Private Practice

I’m always amazed at how busy the actors from Private Practice are even when the show is in production. Now that it’s on a “hiatus” of sorts due to the writer’s strike, the actors have remained just as busy.

Taye Diggs has been doing some good deeds of the victims of Katrina of late, but that doesn’t stop him from using his acting muscles as well. According to a rumor in Vanity Fair, Diggs might just be be starring in the upcoming Chicago 7 directed by Steven Spielberg along with Sacha Baron Cohen and Philip Seymour Hoffman. Well, Mr. Speilberg… HELLO.

Roma Torre from NY1 News is praising Audra McDonald’s work in 110 in the Shade, calling it “phenomenal.” McDonald IS a talented actress. Even if she is the wrong Naomi.

But I digress!

Here’s her belting out “Simple Little Things” on The View a few months back. I think she’s talented, no doubt, but her performance on was a little too over the top. Yeah, yeah, I know Broadway IS over the top… but her voice is just too… much like watching an obnoxious kid sing “Silver Bells” on Christmas. (Like a certain cousin of mine who used to think she was Barbara Friggin Streisand. You know who you are.)

KaDee Strickland and Paul Adelstein, meanwhile, are supporting the striking writers by their participation in “Diversity Day.” Check out Adelstein’s bearded up face – the typical “I’m out of work” sign for any actor.

Speaking of which… when’s that writer’s strike gonna come to an end already?

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What’s a girl to do when she finds herself out of work for the time being? Say… because of a writer’s strike… or something hypothetical like that? Fly to Spain, of course. At least, that’s what Kate Walsh did this week, to promote Private Practice in the beautiful city of Madrid. She attended a special screening at Captiol Cinema on Monday.

Here’s a clip from her appearance:

Did you catch her new look? Short bangs and all? Not sure I dig this, I like Addison so much better when she’s got the gorgeous red hair flying all over. Then again, Walsh is being herself right now… and not Addy. (I knew what you guys were thinking…)

I do think her dress is fabulous, though. Wonder if her cute hubby came along for the trip?

On another writer’s strike related note, Kate Walsh pulled out of announcing the SAG awards nominations this morning. Can’t cross that picket line, folks! She did the right thing, of course, but what a bummer.

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With the writer’s strike lagging on, some of the networks are beginning to switch things around in an effort to boost (or at least maintain) ratings.

According to the New York Times, ABC will temporarily replace Private Practice with Supernanny. They’ll also move Wife Swap to Pushing Daisies usual time spot. These changes are due to happen next month.

This is another reason the writer’s strike is starting to worry me. Today’s television viewer is not the same as it once was. More than that, regular TV can be replaced (at least temporarily!) with reality programming with minimal time and effort.

Apparently ABC is also trying to get some more viewers interested in Lost. Starting at the end of Janaury, they’ll move Grey’s Anatomy (their big ratings cow) out of the way to make room for eight episodes of Lost. Grey’s reruns will then float around on Friday and Saturday nights for a while.

What happens after that? Presumebly, the writer’s strike will then be over and new episodes will be in the works. At least, we can hope.

In other news, came across some interesting figures from TV Guide regarding Private Practice and viewer statistics. For example:

Median income for homes that watched Private Practice: $63,000. Average age for people watching ABC: 49.

Those are AVERAGES? So a lot of older weathly folks seem to like the show. Good to know (I guess.)

Private Practice is reairing “In Which Addison Find the Magic” tonight. In case you haven’t seen it, it’s a great episode. This is the one where Addison first helps a newlywed couple, who incidentally, we do see again later in the season. In the episode Addison needs a recharge of faith, per se, and at this time of year, maybe that’s something we can all relate to. Here’s a highlight:

The Writer’s Guild has now lodged a complaint against the studios. They say when the studios walked away from the bargaining table they broke the law. I always thought that if you went on strike, your employer didn’t HAVE to talk to you. That was the risk with going on strike.

Now there’s the thing. I support the writers! Wholeheartedly!

But at the same time, I’m also worried about them. After all, this ain’t the same television world it once was. People are used to shows showing up at odd times during the year. Reality shows are all over the place and easy to produce. And yeah, while we’re all bummed that we can’t see our favorite shows (like Private Practice!), we also now that networks have run reruns during the holidays for years. The viewing public, in part, is used to this.

On a side note, will the writer’s strike change the way studios develop new series?

Anything’s possible.

In the last few years, networks didn’t give shows a lot of time to prove themselves. Even this year, ABC pulled Big Shots and aired Private Practice in its slot. It’s like, if ratings don’t go through the roof immediately, then forget it.

But it didn’t always used to be that way. Shows like M*A*S*H and Cheers both took awhile to find an audience. But when they did? They became the longest running shows in history.

