TV-Tastic’s Midseason Network And Cable 2012 – 2013 Schedule

Instead of doing a crap-ton (yes, that’s a legitimate unit of measurement) of pieces on the upcoming midseason 2012 – 2013 midseason schedule, we decided to make it really easy for you and just give you the rundown on the new shows that are premiering and the returning shows that we have an interest in and we know you do, as well.  If your show isn’t covered, drop us a line and we’ll get you caught up! As a bit of an aside, and before anyone asks, we have no idea when season six of Mad Men will be premiering because, as usual, Matthew Weiner and AMC are being obnoxiously tight-lipped about it. That being said, John Slattery (Roger Sterling) expects it to be premiering around the same time as season five did last year.

(All times Eastern, * Indicates a New Series/Show Premiere)

the following

January

Date

Title

Network

Time

January 4th

Merlin

SyFy

10:00 p.m.

January 6th

Downton Abbey

PBS

9:00 p.m.

January 7th

Deception* (Formerly Infamous)

NBC

10:00 p.m.

January 8th

Justified

FX

10:00 p.m.

January 10th

1600 Penn*

NBC

9:30 p.m.

January 11th

Fringe

FOX

9:00 p.m.

January 11th

Banshee*

Cinemax

10:00 p.m.

January 14th

Continuum*

SyFy

8:00 p.m.

January 14th

Being Human

SyFy

9:00 p.m.

January 14th

Lost Girl

SyFy

10:00 p.m.

January 15th

Face Off

SyFy

9:00 p.m.

January 17th

Archer

FX

10:00 p.m.

January 19th

Ripper Street

BBC America

9:00 p.m.

January 21st

The Following*

FOX

9:00 p.m.

January 25th

Spartacus: War of the Damned

Starz

9:00 p.m.

January 30th

The Americans*

FX

10:00 p.m.

January 31st

Do No Harm*

NBC

10:00 p.m.

BSGBC Official

February

Date

Title

Network

Time

February 1st

House of Cards*

Netflix

(N/A)

February 5th

Smash

NBC

9:00 p.m.

February 6th

Spies of Warsaw(Miniseries)

BBC America

8:00 p.m. (Assumed.  No Time Given by Network)

February 7th

Community

NBC

8:00 p.m.

February 8th

Touch

FOX

8:00 p.m.

February 10th

The Walking Dead

AMC

9:00 p.m.

February 10th

Battlestar Galactica: Blood & Chrome(Film)

SyFy

9:00 p.m.

February 14th

Zero Hour*

ABC

8:00 p.m.

February 26th

Robot Combat League*

SyFy

10:00 p.m.

Game of thrones S3

March

Date

Title

Network

Time

March 3rd

Red Widow*

ABC

9:00 p.m.

March 5th

Golden Boy*

CBS

10:00 p.m. (Series Premiere)

March 8th

Grimm

NBC

9:00 p.m.

March 8th

Golden Boy*

CBS

9:00 p.m. (Regular Timeslot Premiere)

March 25th

Revolution

NBC

10:00 p.m.

March 30th

Orphan Black*

BBC America

9:00 p.m.

March 31st

Game of Thrones

HBO

9:00 p.m.

doctor who s7

April

Date

Title

Network

Time

April 8th (Assumed. No Official Date Yet, Only Month)

Doctor Who

BBC America

8:00 p.m.

April [?] (No Official Date Yet, Only Month)

Warehouse 13

SyFy

8:00 p.m.

May

Date

Title

Network

Time

May 1st

Family Tools

ABC

8:30 p.m.

GEEK ALERT! ‘Battlestar Galactica Blood & Chrome’ Premieres This Friday (NEW TRAILER!)

As you might have noticed, we’ve been covering the development of the Battlestar Galactica prequel series, Blood & Chrome since the moment it was announced back in late 2010, immediately following the cancellation of the the first BSG prequel series, CapricaIn March, a kick-ass teaser trailer was released for it at Wondercon and SyFy confirmed that they would be pursuing B & C as a digital series.  Unlike some (namely every geek and geek-centric blog out there that thinks SyFy is in existence solely for them), we have no problem with this because we have been closely following the evolution of the television industry when it comes to revenue generation in this new era of the Internet and multi-outlet distribution and SyFy has been an innovator in this arena so it makes total sense for them.  That being said, we are kind of surprised how they are doing it.  Today, EW got the exclusive scoop that the series would be premiering Friday, November 9th on Machinama’s YouTube Channel.

