OFFICIAL: The Punisher To Appear in “Marvel’s Dardevil” S2 On Netflix. Walking Dead Alum Cast In Role…

punisherLast week there were rumors swirling that season two of the Netflix hit series adaptation of Marvel Comics’ Daredevil would feature popular anti-hero character, the Punisher and popular villain/long-time Daredevil nemesis, Bullseye.

Well, we can stop speculating on at least half of that because today Marvel announced that the The Walking Dead‘s Jon Bernthal has been cast as in the role of Frank Castle, New York’s most notorious and bloody vigilante known as the Punisher.

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37 Shows That You Might Want To Check Out This Summer (Part 2)

Here’s part two of our series on shows you might want to check out this summer.  Just one show today.  Scroll to the bottom for the previous entry.

HCFHalt and Catch Fire (AMC – Sundays, 10:00 p.m. beginning June 1st)

You have to give AMC credit for having the vision and foresight to bring television ideas to life that on their face seem like they would be as boring as watching paint dry. Think about these premises if you will:

1.) High School chemistry teacher resorts to dealing meth when he finds out he has terminal cancer.

2.) A New York City ad agency during the 1960s.

3.) A Western that focuses on the construction of the railroad post Civil War.

4.) Zombie apocalypse occurs, people are trying to survive.

On paper, these simple premises that have all resulted in some of the biggest hits and critically acclaimed darlings in television history, all have one thing in common: incredible character development.  Halt and Catch Fire would seem to be following this same tradition because let’s be honest, does the premise of “three people in 1983 try to reverse engineer IBM personal computer technology” really seem exciting to anyone but the biggest nerd?  I expect Halt and Catch Fire to do what AMC series usually do and that is to suck audiences in with the characters at first and the compelling drama later.

In fact, if you think about it, the biggest failure in recent history for AMC series-wise has been  Low Winter Sun which attempted to find success with the exact opposite formula, focusing on a (mediocre) story and not on character development out of the gate. AMC knows which side their bread is buttered on and I don’t expect a mistake like Low Winter Sun again for quite some time.

After seeing the first episode, it seems to be in the fast-paced spirit of Jobs and The Social Network and I am enjoying it so far.  It’s tough to make a series assessment after only the pilot but it’s definitely worth following.

What it has going for it: Not only does AMC have a fantastic track record when it comes to picking winners but they also have a reputation of sticking by their shows when conventional wisdom would have had other networks running at the first sign of trouble (See: The Killing which was canceled and subsequently uncanceled by AMC because THEY had faith in the story-telling of the show which is unheard of).  The relatively unknown cast and the fact that although it’s a period piece, it’s set during a time that is within arm’s reach for producers (offices really haven’t changed much in 30 years and it’s not difficult to go to your local thrift store to find 1980s period clothing and computer technology for a dime), makes the show undoubtedly inexpensive to produce making it that much easier for execs to support it.

What it has going against it: I really can’t see much.  The biggest challenge this show is going to face is, as I noted, getting audiences past the on-paper dry premise but AMC audiences are used to this by now and they know that with AMC, it’s a marathon and not a sprint.

Check out part one, here.

TV Blasphemy: Sorry, But ‘The Walking Dead’ Sucks…

carl pudding AMC’s The Walking Dead  returned Sunday after a two-month hiatus. As a fan of the series I have sat on the edge of my seat for three and a half seasons now, week-to-week, looking forward to the weekly big twist that was inevitably on the horizon that would make me want to tune in the following week. After the most recent episode, After, which featured hardly any dialogue whatsoever and just a series of awful things happening and horrible, depressing imagery, I’ve come to the only conclusion that I think any rational human being can come to:  The Walking Dead sucks and it has for quite some time.

Now, don’t get me wrong, I’ll probably continue to watch if for no other reason than it’s one of the few shows that Mrs. Tastic and I can agree on so it’s at least mildly compelling and tolerable for me, but I came to the conclusion during the midseason finale that the series is not going anywhere as far as the plot is concerned and I begrudgingly accepted that fact after watching After. It’s simply not progressing the way a serial like this should.

