANDY, based on R.L. Stine book) and do docu-reality shows with young adults (THE HILLS…NEW BEGINNING). Nickelodean should continue its mix of cartoons (SPONGEBOB SQUAREPANTS) and live action (HENRY DANGER) for kids.

   Spike network has been renamed Paramount network and is Viacom’s flagship. Its scripted original YELLOWSTONE has been renewed for a third season. Kevin Costner stars in the epic family drama and DALLAS wanna-be.

   HALLMARK MYSTERY MOVIES has its fans. If you like overly formulaic romantic mysteries this is for you. There are a seemingly endless number of different but interchangeable series. Current lineup include GOURMET DETECTIVE MYSTERY, MYSTERY 101, PICTURE PERFECT MYSTERIES, HAILEY DEAN MYSTERIES, and CROSSWORD MYSTERY.

   August will be AURORA TEAGARDEN MYSTERY month. Based on the books written by Charlaine Harris, Aurora (Candace Cameron-Bure) is a librarian who runs the Real Mystery Club. Of interest to old TV fans, Marilu Henner (TAXI) co-stars.

   Another way to watch TV is Digital TV. All it requires is a digital antenna and a TV or some are also available on cable. Among the best known of digital stations are ME-TV, ESCAPE, COZI, GRIT and ANTENNA -TV. These stations remind me of the old TV Independent stations such as the great KDOC -Los Angeles that aired little beyond old TV series reruns.

   When TV has more demand than supply, syndication has always stepped in, from the early wild uncharted days of the 1950s TV to the early days of today’s cable. Today we find original scripted series everywhere we find cable channels.

   WGN AMERICA returns to once cancelled, now revived Canadian original PURE, based on the true story of the Mennonite mob. ION carries mainly your standard syndicated reruns but also offers new original scripted series from Canada, PRIVATE EYES:

   There are small independently owned cable networks that serve a small audience and are not available on streaming. My favorite is El Rey, created by filmmaker Robert Rodriguez (EL MARIACHI) for Latino males, young filmmakers, and fans of dubbed martial arts films. It reruns hard to find series such as STARHUNTER REDUX and RELIC HUNTER. It offers exposure to aspiring filmmakers. Among its original programs are MAN AT ARMS: ART OF WAR (Danny Trejo examines weapons), comedy CRUNCH TIME, a talk show, various animation series, and LUCHA UNDERGROUND.

   The goal of this two part look at TV in 2019 was to help you in this world of nearly 500 original scripted TV series each season, to actually find some of those series, and maybe even find some you like.

TV IN 2019: PART ONE – STREAMING SERVICES
by Michael Shonk


   The entertainment called television has escaped the boundaries of the TV set and now can be found almost anywhere. So where are all those shows hiding?

   During the last few years the total of original scripted TV series has approached nearly five hundred every year. With the upcoming explosion of new major media players joining the streaming wars the number of scripted original shows should increase like bunny rabbits.

   The business of television is in chaos as even the major broadcast networks are now minor players left playing a role for their business masters or they are struggling to find a way to stay relevant. But more about that in Part Two, in which broadcast networks and cable will be covered.

   Many of you have probably sampled or subscribed to at least one streaming service. The main ones have been NETFLIX, Amazon Prime and Hulu. Soon some of the world’s largest media conglomerates – Disney, AT&T (WarnerMedia), Comcast, and Apple will debut their streaming services, all with their own original programs.

   CBS has fought off media conglomerate Viacom and started its own streaming service with original programs. However due to the fall of CBS mogul Les Moonves, and Viacom slow but steady recovery, few would be surprised if Viacom and CBS rejoin together. Viacom recently bought streaming service Pluto to use to streaming all of its cable networks once it’s ready.

   Many other networks – broadcast and cable – have an online site where you can catch up on their programs you might have missed.

   A streaming service – usually for a fee – allows you to watch TV shows and movies on your computer or other devices via the Internet. There are smart TVs such as Roku, over the top box such as Apple TV and devices such as Amazon’s Fire stick that connects your TV to the streaming world.

   Netflix remains one of the most successful and powerful studios in the World. As it continues to develop original programming faster than any viewer could possible watch, Netflix has also created a film studio and plans to become a major player in movies as well as television.

   One update from the clip, BLACK MIRROR is playing on Netflix now. I would add to the list of shows worth checking out – THE UMBRELLA ACADEMY, SANTA CLARITA DIET, and DARK CRYSTAL: AGE OF RESISTANCE (coming in August).

   Netflix has also rescued two network series from recent cancellation – LUCIFER (FOX) and DESIGNATED SURVIVIOR (ABC). It has been announced LUCIFER has been renewed for another season after its current – it will be the fifth and last.

   DISNEY is now the top media giant in the business. It owns the rights to Mickey Mouse, Marvel, The Simpsons and Star Wars. It currently runs two streaming services –ESPN+ and Hulu.

   Hulu has been around for some time and was owned by Disney, Fox, Comcast and WB. Disney now has full control over Hulu and plans to continue its focus on TV series, especially network and cable TV series. Hulu is not best known for its originals but THE HANDMAID’S TALE, CHANCE and CATCH 22 are worth checking out.

   Disney+ will be the company’s third streaming service and the one that will get most of the attention. This is the one Netflix needs to fear. It will be available this year and one of its first original series will be STAR WARS MANDALORIAN

   This year will also see AT&T join in the TV streaming fun. Its recent purchase of Time Warner gave the phone company a strong presence in the cable world. Reportedly the new service will be called WarnerMedia. They are still working on what kind of service will they offer. Will it be one service uniting HBO, Cinemax and all of WarnerMedia to cost $16-$17 a month or will it be a three tier – basic, HBO and premium? WarnerMedia has announced its first original program. TOYKO VICE will star Ansel Elgort and is based on the non-fiction book by Jake Adelstein.

   Warners have not had much success in the streaming business. Warner Archive with its over priced small library of old movies and TV series was a failure. DC UNIVERSE has had two minor success with DOOM PATROL and TITANS, but the service just cancelled SWAMP THING after one episode. Boomerang is an offshoot of the cable Cartoon Network spin-off network Boomerang. It focuses on post 50s to today era of classic cartoons such as Bugs Bunny, Yogi Bear, Scooby Doo, and 90s favorite KIDS NEXT DOOR.

   Premium channels have their own streaming service that can also be found at Apple TV and Amazon Prime (for the price of subscription). These channels also offer apps that allow you to subscribe to the streaming service and watch it without needing cable.

   WarnerMedia has the most successful of the pay networks HBO. There is a question about what HBO will replace the epic hit GAMES OF THRONES with. At the moment only one series, THE LONG NIGHT will come from the world of GAMES. However THE LONG NIGHT will take place in Westero a thousand years before the GAMES timeline. Of course HBO does have some other shows to watch.

   Cinemax has grown up from its days as a soft porn cable network. Today it does some wonderful action series such as C.B. STRIKE, RELLIK, WARRIOR and JETT.

   CBS owns premium channel SHOWTIME and streaming CBS ALL ACCESS.

   SHOWTIME has always stood in the pay TV shadow of HBO and now it has even more competition. Perhaps its highlight of 2019 will be CITY ON A HILL.

   CBS ALL ACCESS is best known for the CBS classic TV series and originals STAR TREK DISCOVERY, THE TWILIGHT ZONE (with host Jordan Peele) and THE GOOD FIGHT (sequel to THE GOOD WIFE). Currently in season three, the critic favorite GOOD FIGHT will air season one this summer on CBS.

   STARZ has increased its original programming over the last few years featuring high production values in such series as BLACK SAILS, WHITE PRINCESS and my favorite COUNTERPART (that ended recently after two seasons),

   I recently reduced my cable to just basic and had to live without my favorite network EPIX. I discovered EPIX app and for $5.99 I am again watching series such as BERLIN STATION, GET SHORTY, DEEP STATE, and PERPETUAL GRACE LTD on my Roku TV and without cable.