From Entertainment Weekly:

“Here’s the raw essentials: BSG: B&C is a prequel movie being presented as ten, 7-12-minute episodes on young-male-targeted entertainment company Machinima’s YouTube channel, called Machinima Prime. The first episode will be released on Friday, Nov. 9, with the remaining episodes rolled out over the next four weeks. In early 2013, the two-hour version of B&C will air on Syfy, followed by the release of an unrated version on home video.

Such a three-tiered windowing release strategy (online, network and DVD, all within a few months) is considered unique for a TV series.”

Note how there is no word on whether or not there will be a series to follow the movie, so like everything else with SyFy, we’ll just have to wait and see.  That being said, this is a  unique approach in releasing this series on three outlets so close to each other and is promising simply for  the fact that SyFy is trying to get as much revenue and buzz about this series as quickly as possible which suggests that they do want it to do well so that they can justify bringing it to full series.

That being said, I am really kind of shocked that they went the “webisode” route for the two-hour pilot movie (which will only have a runtime of 84 minutes without ads) but then again, I wan’t expecting such a quick turnaround with a network premiere and a home video release, either so it does make a little more sense considering those factors.  I have to say, though, that I have no desire to wait a week for seven to twelve minute episodes so I guess I’ll just be waiting until the end when I can watch them at once or just wait for it to premiere on network.

Mark Steyn, president of SyFy:

“With its top-notch storytelling, pulse-pounding action, and cutting-edge visual effects, Blood & Chrome is the perfect extension of the Battlestar Galactica universe. We are thrilled to see this hotly-anticipated event premiere on Machinima, an online network that is unparalleled in its delivery of high-class digital content to millions of viewers.”

Battlestar Galactica: Blood & Chrome takes place in the 10th year of the first Cylon war. As the battle between humans and their creation, a sentient robotic race, rages across the 12 colonial worlds, a brash rookie viper pilot enters the fray. Ensign William Adama, barely in his 20’s and a recent Academy graduate, finds himself assigned to the newest battlestar in the Colonial fleet… the Galactica. The talented but hot-headed risk-taker soon finds himself leading a dangerous top secret mission that, if successful, will turn the tide of the decade long war in favor of the desperate fleet.

EDITORIAL: An Open Letter To ALL Of The Science Fiction Blogs And Fans: Seriously… Get Over Yourselves

About a year ago, I was planning on writing a piece where I had to take issue with Den of Geek for their constant droning on about how’s there’s no Science Fiction on the SyFy channel.  Things happen, life gets in the way and I kind of lost interest so it never got written.  That being said, I’m really glad I didn’t, because I have so much more information and insight into the current situation at SyFy than I did last year, that it really makes more sense for me to address the lunacy of the self-important SciFi fan, now, than it did then. Before, there were just general complaints, but now, it’s the foaming-at-the-mouth over the lack of solid details regarding an air date for the Battlestar Galactica prequel, Battlestar Galactica: Blood & Chrome. Note, there is nothing really new about any of these complaints, it’s just that B&C has become the poster-child for the cause d’jour and it really it is about time that they were all called out for it.

Since Giant Freakin Robot is the most recent outlet to be on our radar regarding this issue, I decided to comment personally on their site with their piece, Editorial: Battlestar Galactica: Blood And Chrome Could Save Syfy’s Soul and I want our readers to see their short-sighted take and their readers equally short-sighted comments, as well as our take which we’ll post below.  Please, understand, I actually like GFR – a lot – but they are so off the mark on this (as are most SciFi fans) that they needed to be called out.

Editorial: Battlestar Galactica: Blood And Chrome Could Save Syfy’s Soul

Hey, Syfy, how’s it going? Yeah, I know, I don’t visit as much as I used to. Sure, I still swing by for Alphas each week, but I know you’re really busy these days, what with all the wrestling and the ghost hunting and the game shows about people bumping into things in the dark. I don’t want to take up too much of your time here, but we need to have a little talk, you and I. It’s about Battlestar Galactica: Blood and Chrome. I think it could save your soul.

Look, Sci-Fi… can I call you Sci-Fi, just like in the good old days? No? Fine, “Syfy,” whatever. So here’s the thing. Yesterday your official Twitter feed told us that the incredibly awesome-looking Battlestar Galactica prequel spinoff, Blood and Chrome, was not dead, but would indeed air at some point, in some form. Probably. And while it’s great to hear that Blood and Chrome hasn’t been relegated to the trash bin, I have to ask…what the hell are you thinking, man?