Part of the reason why The Walking Dead became as successful as it did as quickly as it did is because it entered the television landscape at the perfect time when post-apocalyptic sci-fi/horror-themed television was on the rise and it has copied the basic premise (that is, what the show really is about at its core) of all of its predecessors and contemporary counterparts.  Despite what many fans of this show think, the show is not about surviving and it’s not even about zombies.  What the show is really about is exactly what every post-apocalyptic series is about:  How do we maintain our humanity (or if it is even possible to) when the apocalypse hits and the end of the world is at hand?  This is a very common theme on television today even on shows that aren’t technically post-apocalyptic shows.  If you want to examine this further, this theme shows up in popular literature as well, going back decades (think: Lord of the Flies).

So, that’s what the appeal of this genre is at its core.  The problem with The Walking Dead is that though it meets the core requirements of the genre on a weekly basis, there is simply no endgame in sight, in other words, there is no point to this series.  It’s just a weekly festival of stress and gore and the knowledge that any main character could be killed off at any point. This is inherently the problem of basing your serial television series off of a popular comic book serial that has been running consistently for over a decade. Comic books aren’t meant to have an endgame (unless of course they are limited-run), television serials are.  At the end of the day, what is the ultimate goal, the big payoff, the cheese at the end of the maze, the light at the end of the tunnel, etc., for The Walking Dead? Can anyone tell me?

people_arguing_zombiesThe first season actually gave us a goal: our survivors made it to the CDC and it was hinted at that they were trying to find a cure and if I recall correctly, something about working on a cure in France. Then the CDC blew up, we were all left with this cliffhanger that just made us want more, the series got picked up for a second season and since then it’s just been nothing but a long series arguments, killing the occasional zombie and main characters dying.

As noted, there is plenty of post-apocalyptic television fare currently on television with the same theme as The Walking Dead but they all do it better than The Walking Dead if for no other reason than that we know that eventually there will be a payoff, one way or the other.

falling-skies-wallpaper-002

Falling Skies: Post-Apocalypse Done Right…

Examples:

TNT’s Falling Skies which is basically The Walking Dead with aliens instead of zombies but the difference is that the protagonists are taking the fight to the aliens instead of constantly running away from them and just trying to survive.  The endgame is pretty obvious: either the humans will be victorious and defeat the aliens or they won’t.

NBC’s Revolution is a typical contemporary commentary on humanity with the post-apocalyptic theme and for all of its flaws, it is obvious that there is an endgame to this even if they haven’t ultimately spelled it out completely and they throw in mysteries along the way.  Will the power go back on or not?  Will humanity be able to start over?

CBS’s Under the Dome and ABC’s former series Lost aren’t post-apocalyptic, but they share the same commentary on humanity theme that the post-apocalyptic fare does through characters in situations where a small group of people are isolated from the rest of the world and their respective series examine how their humanity remains intact.  Both series have obvious endgames.

The progenitor of the contemporary post-apocalyptic genre television series, Battlestar Galactica (2003) was nothing more than 75 episodes of morality plays and commentary on the human condition… but the endgame was made clear in the first episode.

great-powerful-oz

Yes, pay no attention to the man behind the curtain…

So, without an endgame or anything else remotely resembling a goal for our protagonists, what exactly is keeping audiences so enthralled with this series? The answer is simple: smoke and mirrors.

The truth is that this series is surviving based on a purely visceral emotional reaction.  We love to be scared or more specifically we love suspense and when there are characters that we have become emotionally attached to involved in the suspense it makes the experience that much more satisfying.

One thing that the series has done very well is character development.  Character development is a key factor for the success of any series because the better that development is, the more the audience can relate to the characters, the more the audience becomes attached to the characters and thus, the more the audience becomes attached to a series. Character development seems to be the sole focus of The Walking Dead and the writers and producers appear to be hanging the continued success of the series on the audience’s emotional attachment to the characters (and average to slightly better than average subplots) hoping that they won’t notice that there really is no main plot to this series.

I’m sorry, but no series can survive on character development alone.  There has to be some substance and not only isn’t there any substance to this series, it’s just becoming more depressing every week.

daryl

THIS: Good.

One of the traps of developing characters as thoroughly as this series has done to the exclusion of everything else (because it doesn’t have much else to go on) is that when you kill them off (see: Herschel, Dale, Andrea, T-Dog, Shane, Laurie, etc.) you invariably piss off your core audience.  This is exactly why the meme “IF DARYL DIES, WE WILL RIOT” exists to begin with. The only thing that people care about on this show is the characters. You’ll never see a meme that says “IF THEY DON’T FIND A CURE, WE WILL RIOT” or any reference to anything else regarding the plot because there is no plot that the audience can discern or relate to.

