On Tuesday April 17, the first season finale of The CW’s ‘Ringer’ aired, and many have doubted if the series will live to see a season two. Despite premiering to a strong figure of 2.8 million viewers in September, the ratings have been in a steady and ultimately precipitous decline to the point where just 1.16 million viewers watched Tuesday’s finale. The fate of the series is now in serious question.

This all marks quite a contrast from this time one year ago when ‘Ringer’ was one of the most buzzed-about and eagerly-awaited new pilots. It marked star Sarah Michelle Gellar’s return to series television after an eight-year break following a seven-year run on the critically-beloved ‘Buffy the Vampire Slayer’, and brought together an eclectic supporting cast including Welsh actor Ioan Gruffudd and ‘Lost’ star Nestor Carbonell.

Originally developed for CBS by ‘Supernatural’ writers Eric Charmelo and Nicole Snyder, the series features Gellar in a dual role as twin sisters Bridget and Siobhan. In the pilot, Bridget, a recovering drug addict and former prostitute, was set to testify against a murderer when fear for her own life prompted her to contact her estranged, not to mention extremely affluent, sister Siobhan for protection.

However, once reunited, Siobhan faked her own death for unknown reasons and Bridget in turn assumed her sister’s identity in an effort to escape from her predicament, but consequently placed herself in even more danger due to her sister’s own problems.

The plot itself is perhaps indicative of why ‘Ringer’ failed to connect with a mass audience. From the first episode alone, ‘Ringer’ featured a convoluted story and a multitude of storylines. As the season progressed, further twists were introduced including, but not limited to: affairs, kidnappings, murders, corporate blackmail, faked assaults, and a paternity mystery which was not resolved until Tuesday’s finale.

With every twist, ‘Ringer’ became more and more of a plot-driven series which relied on sensationalism and shock-value as a means of compensating for its under-developed characters and rushed narrative developments.

Add this to the fact that ‘Ringer’ was paired on The CW’s schedule with the younger-skewing ’90210′, and that it aired opposite heavyweights ‘The Voice’, ‘Dancing With the Stars’, and ‘NCIS: Los Angeles’ which cumulatively attract upwards of 35 million viewers, and it becomes clear that ‘Ringer’ was not in the position to come out of the gate with an intricate premise which depended upon undivided attention from its audience from the get-go.

To make things even more challenging for the creative team behind the series, The CW placed ‘Ringer’ on a nine-week hiatus in the middle of its season, meaning that production on much of the second half of the season went on without any audience feedback.

Once ‘Ringer’ returned to the schedule at the end of January, it was too late to make any changes, and all The CW has been able to do is to sit back and watch the ratings drop in a year where almost all of its other series have been in significant ratings decline.

‘Gossip Girl’, ‘Nikita’, ’90210′ and newcomer ‘Hart of Dixie’ are all hovering around similarly low levels, but none had the expectations of success that ‘Ringer’ had, nor did they have the spectre of Gellar’s cult-classic ‘Buffy the Vampire Slayer’ looming over their heads.

Now with its season wrapped well before May sweeps, a renewal for ‘Ringer’ is looking less and less likely. Even if The CW did consider giving it a last-minute pick-up, the new season would not premiere until September, meaning that the series would be off the air for at least five months, a break twice as long as the one ‘Ringer’ already went through this season and which already proved detrimental to any ratings momentum ‘Ringer’ may have had in its early weeks.

It would take a giant leap of faith on the network’s part, and an even larger creative restructuring behind-the-scenes for ‘Ringer’ to live to see another season.

The article ‘Ringer’ – TV’s Biggest Disappointment appeared first on The Toonari Post - News, Powered by the People!.

Glee has been a television and cultural phenomenon since its debut in 2009. Centring around a high school glee club in the fictional town of Lima, Ohio, the series has made household names of its stars Lea Michele, Jane Lynch and Matthew Morrison. The cast’s musical recordings have broken chart and touring records, while the producers have launched a successful companion reality series entitled “The Glee Project”, which seeks to find new singers for the mother series.

However, now in its third season, Glee is facing a number of challenges both on and offscreen, the latest of which is the announcement that this summer will not see the cast embark on a US and UK tour, one which proved to be one of the most successful tours of 2011. While FOX insists that the absence of a tour this year is simply a way of giving give the cast a break after three years of continuous work, the decision comes as the latest in a line of challenges which the show has had to face in recent times.

Firstly, the show has experienced a steady ratings decline during this season. In its last airing on February 14, Glee garnered 6.99 million viewers, down 24% from its season premiere on September 20. More worrying, on a year-to-year scale this marked a 34% decline from the 10.53 million it attracted on February 15, 2010.