Earlier this year, when the Blood and Chrome trailer hit the internet, the fans started frothing at the mouth because it looked badass. I’m actually one of the people who liked a lot about the admittedly flawed Caprica, but there’s no question that Blood and Chrome looks a lot more like the BSG spinoff fans were hoping for. Space dogfights. Human-on- Cylon carnage. That sucker has hit written all over it. With the right writers, it could still maintain the depth and humanity of its parent series, but up the action quotient to a degree that would keep fans hooked and coming back.

So where the hell is it? We’ve watched over the past couple of years as an exciting project has dwindled further and further every time there’s an announcement about it. First it was going to be a full series. Then it was going to be a web series. Then maybe a one-off TV movie. And now? Now all it is is “air date to be decided.” A solid concept for what could be an amazing show molders on the shelf while you keep churning out one shitty new show after another. For the love of god, Syfy, you’re about to premiere a show that airs “viral videos.” You do realize we all have the internet, right?

Look, you wanted to branch out and not be defined solely by science fiction content… fine, I get that. With the ever-increasing media landscape, you want to be able to attract as many sets of eyeballs as you can. But does that mean you have to abandon the one thing you’ve done really well several times over the years? You’re the network that gave us Farscape, for crying out loud! Does anybody seriously think Ron Moore’s Battlestar Galactica could have found a home anywhere but on your airwaves? And without you there’s no way Stargate would have flourished into multiple spinoffs as it did (even though you did cancel Stargate Universe awful quickly, as the show’s fans often remind me).

I realize you make all the reality shows and contest shows like Face Off because they’re cheap. That’s fine. But why not use some of that budget you’re saving on flotsam like Viral Video Showdown to greenlight one or two really strong science fiction shows? The sort of show that can be your flagship, earning critical praise like you did with BSG. The sort of show that defines Syfy as a brand. A show like Battlestar Galactica: Blood and Chrome. Because honestly? I haven’t got a clue what that name is supposed to stand for. It just looks like somebody shook the cable landscape and all the shitty shows that weren’t properly secured slid down into your schedule.

And here’s the danger. Time was, the Sci-Fi Channel was one of the only homes for projects like Farscape or Battlestar Galactica or Stargate. But look around you. AMC, the channel that became a success on the shoulders of Mad Men, is earning dynamite ratings and acclaim with a zombie show based on a comic book. HBO, one of the most respected sources of cable programming around, is riding high with a series based on a dense, convoluted series of fantasy novels. Starz is developing a military science fiction series with the guy who created Spartacus: Blood and Sand. Those were all projects that, back in the day, we would have thought would be perfect matches for the Sci-Fi Channel. But the stigma around genre content is fading. The Avengers has made $1.5 billion worldwide, and now more and more exciting genre projects are going to other, more respectable networks, while you introduce yet another show about haunted tchotchkes.

Oh, there are still some promising lights on the horizon. I’m hoping that Rockne S. O’Bannon’s Defiance will recapture some of the old Farscape magic and become something truly amazing. I’ve got every finger crossed that you find a way to make your Blake’s 7 remake something other than a regrettable and ill-conceived footnote. You do still have a handful of genuinely good shows, like Alphas and Being Human. But with Battlestar Galactica: Blood and Chrome, you could make a statement. You could declare that you are about more than just cramming as many horrible paranormal “reality” shows as possible down our throats. That you still have what it takes to stand behind ambitious, well-written genre content.

It’s time to stop settling for mediocrity and aim higher. It’s time to take your own advice, Syfy: Imagine Greater.

My Response:

Seriously, you guys (both the writer and the commenters) need to get over yourselves. SyFy has a grand total of TWO hours of wrestling per week, so can we stop bringing that up? What next: Bill Clinton is a draft dodger? These arguments are getting seriously dated. Here’s the the thing: SyFy is doing better now than they ever have been so feel free to leave because you won’t be missed. But, waitaminute…. surprise, surprise, it’s their core SciFi series of Alphas, Haven, Being Human, Lost Girl and Warehouse 13 that are their biggest hits. And sorry, but Game of Thrones, due to its content and its production costs, could never see the light of day on SyFy or any other basic cable channel.