THIS: Not happening... ever.

THIS: Not happening… ever.

That said, the death of a main character can be overcome if the death of the character turns out to be for some greater good and the audience can justify and rationalize the loss of the character.  The problem with The Walking Dead in this regard is that all of these character deaths are simply pointless and they’ve made astute viewers like myself examine the series for what it is and what it’s missing.

Q: Why did Herschel have to die?

A: Because the writers are running out of ideas and needed to emotionally jar the audience by having the ruthless villain murder him in the most gory way imaginable in order to ensure that audience would return on February 9th for the midseason premiere.

Well, that was just fun for everyone... and right before Christmas, no less.

Well, that was just fun for everyone… and right before Christmas, no less.

That was a mistake, folks, because Sunday’s episode accomplished two things: being depressing and boring the shit out of me.  It also made me be honest about the series in general, addressing what I rationally knew but didn’t want to accept during the midseason finale. After succeed in polarizing me very badly and I’m not the only one.

The truth is that even on the most dark and morbid series the audience needs some comic relief and ultimately some hope.  The Walking Dead provides neither.  As dark as Breaking Bad was, Vince Gilligan smartly inserted humor into it regularly and there was always an implied endgame to the series and there was always the hope that even if Walt were to go down that there would be some good fortune for his family.

There is simply no hope on The Walking Dead and there doesn’t appear to be any intention of providing any whatsoever.

AMC: ‘The Killing’ Season Three Premiere Date Announced

the killing detectives

Via Press Release:

‘THE KILLING’ RETURNS TO AMC WITH A TWO-HOUR PREMIERE ON

SUNDAY, JUNE 2 AT 8 PM 

Peter Sarsgaard, Elias Koteas and Amy Seimetz Join Returning Cast Members Mireille Enos and Joel Kinnaman For Third Season 

PrintNew York – March 29, 2013 – AMC announced today that the critically acclaimed drama “The Killing” will return for its third season with a two-hour premiere on Sunday, June 2 at 8:00 p.m ET/PT. The new season, which stars Mireille Enos (Sarah Linden) and Joel Kinnaman (Stephen Holder) along with new cast members Peter Sarsgaard, Elias Koteas and Amy Seimetz, is executive produced by series creator Veena Sud, and will focus on a new case, which will be resolved over the course of ten episodes, ending with a gripping two hour finale.

Season three begins one year after the close of the “Rosie Larsen” case (the focus of the series’ first two seasons) with Sarah Linden (Enos) no longer working as a detective. But when her ex-partner Stephen Holder’s (Kinnaman) search for a runaway girl leads him to discover a gruesome string of murders that connects to a previous murder investigation by Linden, she is drawn back into the life she thought she’d left behind.

“We learned so much from the first two seasons of “The Killing” and are thrilled to be bringing it back with the elements that the fans loved,” said Charlie Collier, president & general manager, AMC.  “Veena’s captivating storytelling along with the performances of Joel and Mireille, and the rest of the exemplary cast, will remind audiences of what they loved about the series and provide a season of suspenseful television.”

Added David Madden, president of Fox Television Studios, “From the beginning, Veena Sud has invested ‘The Killing’ with some of the richest characters on television, testing and sometimes trampling the traditions of the television procedural – and we’re indebted to AMC for the opportunity to present a third season.  We’re particularly excited by the new moves of our returning leads, ‘Sarah’ and ‘Holder,’ brought to life so beautifully by Mireille and Joel, as well as the addition to our stellar cast of Peter Sarsgaard in his television series debut, the brilliant Elias Koteas and Amy Seimetz, and a cluster of newcomers whom we hope will dazzle the audience as this new season unfolds.”

Said executive producer and series creator Veena Sud, “I am grateful to AMC, Fox TV Studios and Netflix for their commitment to the show and their efforts in bringing ‘The Killing’ back to air. I’m also thrilled to be working with our incredible writing team as we continue to explore the lives of ‘Sarah’ and ‘Holder,’ who, like so many real-life detectives, grapple with the consequences to their own lives of a no-holds-barred immersion in the world of a homicide investigation.”

‘The Killing’ is produced by Fox Television Studios and executive produced by Veena Sud, Mikkel Bondesen, for Fabrik Entertainment, Dawn Prestwich and Nicole Yorkin. Kristen Campo and Ron French serve as co-executive producers.