This comes in spite of high-profile tributes to West Side Story, Michael Jasckson, and a well-publicised episode depicting several major characters losing their virginities. The series has even started being beaten in the coveted 18-49 demographic by new comedy series New Girl, which airs straight after Glee on FOX’s Tuesday night line-up.

Secondly, the show has come under intense scrutiny over the long-term futures of its stars Lea Michele, Corey Monteith, Dianna Agron and Chris Colfer, among others, as their characters approach graduation. At first, reports surfaced that several of the departing characters would be spun-off into their own series set in New York, depicting them attending a performing arts school, with even Colfer releasing a statement indicating his probable departure at the end of season three.

However, those rumours were later dismissed by show runner Ryan Murphy, but confusion remains over how exactly the stars would continue to figure into the show’s storylines once their characters have graduated.

Thirdly, Glee’s attempt to segue onto the big-screen got off to a lukewarm start when ‘Glee: The 3D Concert Movie‘ failed to perform as well as expected, grossing just $18 million at the box office. The movie opened to mixed critical reviews, and its failure marked the first significant sign of the franchise’s vulnerability after just two years of production.

Finally, but perhaps not surprisingly, the series has gone out of fashion with major award voters. Despite winning three Emmys for its freshman season, that tally decreased to one for its sophomore season, and the show walked away empty-handed at both this year’s Golden Globe and Screen Actors Guild Awards.

This is not surprising as Glee has been accused repeatedly of uneven storytelling and relying too heavily on stunt casting, with the last 12 months featuring appearances by Gwyneth Paltrow, Ricky Martin, Britney Spears and John Stamos. Add that to the fifteen actors already comprising the main cast, and the criticism begins to take on merit.

Ratings-wise, Glee has never been the number one show on television – it has yet to rank in the top 30 for a whole season – but its online presence, chart records and critical buzz have ensured it a prime spot on FOX’s broadcast schedule. Yet, facing a continuing ratings decline, the potential loss of its stars and dwindling industry support; FOX’s former powerhouse may be in need of some significant revamping if it hopes to stick to the same formula and with the same cast members for its as-yet-unconfirmed fourth season.

The article Has Glee’s Bubble Burst? appeared first on The Toonari Post - News, Powered by the People!.

The current US television season is only just half-underway, but already the major networks (ABC, CBS, FOX, NBC and the CW) have made the majority of their pilot orders with regards to new programming for the 2012-2013 season.

John Wells, former show-runner of the hit medical drama ER and current show-runner of the cable dramas Shameless and Southland, makes his return to network television with two pilot orders this development season. The first of his pilots is a comedy co-effort with Glee actor Mike O’Malley for FOX, and is currently titled Prodigal Bully.

The premise of the series, if it is picked up beyond its pilot order, would be that of “a young boy genius who uses his brains and brawn to get whatever he wants“. As for Wells’ other pilot, he is developing a remake of the British drama hit Bad Girls for NBC. This series would follow the activities of a group of female prisoners, and ran for seven years in the UK.

Other notable figures to have sold new pilots to the major networks include: JJ Abrams (Lost, Alias, Alcatraz), who has sold Shelter to CW; Josh Schwartz (The O.C., Chuck, Gossip Girl), who will be writing Carrie Diaries, a teenage prequel to the Sex and the City franchise); and NCIS star Mark Harmon, who will be producing Joey Dakota for the CW.

It is unusual that so many pilot orders have taken place by the beginning of February, as several midseason shows have yet to debut for the 2011-2012 season, while the fates of such long-running hits as FOX’s House and NBC’s Law & Order: Special Victims Unit remain uncertain. In any case, the networks appear to be stockpiling in a effort to combat the ratings decline which has struck many of them this season – particularly, The CW.

The CW came into this season with the high-profile television return of Sarah Michelle Gellar, however, its ratings declines have been well-documented and the network has now picked up five drama pilots with the potential pick-up of several more. This aggressive development move is in contrast to CBS which has so far picked up just a handful of projects, although, CBS’ ratings are in a much stronger position.

As the remainder of the 2011-2012 season plays out and the networks learn of the fates of their long-running shows, while also seeing how their new midseasons shows fare among established competition, it will become more clear just how many of the ordered pilots will indeed make it to air in the fall, how many will be benched until midseason and how many will be put out of contention altogether.

The article US Pilot Season Winds Down appeared first on The Toonari Post - News, Powered by the People!.