Where exactly are you getting this notion that “B&C was destined to be a hit,” David? If it was destined to be a hit, it would already be on the network. Here’s the reality: space-themed SciFi has been dead for a long time on television… period. It’s unfortunate, but it’s true. For crap’s sake, BSG (which is the greatest show ever on television) was a ratings disaster in its final season, save for the series finale. [StargateSG-1 was on its last legs as was [Stargate: Atlantis]. Is it really a surprise that both [Stargate: Universe] and Caprica failed so miserably, so quickly, despite having the crap promoted out of them by the network? It shouldn’t be. You’re living in an era where a Star Trek series couldn’t last more than four seasons. One of your biggest mistakes in the piece was suggesting that SyFy didn’t want to be solely associated with Science Fiction. Nonsense. They were specific that when they changed the name that they didn’t want to be associated EXCLUSIVELY with space-themed science fiction and time travel and wanted to be all-inclusive in all areas of the genre. Look it up… after all, you’ve made a point to bring up the fact that you do have the Internet.

This isn’t SyFy’s fault, this is simply the fact of the ever-changing landscape of the 18 – 49 demographic. They simply have no interest in space-themed SciFi on television (for the most part… I’d say TNT’s Falling Skies might be the exception but that’s more [The Walking Dead] with aliens than it is space-themed SciFi) and attempting to force yet another quality BSG spinoff down the throats of an audience that has no interest in it only to placate a small amount of fans is not only foolish for the network from an immediate standpoint, but it’s ultimately damaging to the series and the franchise, as a whole. And make no mistake about it, BSG is their biggest property and they aren’t going to wreck it so the fanboys can get their fix on a basic cable network. At this moment in time, though there are signs that interest is growing again, space-themed SciFi on the network is far too risky (especially with their biggest property).

Taking this a step further, B&C isn’t dead, it’s just not going to be on TV (or if it is, you’ll only see the pilot. Bear McCreary told us that he has heard rumors that the two-hour pilot is going to air on the network within the next four to six months, which was something we had already surmised based on the grumblings of our inside sources and now, IMDb has it listed as March 2013, too). You folks need to understand that the television revenue model is changing and that SyFy is one of the innovators in the new marketplace. You’re going to get BSG:B&C but you’re probably either going to have to subscribe to Hulu for it or have an XBOX Live account to view it on the SyFy app or just pay for it from iTunes or Amazon and that’s how it’s going to go. The new world of television is not dependent on the traditional standard of Nielsen ratings, exclusively, anymore. It’s becoming dependent on direct targeting of niche markets and then repackaging the content for non-exclusive digital and international distribution deals. What do you think the “transmedia” Defiance is all about? Try to think outside of the box, folks. Even the aforementioned Game of Thrones has only been getting renewed due to its international distribution deals. What… do you folks think that there’s that many more people subscribing to HBO because of Game of Thrones? Holy crap, you probably do.

Also, you might want to actually keep track of the network press releases, as well. SyFy currently has 13 straight-up SciFi scripted series (including quite a few space-themed series) in development, plus two more imports within the next year (Sinbad and Continuum). So what it really comes down to is that SyFy has plenty of Science Fiction, it just doesn’t have the series that you want, right now, therefore, they aren’t truly a Science Fiction network and you’ll just bash all of their other programming… that has actually made them successful. Genius and completely rational.

Here’s the complete rundown of all of SyFy’s scripted series in development. Scroll down for the complete press release.

SyFy: Summer 2012 Schedule FINALLY Announced… Premiere Dates for ‘Alphas,’ ‘Warehouse 13,’ ‘Face Off’ (Where’s ‘Haven?’)

Well, Syfy decided to play it a little different this year by announcing their development slate for 2012 – 2013 at their upfront in April while waiting to announce their summer schedule for their returning shows until the NBC upfronts, today, effectively leaving us all hanging.  So, here it is, your SyFy Summer 2012 schedule (see press release below).

Highlights:

  • Again, no word on a release date for the Battlestar Galactica: Blood & Chrome pilot or digital premiere.
  • The Eureka series finale will be on July 16th at 9:00 p.m.
  • Lost Girl will move to Friday nights at 10:00 p.m. beginning on July 20th.
  • The semi-annual Twilight Zone marathon returns again, this fourth of July (yay!).
  • Warehouse 13 season four will premiere Monday, July 23rd at 9:00 p.m.
  • Alphas season two will premiere Monday, July 23rd at 10:00 p.m.
  • Curiously, no word on a Haven season three premiere date, despite that it was renewed in October, 2011.
  • Face Off season three will premiere on August 21st at 9:00 p.m.
  • The ridiculous and ridiculously low-budget guilty pleasure SyFy original film slate this summer includes Jersey Shore Shark AttackPiranhaconda, Arachnoquake and of course, Big Foot.