As previously announced by Fox Television Studios, which produces the series for AMC, and Netflix, ‘The Killing’ season three will be available to Netflix members three months after the season finale airs on AMC.

For more information, visit AMC’s press website: http://press.amctv.com

###

About AMC:

AMC reigns as the only cable network in history to ever win the Emmy® Award for Outstanding Drama Series four years in a row. Whether commemorating favorite films from every genre and decade or creating acclaimed original programming, the AMC experience is an uncompromising celebration of great stories. AMC’s original stories include “Mad Men,” “Breaking Bad,” “The Walking Dead,” “The Killing,” “Hell On Wheels” and “Low Winter Sun.” AMC further demonstrates its commitment to the art of storytelling with its slate of unscripted original series, as well as curated movie franchises like AMC’s Can’t Get Enough and AMC’s Crazy About. AMC is owned and operated by AMC Networks Inc. and its sister networks include IFC, Sundance Channel and WE tv. AMC is available across all platforms, including on-air, online, on demand and mobile. AMC: Story Matters HereSM

About FTVS:

Fox Television Studios produces scripted and unscripted programming for US broadcast and cable networks, and international broadcasters. In addition to The Killing, the studio produces the hit series Burn Notice and White Collar, as well as the upcoming series Graceland, for USA; The Glades for A&E; The Americans for FX;, and the upcoming Maron for IFC. FTVS also is producing the pilots Sirens for USA, and Rita for Bravo, as well as TNT’s unscripted series Life Flight, which will air in 2014.

AMC: ‘The Walking Dead’ Season Four Begins Shooting In May, New Showrunner Named

twd s3

Via Press Release:

Season Four of AMC’S

“THE WALKING DEAD”

Begins Production May 6 in Atlanta

AMC Confirms Scott M. Gimple As Showrunner and
Executive Producer For Season Four

Greg Nicotero and Tom Luse Elevated to Executive Producers With Robert Kirkman,
Gale Anne Hurd and David Alpert

New York — February 27, 2013 — AMC announced today that the cast and crew of “The Walking Dead” return to Atlanta, Georgia on Monday, May 6th to begin production on season four. AMC also confirms Scott M. Gimple as showrunner and executive producer for the series’ fourth season to premiere in October with 16 episodes. Gimple has been on the show’s writing staff since season two. Co-Executive Producer, Emmy ® Award-winning Special Effects Makeup Supervisor and Director Greg Nicotero and Producer Tom Luse have also been elevated to executive producers.?“The Walking Dead” is based on the comic book series created and written by Robert Kirkman and published by Skybound, Kirkman’s imprint at Image Comics. Kirkman, Gale Anne Hurd and David Alpert continue to serve as executive producers for season four.

“Scott has been an essential part of this show since he came aboard at the very beginning of season two. He’s contributed to guiding this show in a substantial way that has resulted in a lot of the key scenes and storylines fans have dubbed signature moments of ‘The Walking Dead,’” said Kirkman. “I am thrilled to begin work on a brand new season of ‘The Walking Dead’ with Scott at the helm, and I truly believe we could be embarking on what will be the best season of this show yet.”

“Scott’s voice has been an integral one since he joined the show. Greg Nicotero is a true artist whose work is simply brilliant. And, Tom Luse has really created the machine that allows this very large show to get made week to week. We congratulate all three in their new roles on the series and look forward to ramping up production on season four,” said Joel Stillerman, AMC’s EVP of original programming, production and digital content.

“I’m thrilled to continue the tradition of the spectacular, cinematic, horrifying, exciting and emotional storytelling of ‘The Walking Dead,’” said Gimple. “I’m a huge fan of the comics, and started with the show on the other side of the set, as an avid viewer. Over the past two years, it’s been an incredible privilege making such great television with the best cast and crew I’ve ever worked with – I can’t wait to make some more.”

Gimple has written some of the most celebrated and talked-about episodes from seasons two and three including episode 306 (Hounded) and last season’s climatic mid-season finale episode 207 (Pretty Much Dead Already), which revealed Sophia in the barn. Gimple previously worked on NBC’s acclaimed series “Life” and ABC’s cult favorite “Flashforward.” “Flashfoward” began as a collaboration with David S. Goyer (The Dark KnightMan of Steel) with whom he co-wrote both the Sony feature film Ghost Rider: Spirit of Vengeance and episodes two and three in the upcoming inaugural season of Starz’ “DaVinci’s Demons.” Gimple also worked for Matt Groening’s Bongo Comics, where he wrote and edited “Simpsons Comics.” He has also written stories for the comic books “What If?” and “Spider-Man Unlimited.”