   COMCAST owns NBC Universal and all the cable stations that go with it. It has plans for a free ad supported streaming service this year but has fallen behind its fellow growing media giants.

   Apple TV is a box that connects your TV to streaming services. Apple TV+ debuts sometime this year as a streaming service specializing in Apple’s original programs

   Did you notice AMAZING STORIES is coming back with new stories and produced by Stephen Spielberg? Below is a promo for FOR ALL MANKIND, a TV series set in an alternative history where the Russians were first to the Moon.

   Of course I have not forgotten Amazon Prime. Prime exists to promote free shipping at a retail online store. There are many services offered to Prime members and the video streaming is just one of them and because of that it can get lost and forgotten.

   Prime, like Netflix and Hulu, has save broadcast and cable TV from cancellation. After three seasons of THE EXPANSE SyFy could no longer afford to make the series. Fortunately, Prime will air the original fourth season of TV’s best science fiction series THE EXPANSE. I recommend you watch the first three seasons now on Prime.

   There are a nice variety of original programs hiding on Prime worth watching such as BOSCH, PATROIT, GOLIATH, FLEABAG, SNEAKY PETE, and MAN IN THE HIGH CASTLE.

   There seems to be a streaming service for every taste, genre and need. A good place to find the small service for you is to search through Amazon Prime Channels.

   Fans of British TV should start at BRITBOX, a streaming service from the BBC and ITV. Most of the best of British TV can be found there including every classic DOCTOR WHO episode in existence. My one complaint is there is not enough 60s series, especially not enough from ITV.

   Acorn is a service that airs series from Britain, but also Australia and New Zealand. New Zealand’s BROKENWOOD MYSTERIES remains high on my favorites list. Currently Acorn has five seasons and a six is on its way.

   Small streaming services such as Acorn can offer you first glimpse of quality TV before mainstream television finds it. In Acorn’s case it was the first to show MISS FISHER’S MURDER MYSTERIES in America. Since MISS FISHER ended with season 3, Acorn has the Australian sequel called MS FISHER’S MODERN MYSTERIES – Miss Fisher’s niece joins the Adventuress Club to solve mysteries in the groovy 1960s.

   If you don’t mind subtitles there is the online only streaming service MHz Choice that has some of Europe’s best TV series. There is the French version of Maigret, the Italian version of Nero Wolfe, Detective Montalbano, Irene Huss, Donna Leon’s Bronetti Mysteries, Baantjer Mysteries, and so many more.

   Anime can be found at each of the major streaming services. Netflix tends to focus on original anime. Hulu and Amazon Prime have older shows. Free service Crackle offers some great dubbed choices including TRIGUN and DEATH PARADE.

   There are also streaming services just for the animated genre such as Crunchyroll or Funimation. I have been watching a lot of anime this year and appreciate the genre’s ability to world build completely different times, places and its own realities. My favorites include ACCA: 13-TERRITORY INSPECTION DEPARTMENT, BUNGO STRAY DOGS, 18IF, BLACK LAGOON and STEINS;GATE.

   PBS MASTERPIECE has added FRANKIE DRAKE MYSTERIES. Now here is a series that illustrates how hard it is to find some of these shows. FRANKIE began at CBC (Canada) and done by the people behind MURDOCH MYSTERIES. Frankie and her fellow female PI have adventures and solve mysteries in the 1920s. It has been on Ovation under the title THE ARTFUL DETECTIVE and also on Alibi, but now on PBS streaming it finally gets a chance at a decent size audience.

   SHOUT FACTORY is more into cult TV and movies.

   There are many free streaming services most with ads. Here is a list suggesting some free sites you might sample.

   Sony’s CRACKLE is by far the best of the free streaming services with better than average network TV series, movies and anime. It also has a growing selection of original TV series include ART OF MORE, THE OATH, and START-UP.

   There are hundreds of streaming channels available from DOGTV a channel for your dogs to watch while you are away to POKERGO that offers live access to over 100 poker tournaments a year.

   More and more live TV is available through streaming. MLB.com offers you the ability to watch every major league baseball game played (subject to local blackouts) as does NHL and hockey. Amazon Prime, Hulu, Yahoo, YouTube, Playstation Vue and others let you watch live events and sports on your devices beyond your TV screen.

   Streaming offers the TV Viewer several advantages over broadcast and cable television. You can watch TV from around the world not just the US and a few imports. No longer is the TV viewer chained to the TV set, instead TV is available to watch wherever the viewer is. Streaming has no time periods or schedules, the days of scheduling your life around your favorite TV show are over, now your favorites wait for you.

   In my next post I will examine the broadcast and cable networks, their future, their search for an identity that will set them apart from the crowd and survive the current chaos that is the business of television.

TOM CLANCY’S JACK RYAN. “Pilot.” Season 1, Episode 1. Streaming on Amazon Video, beginning on August 31, 2018. (All eight episodes were available on the same date.) Based on a character created by Tom Clancy. John Krasinski (Jack Ryan), Wendell Pierce (James Greer, Ryan’s boss at the CIA), Ali Suliman (Mousa Bin Suleiman), Dina Shihabi (Hanin Ali, Suleiman’s wife), Abbie Cornish (Cathy Mueller, Ryan’s girl friend). Director: Morten Tyldum.

   The place to see action thrillers such as this has definitely shifted from the movies to cable and streaming TV, no doubt about it. Previous versions of Jack Ryan stories have starred Alec Baldwin, Harrison Ford, Ben Affleck and Chris Pine, but the point to emphasize is that they appeared in movies made for the big screen. This latest version is a solid indicator as to which way the future is going, if indeed it isn’t already there.

   I’ve seen only this first episode, but if anyone wanted to, all eight could have been watched in one long evening from the very beginning — all were available at the same time, which is just another way series TV is changing. Before our eyes, so to speak!

   If this were a comic book, this first episode would be considered Jack Ryan’s “origin story,” for it goes back to his early days at the CIA, where he’s a financial transactions analyst covering the Middle East. Boring, yes, but when he uncovers millions of dollars in funds accumulated covertly over a short period of time, it tells him him that another Osama bin Laden may be on his way — an Islamic terrorist named Suleiman — his life is, as they say, turned upside down.

   At first his new boss at the CIA, James Greer, disparages Ryan’s conclusions, but soon enough Ryan is hustled off to Yemen to help interrogate two suspects that have been picked up there on the basis of ordinary surveillance. At which point all hell, in terms of guns, bombs and every other kind of firepower you can think of, breaks loose.

   There is more to the story, of course, but I can’t tell you anything more, since this all I’ve seen. I’m sure most of the primary threads of the story line to come have already been planted, but no more than that. Everything is extremely well done. The locations look authentic, the acting is top notch, and the explosions and all are impressive as anything I’ve seen in the past, big screen or small.

   Maybe I have to sign up with Amazon. I’ll definitely start sampling more of their various series while I can, and see if I can’t finish this one. You might say I’m hooked, and all they need to do is reel me in.


      The Jack Ryan series —

The Hunt for Red October. Alec Baldwin. 1990.
Patriot Games. Harrison Ford. 1992.
Clear and Present Danger. Harrison Ford. 1994.
The Sum of All Fears. Ben Affleck. 2002.
Jack Ryan: Shadow Recruit. Chris Pine. 2014.
Tom Clancy’s Jack Ryan. John Krasinski. 2018.

REVIEWED BY MICHAEL SHONK:


THE SANDBAGGERS. ITV/Yorkshire Television. First Series: September 18, 1978 – October 30, 1978; second series: January 28, 1980 – March 3, 1980; third series: June 9, 1980 – July 28, 1980. Created by Ian Mackintosh. Cast: Roy Marsden as Neil Burnside, Ray Lonnen as Willie Caine, Bob Sherman as Jeff Ross, Alan MacNaughtan as Sir Geoffrey Wellingham, Jerome Willis as Matthew Peele. Executive Producer: David Cunliffe. Producer: Michael Ferguson (all episode but one) or Derek Bennett (one episode).