Via Press Release:

SYFY SUMMER 2012 FEATURES RECORD NUMBER OF PRIMETIME ORIGINAL PROGRAMMING HOURS
ALL-NEW SEASONS OF WAREHOUSE 13, ALPHAS,
FACE OFF, DESTINATION TRUTH AND HAUNTED COLLECTOR

PREMIERES OF UNSCRIPTED SERIES SCHOOL SPIRITS, PARANORMAL HIGHWAY AND INSANE OR INSPIRED?

NEW SYFY SATURDAY ORIGINAL MOVIES JERSEY SHORE SHARK ATTACK AND BIGFOOT

NEW YORK – May 15, 2012 – Featuring a record number of primetime original programming hours, Syfy’s hot Summer 2012 will be highlighted by the premiere of the new unscripted series School Sprits (from executive producer Mark Burnett), Insane or Inspired? and Paranormal Highway (working title) starring Jack Osbourne; new seasons of hits Warehouse 13, Face Off, Alphas, Destination Truth and Haunted Collector, along with the eagerly anticipated Saturday Original Movies Jersey Shore Shark Attack and Bigfoot, plus the series finale of the beloved Eureka.

Syfy will also present a Memorial Day weekend movie festival highlighted by the premiere of Super Shark on May 26th, followed by the semi-annual Twilight Zone marathon on July 4th.

Lost Girl will move to Fridays at 10PM beginning Friday, July 20.

Highlights of Syfy’s 2012 Summer Programming Schedule (All Times ET/PT)

MAY

INSANE OR INSPIRED? (NEW ORIGINAL SERIES)
Premieres Friday, May 25 at 10PM
This new series features the most exciting videos from the Internet that celebrate the world of imagination, invention, and extreme experiences. Actors Amber Benson (Buffy the Vampire Slayer), Samm Levine (Freaks & Geeks), Brooke Hogan, Ralph Garman, as well as television personality Josh Gates, host of Syfy’s Destination Truth, join comedians Ben Gleib, Owen Benjamin, Jodi Miller, Elliot Chang, Jermaine Fowler, Adam Ray, Christiana Pazistky, KT Tatara and Janet Varney to provide their unique commentary on each of the clips. The result is a fast-paced hour-long countdown of hilarious viral videos. Insane or Inspired? is produced by Comcast Studios with Jay James, Betsy Rott, and Sean Olsen serving as executive producers.

JUNE

HAUNTED COLLECTOR (SEASON 2 PREMIERE)
Premieres Wednesday, June 6 at 9PM
Haunted Collector features eminent paranormal collector John Zaffis, who searches for objects that have become home to paranormal spirits and/or energy. Each week Zaffis and his family help someone who’s terrorized by something strange in their own home, using the latest technology to identify the source of the paranormal activity. On the season 2 premiere of Haunted Collector, the team heads to Warsaw, Kentucky, where a woman’s home is suffering hauntings, possibly from two steamboats which crashed in a fiery collision, killing more than 60 people in 1868. Next, they travel to Huron, Ohio, in a race against the clock to remove the dangerous energy from an abandoned silo, scheduled to be destroyed in 48 hours. Haunted Collector is produced by Gurney Productions. Executive producers are Scott Gurney and Deirdre Gurney.

SCHOOL SPIRITS (NEW ORIGINAL SERIES)
Premieres Wednesday, June 20 at 10PM
From executive producer Mark Burnett, School Spirits travels to schools and universities all across the country to recount the true ghost stories experienced on these academic campuses. The stories will be told in first person narratives through the testimonials of real students, teachers, parents and staff that have encountered the paranormal activity, blended with bone-chilling cinematic reenactments to further bring the haunting experiences to life. Executive producers: Mark Burnett (Survivor, The Voice) and Seth Jarrett & Julie Insogna Jarrett (Celebrity Ghost Stories).