Nicotero (Kill BillTransformersInglorious Basterds) and his team received the Emmy ® Award for Outstanding Prosthetic Makeup two years in a row (2011/2012) for their work on “The Walking Dead.” In addition to leading the visual and special effects and makeup for the series, Nicotero has directed several episodes. Luse (Remember the Titans, “One Tree Hill,” Jeepers Creepers, “The Joneses,” “Everwood”) has been with the show since the beginning of production and was instrumental in setting up the production of AMC’s first owned scripted series. Based in Atlanta, he manages and oversees the day-to-day production of the series.

* * *

About AMC
AMC reigns as the only cable network in history to ever win the Emmy ® Award for Outstanding Drama Series four years in a row. Whether commemorating favorite films from every genre and decade or creating acclaimed original programming, the AMC experience is an uncompromising celebration of great stories. AMC’s original dramas include “Mad Men,” “Breaking Bad,” “The Walking Dead” “The Killing” and “Hell on Wheels.” AMC further demonstrates its commitment to the art of storytelling with its slate of unscripted original series, as well as curated movie franchises like AMC’s Can’t Get Enough and AMC’s Crazy About. AMC is owned and operated by AMC Networks Inc. and its sister networks include IFC, Sundance Channel and WE tv. AMC is available across all platforms, including on-air, online, on demand and mobile. AMC: Story Matters HereSM.

# # #

OFFICIALLY OFFICIAL: AMC Announces Resurrection Of ‘The Killing’ For Third Season

the killing banner

Yes, yes… we know we posted the news about the writers and production staff returning to work a few weeks ago but we didn’t have any official notice from AMC until today.  A couple of things to note, though: first, contrary to the reports from multiple sources, it doesn’t appear as if Netflix has anything to do with The Killing’s resurrection at all.  Then again, there may be a content deal that was worked out that made this possible that we aren’t privy to.  Second, in perhaps the only instance of a press release placating to butt-hurt viewers with an attention-span of a Labrador retriever, notice how the press release makes a point to mention right in the first paragraph that the third season will feature a new case that will be resolved by the end of the season… to which all we can say is:

ha-ha-nelson

Via Press Release:

AMC and FOX Television Studios Partner on “THE KILLING” Season Three

 

amc logoNew York, NY – January 15, 2013 – AMC and Fox Television Studios (FTVS) announced today a new deal which will return “The Killing” to AMC for a third season. As part of the deal, Veena Sud returns as executive producer, writer and showrunner along with actors Mireille Enos (Sarah Linden) and Joel Kinnaman (Stephen Holder). Season three will focus on a new case, which will be resolved over the course of 12 episodes. Production on season three begins February 25th in Vancouver.

“’The Killing’ from day one has been a truly original take on the crime drama. Veena Sud and the rest of the talented creative team are hard at work shaping the lives of Linden and Holder, portrayed by the terrific Mireille Enos and Joel Kinnaman,” said Charlie Collier, AMC’s president. “We’re so pleased to welcome back ‘The Killing’ for another season.”

Fox TV Studios President, David Madden, said, “We have always believed in ‘The Killing’ and remain extremely proud of it, which is why we all worked so hard to find a scenario that could give it new life.”

“I couldn’t be happier to know that I will be returning to work with AMC, FTVS and Mireille and Joel on what is and has always been a passion project for me. To the fans that have supported the series, thank you for doing so. My team and I will work hard to deliver the best story that we can for season three,” said Veena Sud.

A year after closing the Rosie Larsen case, Sarah Linden is no longer a detective. But when her ex-partner Stephen Holder’s search for a runaway girl leads him to discover a gruesome string of murders that connects to a previous murder investigation by Linden, she is drawn back into the life she thought she’d left behind.

“The Killing” is produced by Fox Television Studios and executive produced by Mikkel Bondesen for Bondesen Productions. Kristen Campo serves as co-executive producer.

The series premiered on AMC Sunday, April 3, 2011, with season two premiering Sunday, April 1, 2012. The Killing averaged 1.9 million viewers over the 2 seasons.

AMC’s Joel Stillerman, executive vice president of original programming, production and digital content, Susie Fitzgerald, senior vice president of scripted development and current programming and Jason Fisher, senior vice president of production oversee production of the series for the network.

