Mal sehen:

Comedy: 30 Rock, Curb Your Enthusiasm, Entourage, The Office, Two And A Half Men (2 von 3 richtig)
Drama: Boston Legal, Damages, Dexter, House, Lost, Mad Men (3 von 3)

Whedonverse-technisch sind NPH für How I Met Your Mother als Outstanding Supporting Actor In A Comedy Series nominiert und Danny Strong (Jonathan aus Buffy) für sein Drehbuch für das Wahl-Drama Recount als Outstanding Writing For A Miniseries, Movie Or A Dramatic Special.

Generell: Sehr schön, dass 30 Rock 17 Nominierungen davonträgt. Auch Pushing Daisies erfreut mit 12 Stück. Schön auch, dass sowohl James Spader, als auch William Shatner, als auch Candice Bergen nominiert sind, und und und... und nun warten wir bis zum 21. September.

Bei iTunes ein Renner, scheint's:

The traffic quickly crashed the server for free-view website drhorrible.com, and iTunes' downloadable version instantly became, at $1.99, the No. 1 video.

Endlich auch konkrete Zahlen:

"We're getting about 1,000 hits per second," says Jed Whedon, who worked on the project with his brothers, Joss and Zack, and his fiancée, Maurissa Tancharoen. "

Puh, wenn das nix is.

"We had this home-baked idea that we love and we're proud of," Whedon says. "We made this on the understanding that we'd never make a dime. But it's blown up beyond our expectations."

Sci Fi Wire befragte Joss zu Cabin:

Joss Whedon, who is producing the upcoming horror movie The Cabin in the Woods, was coy with SCI FI Wire about the film's top-secret plot, except to say "bad things might happen to teenagers during the film."

Außerdem:

"All I can say about Cabin in the Woods is that it's a movie, um, and that it's a horror movie, and that it's the kind of horror movie that you would expect from me and Drew Goddard if somebody put us in the same room," Whedon said slyly in an interview. "Which nobody ever should."

Zur Kollision mit den Dollhouse-Dreharbeiten:

"[We] will be shooting parts of [Cabin] elsewhere, but most of it we'll be shooting in Los Angeles so that I can do double duty," Whedon said.

Na dann. Drehbeginn soll innerhalb der nächsten sechs Monate sein, während die ersten Bejubelungen des (noch spec) Skripts auftauchen:

Vollman will continue to work both jobs through the release of Paramount's "Tropic Thunder" (which has an incredible cameo by hip-hop dancing Tom Cruise) next month, then start work full time at MGM Aug. 18. He's already been looking at "Valkyrie" creative materials and reading MGM scripts. Parent sent him "Cabin in the Woods," a Joss Whedon thriller that will be directed by Drew Goddard. "I couldn't put it down," says Vollman. "It's 'Buffy' meets 'Cloverfield.' All I could think was--I can market the [heck] out of that."

Glaubt es oder nicht, aber es gibt eine Fankampagne dazu, aufzudecken, dass Dr. Horrible ein blankes Plagiat von dem mir unbekannten Dr. Steel ist. Also die Fans von Dr. Steel, natürlich, die sich übrigens Toy Soldiers nennen. Details gibt's hier, den obigen Banner zur Mission hier.

Die olle Jane hat auf ihrem Blog Dr. Horibble gelobt und dabei gemeint:

Check out the joke in the first segment, the one about "Bait and Switch." This is a brilliant joke. Go watch it and then think about it for a bit. Figure out how it works and then construct your own jokes using the same principles. Genius!

Das Transskript sagt dazu:

Dr. Horrible: Hey, didn’t you ahh. Didn’t you go on a date last night? Conflict Diamond told me you were doubling with Bait’N’Switch.
Moist: Yeah, Ahhh..
Dr. Horrible: Yeah?
Moist: It was all right. I kinda thought I was supposed to end up with Bait, but…

Well, I'm too stupid for it. Kann wer helfen?

... Lyrics! We got ourselves some lyrics!!

Oh my!

... und sein Fantum für Battlestar Galactica, aber wen interessiert das schon. Spannender ist da, wie er seine Beziehung zu Fox beschreibt. Kevin Reilly und Peter Liguori get a mention, drüben, bei tvaddict.com:

So how different is it working with the new regime at FOX, in contrast to what happened with FIREFLY?

It’s a completely different energy then the last time. FOX understands what it is we’re trying to do. I understand clearly what they want. And while there’s definitely a back and forth, there’s a collaboration. Not just people glaring at each-other.

I feel really good about how they plan to position it, and their feeling about it as a concept and as a show.

Do you think the positive feeling are as a result of Kevin Reilly changing things up at the network?

Peter [Liguori] and Kevin [Reilly] both come from a different school than the last bunch. Everyone has someone to answer to. But they don’t behave like people living in fear and I think that’s the biggest disease among network executives.

ABC Entertainment president Stephen McPherson, die Konkurrenz, quasi, ist skeptisch bezüglich der "Remote-Free TV"-Idee, ganz klassisch entlang der (schon Joss etwas problematisch vorkommenden) Rerun-Frage:

McPherson had a couple of good points as to logistics: If/when these shows go to syndication or appear elsewhere besides Fox, they'll inevitably have to be cut down to fit the usual advertising requirements. Which means about nine or 10 minutes will have to be excised from each episode.