SATURDAY ORIGINAL MOVIES (ALL-NEW MOVIES)
Jersey Shore Shark Attack – Saturday, June 9 at 9PM – Led by an all-star cast of Tony Sirico (The Sopranos), Paul Sorvino (Goodfellas), Jack Scalia (Dallas), Joey Fatone (‘N Sync), William Atherton (Die Hard) and Vinny Guadagnino (Jersey Shore) the movie unfolds during the July Fourth weekend at the Jersey Shore, where angry sharks are on a rampage, devouring residents, leaving it to the local Guidos to save the day. The movie also stars Jeremy Luke as The Complication, Melissa Molinaro as Nooki, Joey Russo as Donnie, Daniel Booko as Balzac, Audi Resendez as B.J., and Alex Mauriello as J-Moni. Jersey Shore Shark Attack is a production of Hybrid Entertainment. The director is John Shepphird. Jeffrey Schenck, Barry Barnholtz and Peter Sullivan are the producers.
Piranhaconda – Saturday, June 16 at 9PM – Part fish! Part snake! All killer! In B-movie icon Roger Corman’s latest, a hybrid creature – half piranha and half anaconda — attacks a movie crew on location near her nest when her egg is stolen. Now they must outrun and kill the deadly piranhaconda as well as stop the mad scientist who stole the egg – before they all become dinner. Stars Michael Madsen (Reservoir Dogs, Kill Bill: I & II) and Rachel Hunter (The Benchwarmers). Piranhaconda is a production of New Horizons, directed by Jim Wynorski.
Arachnoquake – Saturday, June 23 at 9PM – In Arachnoquake, starring Tracey Gold (Growing Pains), massive earthquakes unleash giant albino spiders. Freed from their ancient subterranean prison, the spiders go on a murderous rampage through New Orleans. Joining Gold will be Bug Hall (The Little Rascals), Ethan Phillips (Star Trek: Voyager) and Edward Furlong (Terminator 2: Judgment Day). The movie is a production of Active Entertainment. Arachnoquake is directed by Griff Furst.
Bigfoot – Saturday, June 30 at 9PM – Television legends Danny Bonaduce (The Partridge Family) and Barry Williams (The Brady Bunch) star as life-long rivals battling over Bigfoot. Howard Hesseman (Head of the Class), Sherilyn Fenn (Twin Peaks), Andre Royo (The Wire) and Rock and Roll Hall of Famer Alice Cooper (School’s Out) co-star in the movie, which is directed by Oscar and Emmy nominee Bruce Davison (X-Men). Bigfoot is a production of The Asylum.

JULY

DESTINATION TRUTH (SEASON 5 PREMIERE)
Premieres Tuesday, July 10 at 8PM
Season 5 opens with two special back-to-back episodes, as Josh Gates and his team lead viewers on a chase into one of the world’s biggest caves in the jungles of Vietnam to search for Bigfoot. Then, at the overwhelming request of fans, they’ll travel to Romania for a return visit to the haunted Hoia Bachu Forest, the site of their most terrifying investigation to date, and then explore the reportedly haunted Mayan ruins of Tikal in pursuit of a monster known as the Belize Goblin. They’ll also lead viewers into a remote Transylvanian village on a hunt for vampires and journey to Kazakhstan (a Destination Truth first) to search for the legendary Kazakh monster. Destination Truth is executive produced by Brad Kuhlman for Ping Pong Productions (1000 Places to See Before You Die, Celebrity Rehab, FM Nation). Josh Gates and Erin Ryder serve as co-executive producers.

PARANORMAL HIGHWAY (NEW ORIGINAL SERIES)
Premieres Tuesday, July 10 at 10PM
Paranormal Highway puts the pedal to the metal as Jack Osbourne and his friend Dana Workman do their own first-person investigations of the most frightening claims of paranormal activity along America’s remote back roads. Fueled by eyewitness interviews and evidence collected by Jack’s state-of-the-art equipment, he and Dana will travel alone, self-documenting their harrowing face-to-face encounters with the paranormal. Production company: BASE Productions. Executive producers: John Brenkus, Mickey Stern, Ron Ziskin.

EUREKA (SERIES FINALE)
Airs Monday, July 16 at 9PM
After five seasons, Syfy’s long-running original series comes to an end and the remarkable residents of Eureka say their goodbyes. During the thrilling final season, the town is reeling after the Astraeus and her crew mysteriously vanished just before their planned launch to Titan. As the town copes with the shocking personal changes caused by the Astraeus ordeal, they continue to uncover the truth about the forces behind the crew’s bizarre disappearance — with shocking results. Eureka stars Colin Ferguson (Sheriff Jack Carter) Salli Richardson-Whitfield (Allison Blake), Joe Morton (Henry Deacon), Erica Cerra (Jo Lupo), Neil Grayston (Douglas Fargo) and Niall Matter (Zane Donovan). Co-creator Jaime Paglia and Bruce Miller are executive producers. The series is produced and distributed by Universal Cable Productions.