The Hollywood Reporter says:

“This fall, 23 scripted series premiered on broadcast. Only eight of them — ABC’s “Pushing Daisies,” “Private Practice,” “Samantha Who?” and “Dirty Sexy Money” and CBS’ “The Big Bang Theory,” NBC’s “Chuck” and “Life” and the CW’s “Gossip Girl” — have been ordered for a full season.”

So if we’re looking for a silver lining here, maybe we can a change in thinking to the good the might come out of the strike.

Having said that: BACK TO THE NEGOTATIONS, PEOPLE! Give those writer’s what they justly deserve!

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Oh what a tangled web. The writer’s strike, that is. And if you thought the writer’s strike was bad, apparently it’s just the beginning. While it might seem odd that the studios don’t want to negotiate to resolve this thing, when you consider the fact they’ve also got the Director’s Guild and Screen Actors Guild (SAG) coming up June 20, 2008, it puts this in a new perspective.

According to the LA Times:

“The largest union, with 120,000 members, SAG also has a relatively new president, Alan Rosenberg, who came to power after promising a much more aggressive stance about new media revenues. For the first time, SAG also brought in an outsider, former NFL Players Assn. executive Doug Allen, to be its executive director, another sign that the guild is preparing for a hard-nosed negotiation.”

In other words, the actors will probably be looking for the same thing that the writers are, and if the studios give it to the writer’s, they’ll have to give it to the actors.

Labor negotations… Ain’t it great?

What does that mean for you and me? The International Business Times says:

“If the strike lasts another four to six weeks, it could spell the end for 2008 pilot production. The most-circulated scenario in that case involves the networks renewing all their existing series for next fall, producing their pilots in the summer and launching their new crop of shows in midseason 2009.”

In happier news, John Stamos believes the writer’s strike will actually help his show, ER. (Yes folks, that show is still on the air! I personally haven’t watched it in like ten years, but it’s been on for over a decade. The Gunsmoke of the its time, apparently.) Stamos tells the New York Daily News:

“The writers strike will mean that a lot of pilots won’t be made. That will help us because we’re tried and true and have enough episodes stockpiled to remain on-air well into February, which is getting to be pilot time. Besides, after 14 years, the series would take at least 14 to 19 episodes to wind up properly.”

Well, not necessarily. That’s what “TV Movies” were created for, after all.

One of the shows apparently hit by the writer’s strike is ABC’s Big Shots (which the Hollywood Reporter called “a low-rated male version of “Desperate Housewives.”) The show had some serious eye candy, with Michael Vartan, Dylan McDermott, Christopher Titus and Joshua Malina as the stars. But alas, it was not to be. The network has canceled the show, which aired just after Grey’s Anatomy on Thursday nights. ABC will air reruns of Private Practice in its place.

Private Practice is also among the new shows ABC has already requested a full season from, along with Dirty Sexy Money and Pushing Daisies.

If you can’t wait until Thursday for Private Practice, not to worry. It’s still on tomorrow, too, where they’ll re-air the episode, “In Which We Meet Addison, A Nice Girl from Somewhere Else.”

Here’s a clip:

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On Friday talks for the writer’s strike came to a halt once again. Is it too much to ask that as an early Christmas present they could at least keep at it? Talks between the writers and the big exec’s started up November 26th and once again went to pieces over the income from the Internet point.

We all want the strike to end, for various reasons… we disklike reruns… we have some new shows that have just gotten off the ground (Private Practice, Pushing Daisies)… we think strikes of any type should be mediated by Jimmy Carter so they can be resolved tout de suite.

And here’s another reason for the writer’s to end the strike: Celebrities will have more time on their hands to campaign for their favorite presidential candidates.

Case in point:

Jessica Biel, Ryan Reynolds, Scarlett Johansson, Kate Walsh and Taye Diggs are all backing Democratic presidential primary candidate Barack Obama, and coming together for the “Los Angeles Generation Obama Concert” next week in Los Angeles, US Weekly reports.

Ah… ugh. Here’s the thing, I love these celebs. Really. Love cute goofy Ryan Reynolds…

… love gorgeous Scarlet Johansson…

… and especially love our own Kate Walsh….

… and Taye Diggs.

Still, celebs getting press because of how they vote bore me. Why do I care? I don’t even care how my neighbor is going to vote, why would I care how the likes of Jessica freakin Biel is going to vote. She’s purdy…

… but that’s about it.

On a related note, Marti Noxon (an executive producer of Private Practice) is putting together a comedy concert sponsored by the Writer’s Guild. Eddie Izzard, Sarah Silverman, and Jack Black will play at Royce Hall (UCLA campus) at 8:00 p.m.