For more information, visit AMC’s press website, http://press.amctv.com.

* * *

About AMC
AMC reigns as the only cable network in history to ever win the Emmy® Award for Outstanding Drama Series four years in a row. Whether commemorating favorite films from every genre and decade or creating acclaimed original programming, the AMC experience is an uncompromising celebration of great stories. AMC’s original stories include “Mad Men,” “Breaking Bad,” “The Walking Dead” “The Killing” and “Hell on Wheels.” AMC further demonstrates its commitment to the art of storytelling with its slate of unscripted original series, as well as curated movie franchises like AMC’s Can’t Get Enough and AMC’s Crazy About. AMC is owned and operated by AMC Networks Inc. and its sister networks include IFC, Sundance Channel and WE tv. AMC is available across all platforms, including on-air, online, on demand and mobile. AMC: Story Matters HereSM

About FTVS
Fox Television Studios produces scripted and unscripted programming for US broadcast and cable networks, and international broadcasters. The studio produces the hit series Burn Noticeand White Collar, as well as the upcoming series Graceland, for USA; The Glades for A&E; the new series The Americans for FX; The Killing for AMC, and the upcoming Maron for IFC.

# # #

AMC Announces Thursday Unscripted Block

Via Press Release:

AMC LAUNCHES NEW PROGRAMMING NIGHT

FOR ORIGINAL UNSCRIPTED SERIES    

“COMIC BOOK MEN,” “FREAKSHOW” AND “IMMORTALIZED”  

TO AIR THURSDAY NIGHTS BEGINNING FEBRUARY 14

New York – November 28, 2012 – AMC announced today a new programming night for its original unscripted series.  The network will air the final eight episodes of “Comic Book Men” season two along with the premiere seasons of “Freakshow” and “Immortalized” on Thursday nights beginning Thursday, February 14.  The new programming night will kick off at 9pm with “Comic Book Men” season two, executive produced by Kevin Smith, Charlie Corwin’s Original Media and Elyse Seiden, followed by “Freakshow,” executive produced by Greg Johnston from Endemol USA and Todd Ray from Living Wonders, at 9:30pm and “Immortalized,” executive produced by Go Go Luckey Entertainment, at 10pm. The second seasons of unscripted series “The Pitch” and “Small Town Security” as well the recently greenlit “Road Show” (working title) will also air on Thursdays later in 2013.

“With an expanding slate of unscripted series, it makes perfect sense for us to create and build a new night for these great stories, in the same way we have made Sundays a true destination for our award-winning original dramas,” said Joel Stillerman, AMC’s EVP of original programming, production and digital content. “We are excited to have Thursday night as the new home for unscripted on AMC, as we continue to showcase distinct storytelling that explores authentic characters and original worlds.”

“Comic Book Men,” which critics called “genial, good-natured, eccentric and dry-witted” (Newsday) and “a celebration of the deeply particular personalities involved when geeky merchandise changes hands,” (The New York Times), follows Smith and his crew of fan boys turned pop culture experts who live, work and breath comic books.  In the new season, which premiered October 14, the guys of Smith’s iconic comic shop, Jay and Silent Bob’s Secret Stash, geek-out over rare memorabilia and discover treasures of the comic collecting world. Realize your inner superhero and satisfy your fan boy fantasies by watching Smith, Walt, Mike, Bryan and Ming tape their outrageous podcasts where they tackle the burning questions all fans grapple with: what is the ultimate superpower and how best to relive the nostalgia of your childhood.

“Freakshow” is a family drama that centers on former music producer Todd Ray as he pursues his dream to own and operate his own ‘Freakshow’ on the famed boardwalk in Venice Beach, CA.  The series follows Todd, his wife Danielle and their two kids, Asia and Phoenix, as they own and operate the world famous Venice Beach Freakshow, a museum that exhibits strange creatures, living oddities and human attractions personally procured by Todd. This business is Todd’s personal passion and he has bet it all on making it work. It takes a huge imagination and tremendous perseverance to keep the business afloat, but through it all Todd’s enormous respect for all humanity and his big heart make this something wildly different from just another workplace drama. The series consists of eight, half-hour episodes. 