   Forgotten today, the British TV spy series THE SANDBAGGERS remains one of television’s greatest spy dramas. THE SANDBAGGERS featured a dark realism style. It was a cynical spy drama that existed during a time when it was difficult to know who the good guys were. THE SANDBAGGERS showed life in the real SIS (MI5) and gave a more truthful look at both sides during the Cold War then they taught us in school.

   The series was originally meant to be a temporary fill-in when another planned series for Yorkshire TV fell apart. THE SANDBAGGERS was to last only one series (series is the British term for season) of seven episodes. It would prove popular enough to last two more series and would have made a fourth if not for the mysterious disappearance of creator and probable spy Ian Mackintosh.

   In an outline attempting to sell the premise as a TV series Mackintosh described the series primary focus would be “with the triumphs and failures of SIS headquarters, the power-struggles within SIS itself and the uses and abuse of its power vis-à-vis Government policy.”

   It is impossible to think of THE SANDBAGGERS without Ian Mackintosh. Hamish Ian Mackintosh MBE (July 26, 1940 – last known alive July 7, 1979) served in the Royal Navy from 1958-1976 and rose to the rank of Lieutenant Commander. On his retirement from the Royal Navy he was appointed a Member of the Order of the British Empire (MBE).

   Mackintosh tried writing while still in the Navy and his first of five thrillers A SLAYING IN SEPTEMBER was published in 1967. All five were failures with critics and readers and our own Mystery*File reviewer Steve, which you can read here.

   In 1973 Mackintosh co-created the admired BBC TV series WARSHIP (1973-1977). Ian would go on to create and write WILDE ALLIANCE (ITV 1978), THUNDERCLOUD (ITV 1979) and THE SANDBAGGERS, all three for Yorkshire Television. He also wrote tie-in novels for WARSHIP, WILDE ALLIANCE and THE SANDBAGGERS. One other tie-in novel for THE SANDBAGGERS was THE SANDBAGGER: THINK OF A NUMBER (1980) written by Donald Lancaster (YELLOWTHREAD STREET writer William Marshall). Ian also wrote some non-fiction books many featuring his interest in planes and military history.

   While Ian Mackintosh was the creative spirit behind the success of THE SANDBAGGERS others played equally important roles in the series success. David Cunliffe had worked in British television since the 1950s. He first met Mackintosh when both worked on the series WARSHIP and became friends. Cunliffe was the Controller of Drama at Yorkshire Television and worked with Ian on all three YTV series Mackintosh created and wrote. Yorkshire Television was the local Leeds and Yorkshire area ITV affiliate and produced television programs for ITV including such series as HARRY’S GAME, THE MAIN CHANCE and RAFFLES. Cunliffe was in charge of every aspect of THE SANDBAGGERS including final script approval.

   Derek Bennett was the director and producer for the first episode filmed (the third episodes aired) IS YOUR JOURNEY REALLY NECESSARY but a disagreement between Bennett and Mackintosh forced Derek to leave. Michael Ferguson would replace Bennett. Cunliffe turned daily production decisions over to Ferguson who as producer and sometime director would remain for the entire run.

   Not surprisingly for British TV, at the time the series had a low budget and sometimes it showed. During series one Roy Marsden was the highest paid in the cast making around $1900 an episode.

   The soundtrack was a positive aspect of the series. It did not have one (with rare exceptions). Often such absence of music (not unusual for early British TV) can make scenes seem awkward or slow paced, but it worked to this realistic drama’s advantage. TV and film spies are known for great theme songs and THE SANDBAGGERS has one of the best, written by Roy Budd (GET CARTER).

   Roy Marsden (P.J. JAMES’ ADAM DALGLIESH CHRONICLES) was the perfect fit and first choice to play Neil Burnside — the ruthless, arrogant Director of Operations. Marsden modeled his portrayal of Burnside on his observations of Mackintosh. It was a good choice as Marsden gave Burnside a depth and allowed the audience to still root for and respect the at times unlikable character.

   Burnside had two advantages in running the SIS operations. His first was based on the very real special relationship the SIS had with the CIA. The CIA respected the opinions of the SIS and thus shared information with the small British agency that it shared with no other country or agency. This gave Burnside information others did not have.

   Head of London Station for the CIA was Jeff Ross. Ross and Burnside worked well together and respected each other but that did not stop both from using the other when it was in the best interest of their agency.

   The second advantage was more personal. Burnside was the ex-son-in-law and still a friend of the Foreign and Commonwealth Secretary Godfrey Wellingham who in the government chain of command was above both of Burnside’s bosses Director – General or “C,” and the Deputy Director of SIS. Wellingham had hopes Burnside and his daughter would reunite but also realized Neil had chosen his work over his marriage.

   The first “C” of the series was Sir James Greenley, whose lack of spy experience left him naive at times about the reality of the world of SIS. Burnside would grow to respect him. Greenley trusted Neal’s judgment and experience even if he was horrified by the immorality of their actions. Greenley would retire due to health problems and was replaced by John Tower Gibbs, a long time opponent of Burnside.

   The Deputy Director was Matthew Peele who served in intelligence during WWII, ambitious, clueless, and someone Burnside usually found easy to manipulate.

   The confident and determined Burnside often went over the heads of his SIS bosses to use his ex-father-in-law influence, and he had no problem lying to all of them if it suited his vision of what was right and how to handle the problem.

   The gratuitous sex, over the top violence, and absurdly complicated gadgets of James Bond was fiction in this world. This was a world where work in the field could be dull but was always dangerous. The turnover of Special Agents (field agents at SIS) was high during the series.

   Due to the SIS small budget Burnside had only one to three Special Agents at a time. It takes a special person to become a SIS Special Agent, these were the agents who were assigned the dirty jobs no one else wanted or could handle.

   Head of Special Section (Sandbagger One) was Willie Caine, a womanizing, working-class, ex-military with a strong moral code. Willie and Burnside respected each other but also had major disagreements over Burnside’s methods. Ray Lonnen (HARRY’S GAME, YELLOWTHREAD STREET) was able to make spy Willie Caine a sympathetic human living a life of loneliness but surviving because of his pride in his work.

   The series featured believable characters, realistic dialog and plots that were cynical with dramatic twists that can sometime still surprise forty years later. The focus was less on the Russians and more on the self-interest power plays among the British government and its allies.

    “Special Relationship” was the scheduled final episode for this fill-in TV series. It is arguably the best episode of the series and certainly the most important. The cast strongly objected to the story’s ending. However, the critics and public’s reaction lead Yorkshire TV to approve THE SANDBAGGERS for another series of six episodes. Shortly after that Yorkshire added seven more episodes and two weeks of location shooting at the luxurious Malta.

   Roy Marsden commented on the reaction to the episode, saying, “When “Special Relationship” was shown, the response all over the country was staggering. Every radio program was taking about what had happened.”

“Special Relationship” (October 30, 1978) Written by Ian Mackintosh. Directed by Michael Ferguson. Additional Cast: Diane Keen as Laura Dickens and Richard Vernon as Sir Greenley. *** Burnside and agent Laura Dickens have fallen in love. During an assignment in East Germany Laura is captured. Burnside searches for a possible prisoner in Allies hands to exchange for Laura. He finds one but there is a price.


   Due to a labor strike that forced Yorkshire and ITV off the air for two months and the disappearance of Mackintosh, it would be fourteen months after the first series aired that THE SANDBAGGERS returned to the air. It had been decided to split the thirteen episodes up into two series. The second series aired six episodes from January 28 to March 3, 1980. The final seven episode third series aired from June 9 to July 28, 1980.

   It was July 1979, six episodes for the second series had been filmed and Mackintosh had finished the scripts for all of the rest of the scheduled episodes but three. This is when the cast and crew headed off for two weeks of on location filming in Malta. David Cunliffe remained behind to run his other series for Yorkshire. Producer Michael Ferguson remained in London dealing with production work.