Noxon (pictured here) told the LA Times that the writers on Private Practice (and it’s daddy, Grey’s Anatomy) will pay their assistants (who aren’t in the union) out of their own pockets. Said Noxon:

“Everyone needs to feel writers aren’t just out here on our own fighting for our own issues. Members of all unions are affected by the strike.”

Well said, Marti Noxon, well said.

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First of all, I loved the fact that Dell kissed Naomi. So much better than cake! (An early Christmas present from Santa, perhaps?)

I think we saw a different side of Dell tonight. The storyline with his grandpa showed that he’s probably someone that had to grow up too quickly. I have a much larger appreciation for Dell since this episode.

I also loved that Cooper stole Charlotte’s notes and roster for the father’s parenting class. It showed some backbone. Although WHY he continues to sleep with her is beyond me.

I was also glad to see the cop was back in Addy’s world. That smile they both showed at the end said it all.

I still don’t love the Naomi and Sam series of events. I don’t see where it’s going, and this new “fighting for her” storyline is rather lame besides. Here’s why: First he leaves her… THEN he suddenly wants her back? I don’t buy it. Not with a guy like Sam. The writer’s are going to have to be very careful with this one!

Speaking of which… when are you guys coming back to work????

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New Private Practice tonite… which may be the last one for awhile, if what Kate Walsh said on The View is any indication. It’s hard to tell, given the amount of interrupting those other View hosts do, but it sounds like tonight’s eppy will be the last new one until the writer’s strike ends.

I didn’t get to see Kate on the The View, but I did hear she was great. (As always.) She’s very charming and funny and makes a great guest. Here’s here appearance the last time she was on The View, just after she got married:

Don’t you love how Elizabeth Hasselbeck makes the lame comment “Do you know anyone that has an open marriage?” Kate looks at her like she’s nuts.

Anywho, tonight Dell puts up a fight for Naomi. I’m not sure how I feel about this. On one hand, I do not like Sam and Naomi so happily together. They don’t seem like they ever really went together, and also HE LEFT HER so I doubt he’d really want her back so soon. On the other hand, it might be fun to see Naomi and Dell together for a while.

We’ll also get to see more of Cooper and Charlotte doing the nasty. Here’s a clip in case you’ve forgotten:

I have mixed thoughts on this storyline as well. I liked the surprise of having Cooper hook up with Charlotte instead of Violet at the end of the last episode. And I do think it will be majorly awkward in the office when Violet realizes Cooper has DONE IT with the lovely (choke) Dr. King. Seriously, if she were not thin and blonde, would any man want this woman? That voice alone is enough to make you stay away, not to mention the bitchiness factor.

Should be an interesting one. Here’s the preview:

Can’t wait to chat all about it. See ya back here after the eppy.

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With all the question and uncertainty regarding the writer’s strike and what will happen with our favorite TV shows, one thing is certain: Private Practice has stood out as a top choice with viewers. According to the Globe and Mail.com:

Only one new show - the Grey’s Anatomy spinoff Private Practice on CTV - has managed to crack the top 20, a barrier that usually determines whether a show will become a big generator of advertising revenue in its next two years.

Speaking of the writer’s strike: I fully support the writers. I do. I get what they’re asking for and think they should have it. Plain and simple. But I have to say, their site Speechless Without Writers is beyond boring. Click over and check out some of the videos… do it… now… I’ll wait….

Ya back? Good. First of all, I get what they’re trying to illustrate here. We all do! Our favorite characters can’t speak without dialog written for them. Ya. We get it. You don’t need to film a three minute video with various Hollywood stars staring at pieces of blank paper. Nor do you need to have a “scene” with two Oscar winners saying: “Blah, blah, blah!” and “Blah, blah, blah?”

Yikes.

Is this suppose to hammer a point home about the actual strike? Because all it does for me is reinforce my belief that Hollywood stars generally have too much time on their hands.

One idea I DO like is from United Hollywood’s blog where they offer the chance to show your support by buying a box of pencils to send to studio execs. The box is only a buck each, and I can see the exec’s get mucho annoyed by thousands of pencils arriving on their desk. So that idea gets a thumbs up (but still doesn’t make up for the lame videos.)

Here’s our support once more at Watching Private Practice:

PLEASE END THE WRITER’S STRIKE!

TODAY (if possible.)

Thanks much! Hugs and kisses…..

That Crazy Blogger at Watching Private Practice

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Very interesting article in the LA Times about TV’s writer/producer combos like that of Shonda Rhimes of our very own Private Practice (and Grey’s Anatomy). Folks like Rhimes (as well as other creative/business folks in the industry such as Dick Wolf, David E. Kelley, and J.J. Abrams, among others) are not only the driving force creatively in TV today, but are also gaining other duties in producing/directing/editing. This makes them very powerful.