“Immortalized” delves into the passionate detail and artistic expression of one of the world’s oldest art forms: Taxidermy. Each episode will feature one of four highly regarded “Immortalizers” facing off against a lesser known “Challenger” in a competition to create a piece to be judged on three criteria: originality, workmanship and interpretation of the designated theme. Featured for the first time on the small screen, taxidermy’s new breed of Rogue artists will have the opportunity to showcase their creative interpretation versus that of a traditionalist as they attempt to perfect this centuries-old art form in a battle of glory and pride.  The series consists of eight, half-hour episodes and is produced by Gary Auerbach, Julie Auerbach, and Tina Gazzerro.

About AMC

AMC reigns as the only cable network in history to ever win the Emmy® Award for Outstanding Drama Series four years in a row. Whether commemorating favorite films from every genre and decade or creating acclaimed original programming, the AMC experience is an uncompromising celebration of great stories.  AMC’s original stories include “Mad Men,” “Breaking Bad,” and “The Walking Dead.”  AMC further demonstrates its commitment to the art of storytelling with its slate of unscripted original series, as well as curated movie franchises like AMC’s Can’t Get Enough and AMC’s Crazy About.  AMC is owned and operated by AMC Networks Inc. and its sister networks include IFC, Sundance Channel and WE tv.  AMC is available across all platforms, including on-air, online, on demand and mobile.  AMC: Story Matters HereSM.

REPORT: ‘The Killing’ Writers Are Back To Work For Season Three

the killing detectives

Multiple sources have confirmed that the writers for AMC’s The Killing are back to work and season three should premiere in late May.  We, of course, reported that the highly-acclaimed series which had been canceled after its second season, was probably going to find new life because of a deal worked out between AMC and Netflix.

OFFICIAL: Season Three Of ‘Hell On Wheels’ Confirmed By AMC

About two months ago we announced that Hell on Wheels had be renewed by AMC for a third season… then we announced that the renewal had been put on hold with the departure of showrunner, John Shiban.  Well, it’s game-on, again, as the Western series has found a new showrunner in John Wirth.

Via Press Releases:

AMC RENEWS “Hell On Wheels”

FOR A THIRD SEASON

JOHN WIRTH SIGNS ON AS

EXECUTIVE PRODUCER AND SHOWRUNNER

New York, NY – December 12, 2012 – AMC announced today the renewal of “Hell On Wheels” for a third season with John Wirth (“V” “Fallen Skies” “Terminator: The Sarah Connor Chronicles”) serving as executive producer and showrunner. Season three of the series has been greenlit for ten, one-hour episodes and is scheduled to premiere in third quarter 2013.

Centered on the lawless town known as “Hell On Wheels,” that travels with and services the construction of the first transcontinental railroad, the series examines the railroad’s institutionalized greed and corruption, the immigrant experience and the plight of the newly emancipated African-Americans during reconstruction. “Hell On Wheels” second season wrapped in October with an average of 2.4 million viewers and 3.2 million viewers with Live plus 7.

“As we gear up for season three of ‘Hell On Wheels’ we are pleased to have such an accomplished show runner as John Wirth join our team,” said Susie Fitzgerald, AMC’s SVP of scripted development and current programming. “With the help of our partners at Entertainment One, Endemol and Nomadic, we look forward to a new season of the poetic and pulpy adventures of Cullen Bohannan and the other characters as they build the railroad across the US.”

“We’re delighted to continue our relationship with AMC, Endemol and Nomadic Pictures,” said Michael Rosenberg, Executive VP, US Scripted Television, Entertainment One Television. “John Wirth is an incredible talent who will drive our roaring series and build on the strength and success of the ‘Hell on Wheels’ brand.”

“We look forward to unveiling the next riveting chapter in the complex lives of the denizens of ‘Hell on Wheels,’” said Jeremy Gold, Head of Creative Affairs, Endemol Studios and executive producer, “Hell on Wheels.” “We are delighted that John Wirth will be joining us on this remarkable journey. John is a proven showrunner with a terrific voice and a deep passion for our show,” Gold concluded.

“Hell on Wheels” stars Anson Mount as former confederate soldier Cullen Bohannan, who is struggling to escape his demons from the recently fought Civil War. Colm Meaney stars as Thomas “doc” Durant, a greedy entrepreneur taking full advantage of the changing times, and musician/actor Common is Elam Ferguson, an emancipated slave working to achieve true freedom in a work entrenched in prejudice. “Hell on Wheels” received a 2012 Emmy nomination for outstanding original main title theme music.