   Ian decided to take a break. Mackintosh loved to travel, as did his girl friend of over two years Susan Insole. Mackintosh’s family and friends were used to him disappearing for a while and then suddenly reappearing. For this trip they had invited an old friend of Mackintosh British Airways pilot Graham Barber.

   The trip would take them to the United States mainland and then to Hawaii and finally back to London by Alaska. They were flying over the Gulf of Alaska, an area of beautiful sights and an area of intense interest of both sides during the Cold War. The weather was clear and the waters calm when Graham Barber radioed an emergency call for help, “We are going down in the sea. I’m going to make for the very, very, small island just to the east of Shuyak Island.”

   The plane, a Rallye 235, and its three passengers were never found.

   A lack of proof of death and Mackintosh’s long habit of disappearing and returning without warning put everything on an awkward hold. Reportedly the American state department held meetings discussing the possibility Mackintosh had defected to the Russian. Even today Ian’s brother Lawrie does not believe Ian died in the plane crash.

   Series Two began with a less confident Neil Burnside who was more protective of his Special Agents. Below is the sixth and final episode of the second series and is a good sample of the characters and how Mackintosh’s SIS worked.

“Operation Kingmaker.” (March 3, 1980) Written by Ian Mackinston. Directed by Alan Grint. Additional Cast: Dennis Burgess as John Tower Gibbs and Elizabeth Bennett as Diana Lawler/ *** Burnside learns an enemy from his past John Gibbs may become the new “C.” Neil attempts to maneuver the system to install a boss he can control. His desperate choice is the ambitious idiot Matthew Peele, current Deputy Director.


   Eventually Cunliffe could no longer wait for Ian’s return and with three episodes left that needed to be written, Cunliffe hired two writers to write the needed episodes. Gidley Wheeler (WARSHIP) wrote two episodes, MY NAME IS ANNA WISEMAN and WHO NEEDS ENEMIES. Arden Winch (WINGS) did SOMETIMES WE PLAY DIRTY TOO. All three were passable adventures but were too heavy-handed and lacked the style of Mackintosh.

   Mackintosh had alreadyfinished the script for the last episode. Oddly enough for a man about to disappear, the episode ended in a cliffhanger. It is also one of Ian’s weakest scripts and suffers from believability issues.

“Opposite Number.” (July 28, 1980) Written by Ian Mackintosh. Directed by Peter Cregeen. Additional Cast: Michael Cashman as Mike Wallace and Sue Holderness as Marianne Straker *** Burnside has grown weary of the constant fighting within the system. As a long passionate opponent of the Salt talks (Strategic Arms Limitations) Neil decides destroying his career was a worthy price to pay if he can get the Russians to leave the talks.


   The cliffhanger was not a surprise since Mackintosh expected a fourth series. Lonnen had signed for a fourth series. It is believed that Ian’s plans for series four had Willie promoted to Director of Operations and Burnside would become “C.” But without Ian Mackintosh the decision was made to end THE SANDBAGGERS. Cunliffe, Ferguson and Marsden moved on to do the series AIRLINE.

   Some today wonder how popular THE SANDBAGGERS really was if so few who watched TV at the time remember it. Not having access to the ratings of 1978 or 1980 I suspect THE SANDBAGGERS critical acclaim had more to do with its success than number of people watching.

   THE SANDBAGGERS did appear on American television in the late 1980s and inspired some enthusiastic fan clubs. It currently can be seen on streaming service BritBox.

   On October 12, 2003 appearing in the New York Times was “TELEVISION; Spies Who Were Cool and Very Very Cold” by Terrence Rafferty. He wrote:

   THE best spy series in television history, “The Sandbaggers,” is now available complete on DVD, 23 years after the last of its 20 episodes was broadcast in England. The show, which was produced by Yorkshire Television, is unknown to most American viewers; a few PBS stations picked it up in the late 80’s, after its star, the brilliant minimalist Roy Marsden, had become a public-television sex symbol as P. D. James’s brooding poet-detective, Adam Dalgliesh.

   Whatever happened to Ian Mackintosh, Susan Insole and Graham Barber will most likely remain a mystery, but it left us all with a story worthy of an episode of THE SANDBAGGERS.


SOURCES:

THE LIFE AND MYSTEROUS DEATH OF IAN MACKINTOSH: THE INSIDE STORY OF THE SANDBAGGERS AND TELEVISION’S TOP SPY by Robert G. Folsom (Potomac Books, 2012).

Wikipedia

JOHN O’GROAT JOURNAL AND CAITHNESS COURIER (3/1/13) “Did Spy Writers Disappearance Mirror His Fiction?” by Calum Macleod

NY TIMES (10/12/03) “Television Spies Who Were Cool and Very Very Cold” by Terrence Rafferty

FOUR MORE FAILED TV PILOTS
by Michael Shonk


   As the fate of next season’s pilots are currently being decided, lets take a look at four more failed pilots of the past: PISTOL PETE, ZERO EFFECT, MR. & MRS. SMITH, and ROADBLOCK.

PISTOL PETE. Fox / Castle Rock, 1996, never aired. Writed and Executive Producer: John Swartzwelder. Directed by John Rich. Cast: Steve Kearney as Pistol Pete, Brian Doyle-Murray as the Mayor, Mark Derwin as Deputy Langley.

   The Old West town Abilene is tired of the bad guys killing their sheriffs so the Mayor writes back East and offers the job to Dime Novel hero Pistol Pete. Pistol Pete may be a true crackshot and a fast draw with the gun, but he also is no real Western hero. He is working as the star of a second-rate Wild West Show in New York. Blaming a faulty memory for not remembering his adventures, Pete believes the books stories about him are true. Pete accepts the job as the latest Sheriff in Abilene. The citizens of his new home share Pistol Pete’s belief that his adventures are all true, only the Mayor and Deputy know Pete is a clueless fraud.

   The pilot is funny if you enjoy absurdist comedy. It has never aired and was desperately sought out by comedy writers and fans until the Internet and YouTube rode to the rescue. The reason for PISTOL PETE’s status as cult comedy classic is the creator and executive producer John Swartzwelder.

   Swartzwelder is considered by many comedy writers and fans to be a comedic genius. Among his strongest fans are the writers and producers of THE SIMPSONS. Swartzwelder began writing for THE SIMPSONS in the first season (1990) and would continue until the fifteenth (2003). He would write more SIMPSONS episodes than any other writer (59 plus returning in 2007 to help write the SIMPSON MOVIE). Adding to his legendary status, Swartzwelder is an eccentric who shuns all publicity giving his fellow writers plenty of material to share with the rest of us.

   Here is a great article about the pilot and Swartzwelder. (Antenna Free TV, June 27, 2013, written by Will Harris).

   One of the reported stranger demands by Swartzwelder for the 1996 pilot (for the fall 96-97 season) was that the film crew be from the TV series GUNSMOKE (CBS, 1955-75). There was a serious attempt to honor that request. The director John Rich is remembered today as one of the greatest TV comedy directors of the 60s-70s era (DICK VAN DYKE and ALL IN THE FAMILY), but he also directed several episodes of GUNSMOKE and BONANZA. Producer Kent McCray worked on BONANZA.

   Swartzwelder wanted the feel of old TV and movie Westerns. The plan was for him and his writing friends from THE SIMPSONS to parody Westerns each week.

   Currently Swartzwelder is writing a series of absurdist comedy PI novels and short stories featuring time traveling PI Frank Burly. The self-published books began in 2004 with THE TIME MACHINE DID IT. The tenth in the series and most recent is BURLY GO HOME (2017).


ZERO EFFECT. NBC / Castle Rock / Warner Brothers, 2002, never aired. Writers and Executive Producers: Jake Kasdan and Walon Green. Directed by Jake Kasdan. Cast: Alan Cumming as Daryl Zero, David Julian Hirsh as Jeff Winslow

   The 1998 film is a cult favorite, but I preferred the TV pilot. The movie’s writer and director Jake Kasdan (FREAKS AND GEEKS) also directed and co-wrote the TV pilot. Walon Green (WILD BUNCH) helped Kasdan write and produce the TV pilot.