WAREHOUSE 13 (SEASON 4 PREMIERE)
Premieres Monday, July 23 at 9PM
Season 4 kicks off with the Warehouse Team still reeling from the shocking events of the climactic season three finale – the loss of Agent Steve Jinks (Aaron Ashmore), Mrs. Frederic (CCH Pounder), H.G. Wells (Jaime Murray) and the destruction of the Warehouse itself. Their only hope lies in racing to the other side of the Earth to hunt down an obscure artifact, which may or may not even exist – and if it does exist, what consequences will they face for using it? The most successful series in Syfy history, Warehouse 13 follows a team of government agents who work at a massive, top-secret storage facility in windswept South Dakota which houses every strange artifact, mysterious relic, fantastical object and preternatural souvenir ever collected by the U.S. government. The Warehouse’s caretaker Artie Nielsen (Saul Rubinek) charges Pete Lattimer (Eddie McClintock), Myka Bering (Joanne Kelly) and Claudia Donovan (Allison Scagliotti) with chasing down reports of supernatural and paranormal activity in search of new objects to cache at the Warehouse, as well as helping him to control the Warehouse itself. Sam Huntington (Being Human) will be among the star-studded array of season 4 guest stars. Warehouse 13 is produced for Syfy by Universal Cable Productions. Jack Kenny (The Book of Daniel) is executive producer and showrunner.

ALPHAS (SEASON 2 PREMIERE)
Premieres Monday, July 23 at 10PM
In Syfy’s action-packed hit drama series, an unlikely team of ordinary people with superhuman physical and mental abilities – known as Alphas – takes on mysterious cases the CIA, FBI and Pentagon are unable to solve and go head-to-head with criminal Alphas.

Season 2 picks up eight months after last year’s finale with the stage set for an explosive turn of events at the Binghamton facility (the Guantanamo of the Alpha world) that could have devastating, far-reaching consequences. Dr. Lee Rosen (Emmy Award-winner and Academy Award-nominee David Strathairn), having exposed the existence of Alphas to the unsuspecting public, finds himself discredited and imprisoned by a government desperate to cover up his revelation. The rest of the core team has disbanded and some, without Rosen’s guidance and care, have regressed to their old, destructive ways. They must now battle their individual demons in order to reunite and try to save their own.

Alphas also stars Malik Yoba, Warren Christie, Azita Ghanizada, Ryan Cartwright and Laura Mennell. Erin Way (Detroit 187, Private Practice) joins the cast this season as “Kat” a mysterious young loner whose Alpha ability allows her to pick up any skill at a glance. But while her skills are permanent, her personal memories are short-lived. The series is produced by Universal Cable Productions and BermanBraun Television with executive producers Bruce Miller, Gail Berman, Lloyd Braun, Gene Stein and Zak Penn. Penn and co-executive producer Michael Karnow are series creators.

AUGUST

PARANORMAL WITNESS (SEASON 2 PREMIERE)
Premieres Wednesday, August 8 at 10PM
Using a mixture of intimate first-hand testimony, actual home video and gritty realistic drama, the hit series Paranormal Witness returns to transport viewers into a world turned upside-down by extraordinary, terrifying and sometimes life-threatening paranormal events. Paranormal Witness is produced by Raw TV (Locked Up Abroad and Gold Rush Alaska). Executive producers are Dimitri Doganis and Bart Layton.

FACE OFF (SEASON 3 PREMIERE)
Premieres Tuesday, August 21 at 9PM
Syfy’s hit competition reality series returns for season 3 with 12 aspiring special effects make-up artists and their unlimited imaginations, competing to create amazing works of living art. The eleven-episode season will feature some of the most difficult challenges ever attempted and high power special guest judges. It all culminates in one winner and one $100,000 grand prize that will launch a career. McKenzie Westmore returns as host. The second season finale became the most watched unscripted telecast in the channel’s nearly 20-year history, transforming 3.58 million total viewers, based on Live+7 data. This also established a Syfy original series record – for scripted and unscripted programs – for most Adults 18-34 viewers with 1.01 million. Face Off is a production of Mission Control Media with Dwight D. Smith, Michael Agbabian and Derek Atherton serving as executive producers.

Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in more than 98 million homes, Syfy is a network of NBCUniversal, one of the world’s leading media and entertainment companies. (Syfy. Imagine greater.)

UPFRONTS 2012: SyFy Announces 2012 – 2013 Schedule, 12 New Scripted Series In Development

Upfront season is finally upon us and to kick it off, SyFy, in typical fashion, held theirs ahead of the pack, this time at the American Museum of Natural History.  As you can imagine, of course, SyFy is adding a ton of unscripted series, but what’s really interesting is the news of the upcoming scripted programming, for what was announced and what wasn’t announced.  Though SyFy is not launching any new scripted series this summer and have only one officially announced to premiere in 2013, they have 12 – count ’em – 12 new scripted series in development  currently with huge names attached to them. We’re looking at Rockne O’Bannon, Michael Taylor, Kevin Murphy, George Nolfi, Bryan Fuller, Greg Berlanti, Robert Hewitt Wolfe, Neil Moritz, Mark Verheiden, The Jim Henson Company, Naren Shankar being involved directly with these projects, all of whom are legends or are rising stars in the genre.   Most surprisingly, none of these projects look like crap.  Here’s our analysis of SyFy’s upfront news, you can read the full press release below.

