It's the brand new -- and sort of old -- TV season


Hey, television is a moving target these days. On Sunday (Sept. 9), I sent my six-part season-preview package to papers and put the sories here. (Scroll down for the others.) The next day, I had to update it, to reflect Les Moonves' departure from CBS. Here's the new version, which also includes some other improvements.

By Mike Hughes

Each September, TV
viewers look for new shows, new people, new ideas.

So what are this
year's key shows? There's “Magnum” and “Murphy Brown,”
“Charmed” and “Sabrina,” “Last Man Standing” and
“Roseanne” without Roseanne and ...

Wait, what year is
this, anyway? “Standing” debuted in 2011, but the others
mentioned above range from 1980 (“Magnum PI”) to 1998
(“Charmed”); still, they're crucial to the season that will
officially start on Sept. 24, 2018.

Yes, there are newer
shows worth noting. ABC's “The Rookie” (Nathan Fillion as a
40-year-old newcomer cop) particularly feels like a hit. But the
revival flurry has changed everything.

Last year it was
“Will & Grace” coming back after 20 years and “Roseanne”
after 30. Both had the original casts; both pleased critics and
scored in the ratings.

Remakes seemed
viable – especially for “Murphy Brown,” said creator Diane
English. “When we left these characters in 1998, there was no
Internet. There was no social media. Cable news was just getting
started.” To put the old characters in this new world “was very
rich for us, very, very rich.”

Her revival has the
original cast. By comparison, “Magnum” will star Jay Hernandez –
who was 2 when the original began and 10 when it ended. “I used to
watch it as a kid,” he said. “I was a big fan.”

Now he's the one
driving the sleek cars and charming the people. “Thomas Magnum
survived on his charm,” said Peter Lenkov, who created the reboot.
“He lived on the good graces of his friends. (He) didn't use a gun.
He was somebody who was the underdog in most situations.”

Now “Magnum” is
likely to be a ratings hit; so is “Murphy Brown” ... despite the
internal troubles at their network. Les Moonves – who led CBS for
two decades of ratings power – resigned after a second wave of
sexual-abuse allegations from his past.

“Leslie has been
an excellent boss and a mentor for a long time,” Kelly Kahl, CBS'
programming chief, said to the Television Critics Association, prior
to the new allegations and the resignation. “And he put me in this
job. (But) all allegations need to be and are being taken seriously.”

Now Kahl and his top
aide are the lone men at the top of CBS. “We have 61-percent female
executives at the VP level or higher,” Kahl said. “The heads of
drama development, comedy development, current programming,
alternative, daytime, scheduling are all women.”

Meanwhile, the women
running (or co-running) two other networks face their own problems.

At ABC, it was a
late-night tweet that got Roseanne Barr fired. The network was
planning a powerhouse Tuesday line-up, with top newcomers “The
Rookie” and “The Kids Are Alright”; now the night needs viewers
to accept a no-Roseanne “Roseanne,” suddenly redubbed “The
Conners.”

And at Fox, it's a
fresh twist: Its movie studio is being sold to Disney (which owns
ABC) ... leaving Fox as the only network without the pipeline of a
big-deal studio.

Dana Walden, co-head
of Fox, insists that's good. “It will be the only network to
operate with complete independence,” she said, bringing “a great
opportunity (for) vibrant, independent studios.”

Still,
show-ownership can be crucial. It's one reason ABC canceled “Last
Man Standing” ... and Fox picked it up a year later. Walden also
said it's a reason “Lucifer” wasn't renewed by Fox. “Given that
it was owned by an outside studio at the time, we couldn't justify
the economics.”

Then Netflix, with
its international audience, grabbed “Lucifer.” The show “has
really resonated with audiences in parts of the world where we have
licensed it,” said Netflix programmer Cindy Holland.

For that matter,
Netflix has grabbed a lot of shows. It has signed long-term deals
with the top producers for ABC (Shonda Rhimes of “Grey's Anatomy”
and “Scandal”) and Fox/FX (Ryan Murphy of “Glee” and
“American Horror Story”). And it has even disrupted the witchly
world of CW.

That mini-network
often focuses on fantasy, youth and women, so it seemed logical to
plan remakes of two witch shows. This fall, it will have “Charmed,”
but not the other one.

“'Sabrina' was
...in development here,” said CW chief Mark Pedowitz. “The studio
came to ... me and said, 'We have a two-year commitment from
Netflix.' I said, 'Go with God. It's the right thing to do for your
business.'”

Netflix's strategy –
making big deals and trying everything -- has been decried by others.
At FX, John Landgraf talks about curating for quality; at HBO, Casey
Bloys echoes that. “There is no plan to dilute HBO programming,”
he said. “No one is asking us to take pitches for a 'Love Boat'
reboot.”

At Netflix, Holland
says a mass approach is fine. “Quality and quantity are not
mutually exclusive.”

Maybe. We'll soon
see if this high-quantity season can also deliver some quality.