   The two versions are much alike in style and tone. Both make good use of Daryl Zero writing his memoirs to narrate the action. Zero calls the case in the pilot “The Case of the Billionaire Pervert With a Parking Problem.”

   My central problem with the film was the pace was too slow and at almost two hours the film was too long leaving me often bored. The pilot, seen in this YouTube thirty-eight minute version, forced Kasdan to speed things up.

   A good example is the opening scene where the genius and character of the unseen Daryl Zero is introduced. Both versions reveal exposition by telling the story of one of Zero’s most awe-inspiring cases. The movie had Zero’s assistant and anti-Watson Steve Alto (Ben Stiller) tell the story to a possible client. The scene was long, static and boring. The TV version had people of various types and locations tell excited crowds about the now World famous as well as Greatest Detective Daryl Zero. The camera rarely stopped as the story jumped from one storyteller to the next. This gave the TV version a faster pace from almost the beginning.

   Both versions focused less on the mystery of the crime and more on the mysteries of the characters. In the TV pilot the case revolves around a billionaire’s missing mistress, but the key to the mystery is not where she is but who she and the other characters are.

   Zero is basically the same in the film and TV pilot. Meant as a satire of Sherlock Holmes, Daryl Zero is a brilliant, self-centered, social inept, recluse with a fondness for disguises and music.

   Bill Pullman’s performance in the film as Zero is generally praised, but I prefer Alan Cumming’s Zero. The many faces and behavior of Zero as done by Pullman was too random. He failed to connect it all to Zero. Cumming was hyper sometimes on the edge of hysteria behavior showed Zero inability to deal with people personally. The music producer character Zero plays as he searches for the missing mistress illustrates his understanding of people but the method and over the top producer character is more an extension of Zero than a music producer.

   Zero realizing he needs an assistant, a “face man,” some one to deal with people (there is no Steve Alto in the pilot). He finds a candidate in Chicago. Jeff Winslow is an unhappy defense attorney with a strong sense of justice.

   Jeff’s girlfriend dumps him on the phone while he is in the middle of a frustrating argument with his boss. Jeff gets a phone call from a mysterious voice (Zero) convincing him to quit and go to Los Angeles for a new job.

   Jeff arrives in Los Angeles without even knowing who is hiring him. Zero then puts him through a bizarre series of job interview tests such as the lost luggage test where Zero steals Jeff’s luggage to see how Jeff would respond.

   Jeff is an idealist, with a conscience and a belief in justice. Zero is none of these and tries to teach Jeff the Zero Method, the “obs” – objectivity and observation. Zero solves the case, but it is Jeff that makes sure justice is served.


MR. AND MRS SMITH. ABC / Regency Television Dutch Oven Production, 2007, never aired. Creator and Executive Producer: Simon Kinberg. Executive Producer: David Bartis. Directer and Executive Producer: Doug Liman. Cast: Jordana Brewster as Mrs. Jane Smith, Martin Henderson as Mr. John Smith, Bridgette Wilson-Sampras as Ann, and Rebecca Mader as Jordan * There were no credits on film. The above credits are from thefutoncritic.com http://www.thefutoncritic.com/devwatch/mr-and-mrs-smith/.

   This TV pilot was based on the movie MR. & MRS. SMITH (2005) that starred Brad Pitt and Angelina Jolie as a married couple who work as assassins for different spy agencies. Both the film director (Doug Liman) and writer (Simon Kinberg) returned to do this TV pilot.

   Jane and John are married and living in the suburbs of Washington D.C. while they continue their careers as spies/ assassins. Both characters are one dimensional modern day clichés. She is smart, sexy, able to handle herself in a fight, and successful career woman – you know, perfect. He is an idiot, self-centered, uses excessive force and has been fired, you know, clueless.

   Now that he is unemployed John wants Jane to join him as partners in their own spy/killer agency. She is highly respected and employed at the all-woman spy agency Executive Cleaners and resists the idea of a Mr. & Mrs. Smith Spy agency.

   He is worried about their marriage and wants to have a date night. She agrees to the date night to humor him but then has to cancel twice due to work. Her assignment is to stop a terrorist who has a nuclear device. After listening to too much Dr. Phil and the neighborhood ladies gossip, John begins to suspect Jane is cheating on him. This bad sitcom plot causes problems with Jane’s plan to save the world.

   The idea of exploring the challenges of marriage through a marriage of two spies is not bad if it was not done so heavy-handedly. Women are brilliant and men are idiots belong in another type of comedy, not one about marriage that needs both characters to be admirable and both to have flaws.

   The script has its moments and some nice dialog but little action. The direction offers no help to make this pilot exciting or visually interesting. The cast was nice to look at but failed to bring their characters to life.

   The pilot hinted at a future where Mr. and Mrs. Smith are partners as spies and in marriage as they try to keep their secrets and live the normal life among their suburban neighbors. While that sounds like a bad sitcom, it would be better than to suffer through these cardboard characters with trust issues every week.


ROADBLOCK. March 29, 1958. An episode of STUDIO 57 (Dumont 1954-55; syndicate, 1955-58.

   Syndicated pilot for proposed series MOTORCYCLE COP. Teleplay by Frederic Brady. Story by John D. MacDonald. Directed by Earl Bellamy. Cast: Mike Connors as Patrolman Jeff Saunders, John McIntire as Sheriff Sternweister, and Wallace Ford as Sheriff Thomas

   Mike Connors played a special enforcement agent for the California Highway Patrol who was sent on a variety of assignments. This story finds him helping out local sheriffs investigating a deadly bank robbery where one of the robbers’ cars turns out to be the cop’s best witness.

   Based on a short story by John D. MacDonald (“The Homesick Buick” (ELLERY QUEEN MYSTERY magazine, September 1950) ROADBLOCK was turned into just another typical TV crime drama of the 50s. Everything is in black and white, including the characters. The story is slow moving with no surprises. The cast walked through their roles in the simple slow-moving story unburdened by too many twists or much action until a dull car chase at the end.

   IMDb claims the episode (titled “Getaway Car”) originally aired as episode 19 during the fourth season of STUDIO 57 (aka HEINZ STUDIO 57) on March 29, 1958. According to Vincent Terrace “Encyclopedia of Television Pilots” (McFarland), it was meant to be a pilot for a proposed syndicated TV series to be called MOTORCYCLE COP.

   STUDIO 57 was a low budget anthology series that aired on the DuMont network from 1954 through 1955 when the series turned to syndication and lasted until 1958.


   Why pilots sell or fail has always been a mystery. Jake Kasdan (ZERO EFFECT) even did a movie called THE TV SET (2006) about the process.

FIRST YOU READ, THEN YOU WRITE
by Francis M. Nevins


   Remember MGM-TV’s THE MAN FROM U.N.C.L.E.? It was one of the most successful of the many quasi-spy series that flooded prime time in the wake of the early James Bond movies. The stars were Robert Vaughn as Napoleon Solo and David McCallum as Illya Kuryakin, with Leo G. Carroll as their boss, Alexander Waverly. The series ran for four seasons (1964-68), the first in black-and white and the remaining three in color.

   I began law school at around the time U.N.C.L.E. debuted but, despite a grueling study schedule, managed to catch most of the first season’s episodes, which were reasonably serious with lots of action. Once the series switched to color it also switched to spoofery and camp. I stopped watching.

   But millions stuck with Solo and Illya, and once the ratings showed that U.N.C.L.E. was a hit, MGM-TV commissioned a series of tie-in novels, 23 in all, the first of which was written by Michael Avallone (1924-1999). I had no interest in junk paperbacks but in 1970, when I moved to East Brunswick, New Jersey and was working as a Legal Aid attorney, I discovered that my apartment was only a few blocks from Avallone’s house and called him.