I actually like this thought. A lot. Here’s why.

Before my career as a blogger and freelance writer, I was once a marketing gal. For about 20 years. Which, incidentally, I hated.

It wasn’t the work I despised, but rather the politics of business and the fact that the uncreative people called the creative shots… and then blamed the creative people when things didn’t work out like they planned. I used to hear that this was necessary because creative folks were no good at understanding business. (The left brain/right brain argument was cited.) This certainly is true some of the time. But not always.

Many times I was caught in the middle. For example, a previous manager of mine (who I reported to), was trying to make a name for himself and directing me to do PR up the wazoo. I did. This should mean that I would get a “good job” for actually doing my job, right?

Wrong. I would inevitably get an earful from “corporate” because this wasn’t in their perceived agenda of “what marketing was.” When push came to shove, the manager would throw me in front of the bus, talking to corporate on the side and telling them some incorrect version of the story that involved me doing things “on my own” rather than at his direction. This cycle would continue… until I eventually left.

Let’s translate this back to the TV world. Creative types often deal with people differently. They often know what’s best for a business in terms of brand or image. They understand fans. And they know all about the characters they created.

With regard to the recent writer’s strike, much attention (and support) has been displayed by the “power creatives” of the business (like Shonda Rhimes, who is shown in the photo above on the WGA picket line). These folks have not only helped the cause get more attention, they’ve essentially required the negotiations to get back on track because of their refusal to edit or cast shows. This has slowed things down more than if just a few writers alone walked out. They’ve helped changed the way TV is run. This is definitely a positive step. I hope the business world follows.

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One thing is clear: our favorite TV characters don’t speak with their own brains. They can’t. They are fiction. In other words: They need writers.

From everyone I’ve talked to personally or heard from via emails to this blog, the vast majority of people wholly support the writer’s strike. Heck, even John Edwards got into the act by picketing in front of NBC Studios on November 16th. (He’s the one pictured at left for all of you folks living under a rock.) Here’s a great video on what’s being asked for by the Writer’s Guild and why:

Today the Writer’s Guild and studio heads go back to the negotation table. The last time they met was on November 4th. And we all know what happened there: The writer’s went on strike the very next day. According to the Hollywood Reporter, “The guild and studios have implemented a press blackout on Monday’s session, which is being held in an undisclosed location.”

That’s probably because a federal mediator has joined in the fun. And no wonder. With the support the strike has seen, every related means of Hollywood employment has been affected: from catering, to actors, to cameramen. And so on.

I commented in an earlier blog entry about the bigwig writers (including Private Practice’s own Shonda Rhimes) joining the picket lines. It is this support that gives voice to the other unknown and less well-paid writers. Perhaps if the support continues, we’ll see an end to the strike soon. Wouldn’t that be nice? An early Christmas present! Now that I’m into Addison and Pete and Cooper and Violet and all their kookiness, I don’t want to be left hanging. For some other of my show favorites, like The Office and 30 Rock, that need is even more persistent.

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In this age of unreasonable demands and pampered celebrities, what the writers are asking for seems so very reasonable. Everyone except this dolt seems to agree with them. I hope the studios kick it into gear and agree also.

Several of the stars from Private Practice marched the picket lines this week in support of the writer’s strike. Amy Brenneman, Paul Adelstein, KaDee Strickland, Kate Walsh, Tim Daly, and Chris Lowell were all seen on the lines.

What do you think about the strike?

The sentiment I’ve heard has generally been positive, as most people informed about what the writers are striking for wholeheartedly support their case. Unlike many Hollywood endeavors that can seem “odd there” and demanding, this issue isn’t one of them. I support the writers, and while I’m bummed that some of our favorite shows may be affected, I understand that striking is a necessary measure.

I did, however, come across a hilariously crabby view on the strike, written as an “Ed-Op” piece by Brett Nolan for The Triangle. His view appears very “young” to me, especially given he mentions The Onion. For example:

Social Security is on the brink of collapse, the dollar is plummeting toward new lows, and Iran is on the verge of acquiring nuclear weapons - but at least celebrity writers are showing the nasty entertainment industry who’s boss.

I don’t even think The Onion could have made up a story as asinine as this.

Asinine? What Master Nolan is all snarked up about, I have no idea. Perhaps he’s bummed Chuck might go off the air and he’ll have to study instead. Maybe he doesn’t know that the majority of those writers aren’t the high-paid big wigs (ala our very own Shonda Rhimes, who reportedly takes down roughly $5 million a year) but rather the unknown and lowly paid schmucks that toil away and don’t get the cut the big old bad producers get. That’s incidentally why the bigwig writers ARE striking right along with the unknowns… to bring attention to this cause. And isn’t THAT what a strike represents? The power of many unknowns brought together to battle those in charge?