“Hell on Wheels” was developed by Endemol USA and is produced by Entertainment One (eOne) and Nomadic Pictures. Endemol Studios’ Head of Creative Affairs Jeremy Gold serves as executive producer. eOne’s Television CEO John Morayniss and EVP US scripted television Michael Rosenberg oversee production in partnership with co-producers Mike Frislev and Chad Oakes from Nomadic Pictures. Mark Richard is executive producer. “Hell on Wheels” was created by Joe and Tony Gayton, who continue to serve as consultants on the series.

AMC’s EVP of original programming, production and digital content Joel Stillerman, Susie Fitzgerald and Jason Fisher, svp of production oversee “Hell on Wheels.”

Through an international distribution partnership, Endemol USA holds television distribution rights for the series across Europe and eOne handles rights in all remaining territories as well as worldwide rights for DVD/Blu-ray, VOD and Digital distribution.

Shot on location in Alberta, Canada, the series is produced with assistance of the Government of Alberta, Alberta Film Development Program.

ABOUT AMC

AMC reigns as the only cable network in history to ever win the Emmy® Award for Outstanding Drama Series four years in a row. Whether commemorating favorite films from every genre and decade or creating acclaimed original programming, the AMC experience is an uncompromising celebration of great stories. AMC’s original stories include “Mad Men,” “Breaking Bad,” “The Walking Dead” and “Hell on Wheels.” AMC further demonstrates its commitment to the art of storytelling with its slate of unscripted original series, as well as curated movie franchises like AMC’s Can’t Get Enough and AMC’s Crazy About. AMC is owned and operated by AMC Networks Inc. and its sister networks include IFC, Sundance Channel and WE tv. AMC is available across all platforms, including on-air, online, on demand and mobile. AMC: Story Matters HereSM.

ABOUT ENTERTAINMENT ONE

Entertainment One Ltd. (LSE:ETO) is a leading international entertainment company that specializes in the acquisition, production and distribution of film and television content. The company’s comprehensive network extends around the globe including Canada, the US, the UK, Ireland, Australia, New Zealand, Benelux, France, Germany, Scandinavia, South Africa and South Korea. Through established Entertainment and Distribution divisions, the company provides extensive expertise in film distribution, television and music production, family programming and merchandising and licensing. Its current rights library is exploited across all media formats and includes more than 24,000 film and television titles, 2,700 hours of television programming and 45,000 music tracks.

http://www.entertainmentonegroup.com/

ABOUT ENDEMOL USA

Endemol USA is a leading producer of television programming specializing in unscripted and scripted genres for network and cable television. The company produces the hit shows “Wipeout,” “Extreme Makeover: Home Edition,” “Deal Or No Deal” and “Big Brother.” Endemol USA is a division of the Endemol Group, a leading international content developer, producer and distributor of television and online programming. The company, headquartered in the Netherlands and the UK, has subsidiaries and joint ventures in 26 countries, including the major European markets, the U.S., South Africa, Argentina, Brazil, Mexico and Australia. Endemol is owned by a consortium consisting of Goldman Sachs Capital Partners, Mediaset Group and Cyrte Group. For more information, please visit http://www.endemolusa.tv. Endemol is a privately held company.

ABOUT NOMADIC PICTURES

Nomadic Pictures is a Calgary based production company developing, financing and producing features, MOW’s and TV series. In 16 years, Nomadic has produced over 45 projects and remains one of the most active production companies in Canada. In 2004, Nomadic won three Daytime Emmy’s® for “The Incredible Mrs. Richie” starring James Caan, Kevin Zegers and Gena Rowlands. In 2005 Nomadic co-produced AMC’s first scripted Original mini-series, “Broken Trail” (Robert Duvall, Thomas Haden Church), which went on to win four Primetime Emmy® awards.

AMC: ‘The Walking Dead’ Renewed For Season Four, Glen Mazzara Leaves As Showrunner

Via Joint Statement from AMC and Glenn Mazzara:

December 21, 2012 – 

Today, AMC announces the season 4 pick-up of The Walking Dead. 

AMC also jointly announces with Glen Mazzara today that for future seasons, the two parties have mutually decided to part ways.  Glen guided the series creatively for seasons 2 and 3.  AMC is grateful for his hard work.  We are both proud of our shared success.

Both parties acknowledge that there is a difference of opinion about where the show should go moving forward, and conclude that it is best to part ways.  This decision is amicable and Glen will remain on for post-production on season 3B as showrunner and executive producer.