   That was the beginning of a weird off-and-on relationship that lasted till his death. Before becoming a neighbor of his I had known very little about him, but after we met I began to collect his books, of which there were dozens. Many of them were movie or TV tie-in novels for which he was paid around $2,000 apiece and which he ground out on his smoking typewriter in a few days or a week. I don’t recall reading any of these, but I did get him to sign them and squirreled them away.

   After my wife died and I moved into a condo, I segregated all the tie-in books and put them into a cabinet with sliding doors which were generally kept closed. A couple of months ago I happened to open one of those doors and, since the books were arranged alphabetically by author, discovered a bunch of Avallone that I’d never read, including that MAN FROM U.N.C.L.E. novel and two tie-ins from the unsuccessful spin-off series THE GIRL FROM U.N.C.L.E. (1967-68), which starred Stefanie Powers as April Dancer and Noel Harrison as Mark Slate. I decided it was time to tackle the trio.

   Avallone’s great contribution to pop culture was the Avalloneism. You can’t pick up any of his 200-odd books without finding yourself awash in lines you’d swear couldn’t possibly have been published. But they were. Thousands of them. Small wonder that I soon began to think of Avallone as the Ed Wood of the written word. These three tie-in books offer further proof that my name for him was not off the mark.

   In THE THOUSAND COFFINS AFFAIR (Ace pb #G-553, 1965) Solo and Illya fly to a remote German village to find out what diabolical device killed an U.N.C.L.E. scientist while in his tub and why, just before dying, he put on his clothes backwards.

   It’s no surprise that the culprit is a minion of the evil agency THRUSH, a villain called Golgotha who comes straight out of the Weird Menace pulps of Avallone’s teens. Solo solves the puzzle when he remembers that the dead man was a mystery nut with a particular fondness for Ellery Queen—and that one of the best known Queen novels, THE CHINESE ORANGE MYSTERY (1934), had to do with a corpse who was also dressed backwards.

   Someone, quite possibly Avallone himself, called the book to the attention of Fred Dannay, who was half of the Ellery Queen collaboration and the closest to a grandfather I’ve ever known. A number of years after the incident Fred told me that he’d been furious with Avallone for having given away the raison d’être of the CHINESE ORANGE puzzle. But Avallone couldn’t understand what the fuss was about. Hadn’t he promoted Queen? In a paperback that sold a gazillion copies, hadn’t he plugged one of the most famous EQ titles?

   Whether the book really sold that well remains a mystery. In later years Avallone publicly accused the publisher of having cheated him out of huge royalties. The name in the copyright notice is MGM-TV, and most likely he wrote it as a work made for hire, earning a flat fee and no more. In any event Ace had nothing more to do with him. But a year later, when MGM-TV launched the GIRL FROM U.N.C.L.E. series and made a tie-in book deal with another publisher, it was Avallone who was tapped to write the first two entries, the only ones that appeared in the U.S. although three more came out in England.

   More than half a century has passed between the time Avallone’s contributions to the U.N.C.L.E. saga appeared and the time I pulled them out of my sliding-doored cabinet and read them. I was not disappointed.

   First let’s take THE THOUSAND COFFINS AFFAIR, which should have won an Edgar had there been such an award for largest number of words misspelled. In a mere 160 pages we encounter such gems as propellor, esconced, earthern (twice!), jodphurs and cemetary. We are also treated to butchered German locutions like dumbkopf, Vast ist?, Seig heil! and nicht yahr.

   Illya’s patronymic or middle name, never given in the TV series, is rendered as Nickovetch, which is gibberish. (The genuine Russian name closest to Avallone’s invention is Nicolaievitch, which I happen to know only because it was the patronymic or middle name of Tolstoy.) And there’s hardly a page without at least one juicy Avalloneism. I will show mercy and offer only a handful, complete with page references.

   There was something damnedably odd— (19)

   The mechanized bug shot over the road, whipping like the mechanical rabbit at a quinella. (41)

   Stewart Fromes’ ten stiff naked toes wore no shoes. (57)

   Jerry Terry said “Oh!” and that was all. For Napoleon Solo, it said it all. Oh, indeed. (82)

   Like a dead fish, Solo’s right arm fell to his side. (100)

   The unexpected was always likely to happen when you least expected it. (140)

   When we turn to the second and third of Avallone’s contributions to the saga we find more of the same. THE GIRL FROM U.N.C.L.E. #1: THE BIRDS OF A FEATHER AFFAIR (Signet pb #D3012, 1966) not only recycles some of the misspellings like propellor and esconced, it describes one of the bad guys as both a Hindu and a Sikh.

   On one page he’s killed by a bullet in the back of the neck and on the very next page we are told that “[b]lood from his blasted skull dripped to the floor.” As if those gaffes weren’t enough, Stefanie Powers’ first name is spelled wrong on the front cover. (That one we have to chalk up to Signet.)

   Storywise it’s typical Avallone, with first Slate and then Dancer kidnapped by THRUSH in a plot to swap them for a top enemy scientist, who claims to have discovered the secret of eternal life and is being held at U.N.C.L.E. headquarters. It turns out that the scientist has an identical double who’s operating as a mole inside the good guys’ stronghold but no one in U.N.C.L.E. suspects they might be twin brothers as in fact they are.

   At one point while April Dancer is being held prisoner, a THRUSH man relieves her of “her handbag, personal effects, and even her bra (without having had to undress her).” Neat trick if you can pull it off!

   Of Avalloneisms the book has no shortage. This time I’ll limit myself to five.

   Noise echoed around the room, gobbling up echoes. (20)

   “You’re a fool,” the redhead hissed. (23)

   His kindly brown eyes were unaccustomably grim. (69)

   Her bra, taut from immersion, was strangling her breasts. (72)

   The whipsaw wore a long green velvet dress. (80)

   Tugs and seagoing freighters mooed like enormous cows in the harbor. (103)

   Whoops! Was that six? Just goes to show that quoting from Avallone is habit-forming.

   THE GIRL FROM U.N.C.L.E. #2: THE BLAZING AFFAIR (Signet pb #D3042, 1966), in which Stefanie Powers’ name is again misspelled on the front cover, pits our heroic agents against an organization calling itself TORCH and described on the back cover as “so fantastically evil it puts THRUSH to shame!”

   April begins by foiling an assassination plot in the Ruritanian kingdom of Ostarkia, then joins Slate in Budapest before the two of them go on to Johannesburg on the trail of a TORCH scheme to fund its plans for world domination with South African diamonds. There seem to be fewer Avalloneisms this time around, but those that survived the Signet editorial process, such as it was, are choice.

   Kurt’s beady eyes roved between them, not sure what they were talking about, not certain as to exactly what to do next. (59)

   The colt in the chair was straining at the leash now. (69)

   The man with the withered face frowned a frownless frown. (71)

   Like so many little men wanting to be bigger than they ever really were in the first place. (126)

   In case I’ve whetted your appetite and you’re determined to read more of these cubic zirconia without visiting your shelves or a secondhand bookstore, I’ve put together a much more extensive catalogue from the trilogy, again complete with page references, which I’ve provided because I wouldn’t want anyone to think I’m making this stuff up. You’ll find the bonanza of boners by clicking HERE. Don’t say I didn’t warn you!

REVIEWED BY MICHAEL SHONK:


ADAM HALL (ELLESTON TREVOR) – The Tango Briefing. Doubleday, US, hardcover, 1973. Dell, paperback, 1974. First published in the UK by Collins, hardcover, 1973.

QUILLER. “Tango Briefing.” BBC One; September 5, 1975. Written by Adam Hall, based on characters he created. Cast: Michael Jayston as Quiller and Moray Watson as Angus Kinloch. Guest Cast: Nigel Stock as Loman, Prunella Gee as Diane, Reg Lye as Chirac and Paul Angelis as Vickers Designer: Peter Blacker. Produced by Peter Graham Scott. Directed by David Sullivan Proudfoot.

   My experience with Quiller is limited. I began with the disappointing film QUILLER MEMORANDUM, then the good but nothing special book NINTH DIRECTIVE. Recently I read the book TANGO BRIEFING and watched a rare copy of the British TV episode based on the book.