In ca. 10 Minuten werden die Nominierungen für die diesjährigen Emmys bekanntgegeben, und zwar von Kristin Chenoweth (die wunderbare Olive Snook auf Pushing Daisies) und Dr. Horrible himself. Warum die Academy das um halb sechs Uhr Ortszeit macht, ist mir zwar schleierhaft, aber ich drücke trotzdem meinen Shows die Daumen. Die zehn Halbfinalisten für Drama und Comedy Series, aus denen dann gleich die 5 Noms präsentiert werden, lauten:

Outstanding Comedy Series

* Curb Your Enthusiasm
* Entourage
* Family Guy
* Flight of the Conchords
* The Office
* Pushing Daisies
* 30 Rock
* Two and a Half Men
* Ugly Betty
* Weeds

Outstanding Drama Series

* Boston Legal
* Damages
* Dexter
* Friday Night Lights
* Grey’s Anatomy
* House
* Lost
* Mad Men
* The Tudors
* The Wire

Meine Hopes für Comedy: 30 Rock, Pushing Daisies, The Office. Meine Hopes für Drama: Boston Legal, Dexter, House. Auch wenn diese Zuordnungen ja immer recht spannend sind: Pushing Daisies ist Comeday, aber Boston Legal Drama? Oh wel...

Seit gestern laufen ja die Vorbereitungen für Episode 2!

Auf Sci Fi Wire gibt's eine Story über Dollhouse und Eliza, wo sie den mittlerweile legendären Satz über die Frau im Joss weiterspinnt:

"Joss really gets women," Dushku said. "There's a woman somewhere deep inside of him. ... And so that's sort of what we just started talking about: the challenge of that and what we face, what I face, in our culture today. And, with that, ... he went to the bathroom, and when he came back, he said, 'The show will be called Dollhouse.' And I was like, 'OK. I'm in.' And so here we are."

Ausiello prügelt ihn zwar zu Battlestar Galactica-Gossip, aber trotzdem. Neben Eliza, hat auch er übrigens bei TVGuide ein kurzes Ausiello-Interview:



Großartig die Frage: Welche Fähigkeit würde er am liebsten einprogrammiert bekommen. Archery? Antwort: Archery?! Come on! I'm a natural hunter, i know how to arch!

Und dann noch Joss:

Der FOX Entertainment Chairman Peter Liguori, der zweitwichtigste Boss von Joss, und hier rechts im Bild neben Eliza und Kevin Reilly, dem wichtigsten, gibt ein cooles Interview hier über Dollhouse und Virtuality:

MR: Do you think the shows benefit more from engaging interest at Comic-Con?

PL: It’s like any TV show, any movie -- what do you do when you screen the movie [for research], you screen it with real aficionados. If you make it with them, you have a chance to spread out [beyond that]. With a show like “Dollhouse” we want to make sure the loyalists are really reacting to the show and that does give us a fair amount of momentum. For a show to be successful, you’ve got to branch out beyond the sci-fi geeks.

Die Frage, ob er auch für das Dollhouse-Kopf-über-ohne-Pilot-gleich-sieben-Folgen-kaufen-Ding ist:

MR: It sounds like you’re more inclined to go with the whole pilot model versus what I’ve heard other executives say.

PL: It depends on the show. [Fox entertainment president] Kevin [Reilly] and I really wrestle [with the idea] of going directly to series with some shows. “Dollhouse,” [we made a] series commitment (that cast is pictured at left). That’s when you’re sitting there with a showrunner who’s proven, he sits there and talks you through the first 6-, 8-, 12-episode arc, and given a writers strike, you say, “Let’s go, staff up, do your thing.” In some instances it’s worth doing that. In something like Ron’s project – it’s a very ambitious concept. Even he wants to try it out.

Und ganz am Ende, reden sie noch über die uralte Frage, wieviele Leute schon als "Erfolg" zählen, und das unglaubliche ist: der Fox Chairman of Entertainment paraphrasiert mehr oder weniger Joss' altes Credo "lieber 100, die müssen, als 1000, die wollen":

MR: When it comes to “Dollhouse,” do you have time to build that audience? We all love Joss but sometimes the faithful can be louder than the numbers.

PL: It’s the age-old question. Every show is different. You can launch a show and it’s a 4-share show. It’s not going to become a 24-share show. The thing with Joss, you launch his show and instantly it becomes somebody’s favorite show. To me, in this current television environment, if you can be somebody’s favorite show, you’d better be patient with that show.

[It used to be] and 18-share show, that was the bar you had to jump over. If you’re looking at a 7-share show in an 18-share-hit environment, wrap it up, move on. Done. Today, I sit there and say, you know, I sat there from a distance and saw “House” premiere at a 7-share. I know I have certain tools at my disposal for promotional platforms. And you know what, I’d rather know I have a very strong, loyal core that I can build on. That being said, getting out of the gate is important in this environment.

MR: It seemed like with the strike, there was less of a tendency to cancel shows that might have gotten canceled any other season.

PL: Admittedly so, partly because of the strike -- we aired every episode of every show we ordered last year. We are going to have a fair amount of product next season, but I also feel we have proven showrunners – let the show go on.

Let. The Show. Go On. Bitte den Satz auf der Zunge zergehen lassen, alle Skeptiker da draußen.