   Both versions of TANGO BRIEFING were written by Adam Hall (Elleston Trevor) and featured Quiller searching for a lost plane in the Sahara desert. A mission that had already cost lives.

   I enjoyed the book, and even though it was fifth in the Quiller series it felt like an introduction story to the character. Narrated in first person by the character Quiller, and while he remained a self-effacing enigma, the book was filled with many details about his job and his life (which amounted to the same thing).

   Actor Michael Jayston (TINKER TAILOR SOLDIER SPY, 1979) was well chosen for the role, better than the film’s version played by George Segal. Quiller has a lack of respect and trust for authority figures. Segal played it with more Connery-as-Bond-like humor, while Jayston had a meaner, rude touch.

   The book TANGO BRIEFING was a well-written thriller full of tension and excitement. The TV episode was loyal to the book, but due to time and budget, made a few changes, changes that stripped the story of much of its suspense and drama.

   Few have ever seen the QUILLER TV series. Even in the collectors market the series is difficult to find. Apparently only three episodes of the series thirteen survive. Luckily TANGO BRIEFING was one of them. The short-lived series aired only once on the BBC and was never shown again. Its episodes met the same fate of many BBC genre series of that era such as DOCTOR WHO, and ADAM ADMANT LIVES (reviewed here ) when the stuffy old men at BBC in a fit of snobbery purged its entertaining non-socially conscious series from its warehouse.

   Anyone aware of the TV series probably best remembers it for its popular theme song written by Richard Denton and Martin Cook (HONG KONG BEAT, THE GREAT EGG RACE).

   The song was released on a 45 record with “General Direction” from QUILLER soundtrack on the B-side.

   The mission in TANGO BRIEFING was to recover the cargo of a downed plane in the Sahara desert. The mission had gone bad and The Bureau sends Quiller in to complete the job. He was not told why the plane’s cargo was so important or what it was, but he realized it was vital to the British government that he reach the plane before the local Algerian government or anyone else who might be looking for it.

   His “director” on the mission was Loman. Loman would make the plans and handle all the details while “the executive” or “ferret” Quiller was out in the field. The two had worked together before and neither liked the other or approved of the other’s methods.

   After Quiller met with Loman there is an attempt on his life. In the book Quiller barely escaped alive and was physically weakened for the rest of the adventure, while in the TV episode he escapes with no injuries as a young native sets off the trap. I am not sure why writer Hall made the change but it was an important one.

   The book Quiller is a superspy, a man able to do what few men can. Forced to overcome his injuries, Quiller goes beyond the average spy. From watching the three available episodes, the TV series producers seemed to want to make Quiller a more fallible realistic human but keeping Quiller’s arrogance and attitude. Unlike the book Quiller the TV Quiller was an unlikable one-dimensional character.

   Every scene in the book added to the risks for Quiller, with time running out and others getting closer. TANGO BRIEFING the book makes powerful use of time and its passing. But the TV episode limited by its hour length could not fit it all in and what was used often felt contrived.

   Four of the book’s characters made it from book to TV episode. Besides Loman, the other member of Quiller’s support team was inexperienced radio operator Diane. The character served a better purpose in the book with Quiller’s disapproval of her inexperience and concern for her youth adding tension and jeopardy to the story. The character of Diane was badly misused in the TV episode. TV Quiller was fast to forgive her inexperience and shook her hand accepting her to the team, there were G-rated hints of possible romance, and a scene was clumsily dropped in where she beat up a bad guy who attacked her in the radio room.

Two local characters, Chirac, the man who flies Quiller to the desert, and Vickers, the freelance oil driller, make it to the TV episode. Chirac goes from the book’s lovable old ex-war hero to the TV episode’s weak link. Vickers was a minor character in the book. His appearances in the TV episode were obviously forced by the need to foreshadow the TV’s version different ending.

   Then there is the desert search for the plane that takes up much of the book and the TV episode. The TV version greatest mistake was to abandon the book’s first person narration. The scenes in the desert are among the highlights of the book. Quiller’s narration allows us inside the character, fleshing him out. We may not learn his real name or details of his past but we do learn how he thinks and feels. This is where Quiller becomes someone we care about.

   In the TV episode, plot information and characterization was limited to the radio conversations between Quiller and Diane and Loman at the radio base in Kaifra. Without Quiller’s explaining his thoughts and exploring the details of his situation, we never feel his fear and stress as we do reading the book. This left the story in the TV version underdeveloped and less powerfully dramatic.

   While the QUILLER theme song is great, the episode soundtrack was awful and let down the episode. The desert scenes could have worked better if the soundtrack had supplied the emotions of the scenes that the narration gave readers in the book.

   Director David Sullivan Proudfoot (WARSHIP) did his best. His highlight was a shot of the shadow against a desert dune of a vulture circling over an unconscious Quiller.

   The two versions differed in endings. The book’s final scenes would have made an exciting end for a theatrical film. The TV ending was weak, contrived and obvious.

   The book is well worth reading. It is hard to believe the same man who wrote the book wrote the TV version. I suspect Hall’s final draft was not the final shooting script.

            SOURCES:

Action TV: http://www.startrader.co.uk/Action%20TV/guide70s/quiller.htm

The Unofficial QUILLER website http://www.quiller.net

The Encyclopedia of TV Spies by Wesley Britton (BearManor Media, 2009)

KAREN A. ROMANKO – Television’s Female Spies and Crimefighters: 600 Characters and Shows, 1950s to the Present. McFarland, softcover, February 2016.

   The full title of this book is self-explanatory, I’m sure. I’ve only browsed through it myself, so this is not a review, but in my opinion this is a book that every reader of this blog ought be know about, if you don’t already.

   To open the book, author Karen Romanko provides a long and knowledgeable introduction to the overall history of female crimefighters on television, followed in the main portion of the book by a comprehensive alphabetical listing of all relevant TV series and their significant characters, cross-referenced between the two. For example, the TV series Elementary and the character Joan Watson each have their own entries, each mentioning the other in bold face.

   The first entry is Acapulco H.E.A.T., followed by Lydia Adams (Southland); the last two are Roberta Young (Snoops) and The Zoo Gang, a British production that aired in this country on NBC in 1975.

   This is a book that’s easy to get caught up in, following one familiar show to its star and then to others not so familiar, and vice versa for (in my estimation) hours on end.

COMING SOON – THE TV EDITION
by Michael Shonk


   Most TV junkies claim Fall premiere week as their favorite time of the year, but mine has always been the May upfronts. Upfronts are parties the networks throw for major advertisers, ad agencies and the media in attempt to get them drunk enough to believe next Fall’s TV series will be the best ever and hope they forget the lies the networks told about the quality of last season’s shows.

   In the past, May was the most dramatic month for the TV fanatic. TV viewers embraced hope of the new, relief when their favorites survived, and the devastation when they didn’t. But it is just not the same anymore.

   The broadcast networks (ABC, CBS, FOX, NBC, and CW) have joined cable networks in the effort to supply original programming all year round. New television series never stop coming. The Big Four and-a-Half networks just announced their fall lineup with huge fan fare ignoring that September is no longer the best month of TV.

   Pushing the limits of space here, let’s check out the highlights of what is coming this week, this Summer, this Fall, and in 2017.

   Just because the main season is over, it doesn’t mean the broadcast networks abandon original programming. WAYWARD PINES is back on FOX. CW has the final season of BEAUTY & THE BEAST. CBS has the return of ZOO and two new series starting in June that sound better than any of CBS new fall shows. AMERICAN GOTHIC tells the story of a family that has discovered one of them is a serial killer. From the creators of THE GOOD WIFE, BRAINDEAD is a comedy thriller about a young woman who discovers aliens are eating the brains of politicians and government workers. NBC has the Olympics this summer but also airs AQUARIUS.

      NBC medical drama NIGHT SHIFT returns for its third season:

   Cable networks offer original scripted programs in May and June including AMC’s new crime drama set in a restaurant, FEED THE BEAST, and the last season of HELL ON WHEELS, HBO’s GAME OF THRONES, TNT’s LAST SHIP, MAJOR CRIMES, MURDER IN THE FIRST, and RIZZOLI & ISLES (final season), TBS’s ANGIE TRIBECA, Cinemax’s OUTCAST, Netflix’s ORANGE IS THE NEW BLACK, ADULT SWIM’s DECKER: UNCLASSIFIED, and SYFY’s 12 MONKEYS.

   The heck with Marvel and DC, give me an IDW comic book like the fun horror/western WYNONNA EARP.

   Cable original scripted programs continue through the summer with returning series such as SYFY’s KILLJOYS and DARK MATTER, FX’s TYRANT and THE STRAIN, STARZ’s POWER, USA’s SUITS and last year’s hit MR. ROBOT.

   New series include Netflix’s STRANGER THINGS set in the 1980s, a supernatural series centered on a missing boy, SYFY’s post-apocalyptic drama AFTERMATH, and TNT’s GOOD BEHAVIOR based on the Letty Dobesh books by Blake Crouch.

      Based on Stephen Hunter’s book POINT OF IMPACT, USA network new series SHOOTER premieres in July.

   This fall live television, especially sports such as the NFL and World Series, will distract the viewing public. Cable lead by one of the most watched TV series in all television, AMC’s WALKING DEAD will hold its own. TNT reboots TALES FROM THE CRYPT, this time from M. Night Shyamalan.

         Netflix starts another series featuring a Marvel comic character – LUKE CAGE.

   Midseason 2017 promises to offer some entertaining new series on cable networks. USA’s FALLING WATER is a supernatural thriller about three strangers who find they can share dreams. SYFY’s horror anthology CHANNEL ZERO,

      Syfy’s THE EXPANSE, the best TV series I watched in 2015-16, will return for its second season in January 2017.

   Top network CBS will add three new dramas this Fall. BULL starring NCIS Michael Weatherly as Dr Phil back when he was a consultant specializing in manipulating… uh, I mean analyzing juries. Medicine meets technology in the new drama PURE GENUIS.

      The pilot of MACGYVER had many behind the scenes problems. Let’s hope Macgyver can find the right knick knack to save the show.

   Two new CBS series wait for their turn and midseason. DOUBT a lawyer show starring Katherine Heigl, and TRAINING DAY, based on the film. But more important are two series that CBS hopes to premiere in 2017 on CBS ALL ACCESS, its streaming service. First original new series will be the sequel to THE GOOD WIFE. The second is perhaps TV most famous franchise in history. It began on NBC, cancelled and resurfaces as a successful film series. It was used to establish Paramount in the syndicated market. It began UPN (now CW) and tried to save the network before the merger with WB. As Paramount continues to pump out theatrical films, CBS will use STAR TREK to jumpstart its streaming service.

         Without a title or any idea what it is about, the new STAR TREK series is the most anticiated television series of next season.

   Among the CBS series returning in the fall are BLUE BLOODS, CODE BLACK, CRIMINAL MINDS, ELEMENTARY, HAWAII FIVE-O, MADAM SECRETARY, NCIS, NCIS: LOS ANGELES, NCIS: NEW ORLEANS, and SCORPION. While CRIMINAL MINDS – BEYOND BORDERS will be back in 2017.

   SUPERGIRL reminded CBS what its TV audience likes, so the new shows look like the old shows and SUPERGIRL flew off to CBS little sister CW. The comic book superhero will feel comfortable with the rest of DC comic superheroes, ARROW, LEGENDS OF TOMORROW, and CW’s top show FLASH. CW continues to specialize in comic books, horror and the weird.

      New this fall to the mini-me of broadcast networks is FREQUENCY based on the film.

   Returning during midseason will be THE 100, iZOMBIE, THE ORIGINALS, SUPERNATURAL, and THE VAMPIRE DIARIES.

   Midseason, CW will add FOX reject RIVERDALE, based on the characters from Archie comics focused on a murder mystery. But this is not Scooby Doo or your old Archie (even the comic books are not your old Archie), this Archie deals with “adult issues” such as him sleeping with his teacher.

   While CBS remains the top network, NBC is close behind. Its two biggest hits are SUNDAY NIGHT FOOTBALL and THE VOICE, each hogging up much of NBC’s fall schedule. This fall NBC adds five games of Thursday night football (CBS shows the first five, NBC has the last five). Without any major holes in its fall schedule, NBC saved its most promising new series for midseason, adding only three to the fall lineup.

      NBC’s only new drama this fall is TIMELESS, the most promising series of the many this season featuring time travel.

   Some of the series returning this fall are BLACKLIST, BLINDSPOT, CHICAGO FIRE, CHICAGO MED, CHICAGO PD, GRIMM, LAW AND ORDER SVU. SHADES OF BLUE will have to wait for SUNDAY NIGHT FOOTBALL to end.

   Other new shows waiting for their turn include comedies POWERLESS (insurance office comedy set in the world of superheroes), TRAIL & ERROR (court comedy). New dramas are BLACKLIST – REDEMPTION (spinoff), EMERALD CITY (based on Baum’s Land of Oz books), MIDNIGHT, TEXAS (based on a series of books by Charlaine Harris (TRUE BLOOD)), TAKEN (prequel to film series) and what would any NBC list be without another Dick Wolf CHICAGO series, in this case CHICAGO JUSTICE.

   There is hope at FOX. This year they have the Super Bowl guaranteeing better numbers at the end of the season. Ratings are changing, and FOX is pushing the hardest to find a way to count those of us who no longer watch TV live or on a TV set.

   TV is about to enter an era of MONEYBALL. For those not familiar with baseball or the movie or the book, sabermetrics uses an endless amount of numbers to measure performance. Networks like FOX are all ready there, someday the media will catch up.

   Speaking of baseball, FOX will have the World Series this fall as well as new series PITCH (story of first woman to play in Major League Baseball). Other new series of interest coming this fall are THE EXORIST (based on William Blatty’s novel), and LETHAL WEAPON (based on the film).

      My pick for first fall show cancelled is FOX’s SON OF ZORN, an animated barbarian tries to cope in live action modern world.

   Shows returning in fall include BROOKLYN NINE-NINE, insane GOTHAM, LUCIFER, ROSEWOOD, SCREAM QUEENS, and QUINTCO. Series returning in midseason include SLEEPY HOLLOW and the final season of BONES.

   Among the new series waiting for 2017 are APB (rich man buys a police precinct), MAKING HISTORY (time travel comedy), SHOTS FIRED (racially charged shooting involving a cop), and PRISON BREAK (sequel to 2005 TV series).

      FOX is hoping 24 – LEGACY will be as successful as the original 24.

   ABC did not have a good year. Its president of programming was sacrificed to the Nielsen Ratings Gods in prayers for better numbers in the demo.There was not enough time to change the fall offerings, but it is expected ABC will copy CBS and NBC with less soap operas and more procedurals.

   ABC’s new fall dramas of interest to us begins with DESIGNATED SURVIVOR starring Kiefer Sutherland as Tom Kirkman, Secretary of Housing and Urban Development ends up President after a terrorist attack takes out most of the leaders of the American government. CONVICTION with Hayley Atwell (AGENT CARTER) as a spoiled former first daughter who is forced under threat of jail to lead a small group investigating cases where the convicted might be innocent.

      NOTORIOUS is about the seduction between law and the media.

   Returning this fall are HOW TO GET AWAY WITH MURDER, MARVEL’S AGENTS OF S.H.I.E.L.D., and ONCE UPON A TIME. While these returning series have to wait until midseason their turn – AMERICAN CRIME, THE CATCH, SCANDAL and SECRETS & LIES.

      Among the new ABC shows waiting for midseason is TIME AFTER TIME, based on the movie and stars Freddie Stroma as H.G. Wells.

   Over one hundred TV series in the 2015-16 season were cancelled or ended. RIP.

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