  • Battlestar Galactica: Blood & Chrome… not even mentioned. Elephant in the room time, or lack thereof, as it were.  As you know, we’ve been following the development of B & C for some time now and last month we noted that the upfronts were where we’d find out what’s really going on with this series, despite the fact that SyFy announced that they would officially be moving forward with it as a digital series.  We expected one of two things to be announced; first, that the pilot movie would be aired this summer and in which case, all bets were off and it would be considered a backdoor pilot and its ratings would determine whether it would receive network or digital treatment.  The other option was that they would announce a mid-season 2012 – 2013 airing and that would confirm that the show would be indeed going digital (not that going digital is a bad thing).  The third, “WTF?” option that we didn’t even want to  consider because we didn’t think it would be possible but we threw it out there just in case is exactly what happened.  SyFy gave us crickets, “I knowz nothingz,” and “pay no attention to the man behind the curtain,” and although we didn’t expect that they would go the route of pretending that B & C doesn’t exist, they did and just like we predicted in last month’s piece, this course of action has left us completely perplexed as to what SyFy’s intentions with it are, although we are leaning toward accepting that it is indeed going digital, when exactly still remains a mystery, however, it should be noted that IMDb has a release date of 2013 listed on the show’s page.

(UPDATE 10/28/2012: IMDb now has a premiere date for the BSG:B&C pilot as March, 2013) 

To keep it simple, here’s a list of all of the new series that SyFy has in development for 2013 and beyond and what we think of them so far.

  • Defiance  Defiance is in collaboration with Trion Worlds, with the Syfy series and Trion’s multi-platform shooter MMO poised to debut simultaneously. The series stars Grant Bowler, Julie Benz, Stephanie Leonidas, Tony Curran, Jaime Murray, Fionnula Flanagan, Mia Kirshner and Oscar-nominee Graham Greene. Set in the near future, Defiance introduces a completely transformed planet Earth, inhabited by the survivors of a universal war. Forced to co-habitate, the disparate group struggles to build a new society among the devastation. The dramatic tapestry of the series and the intense action of the game will exist in a single universe where their respective narratives will inform one another and evolve together into one overall story. – Not surprisingly, the centerpiece of the upfront event was the groundbreaking “transmedia” (we like that made-up term soooo much more than “cross-over.” Congratulations, SyFy, you’ve permanently impacted the pop-culture lexicon.) series/MMORPG, Defiance.  Announced at last April’s upfront, we have been reporting on this project since last summer and just last month more news was released about its development and casting.  Good stuff, indeed, and very risky and progressive.  We are in love with this project.
  • Rewind  Rewind revolves around a team of military field operatives and civilian scientists who must use untested technology to travel back in time to alter events and change the future — and avoid a devastating terrorist attack. Shane McRae stars as Sean Knox, ex-Special Forces who ranks as a field operative in a special division of the Department of Homeland Security. – Proving our theory that there are no original concepts in SciFi any more, just recycled and repackaged concepts. Yep, thanks, SyFy, but we already saw this show.  It ran from 1998 – 2001 on UPN right before Star Trek: Voyager on Wednesday nights and was called Seven Days and it was one of the greatest and most underrated SciFi programs in history.  Not that we’re complaining, mind you, because we don’t mind recycling/repackaging provided it’s done well, but what we find notable is that this type of programming is in direct contradiction with the network’s stated intention of avoiding this particular genre which is what prompted the name change from SciFi to SyFy three years ago to begin with…. and it’s not the only entry at this year’s upfront to do this.
  • The Adjustment Bureau  In this drama, based on the hit movie starring Matt Damon, guardian angel-type agents work to keep the world according to The Plan. They create everything from plane crashes to coffee spills in order to steer people to realize their true destiny. But there is one thing the operatives and their Chairman can’t control — free will. – Ditto what we just said about no original concepts in SciFi, however we’ll let this one off the hook because when the incredibly underrated SciFi Action – Thriller starring Matt Damon hit theaters in 2010, it was certainly one of the most original concepts that the genre had seen in years (sorry, fanboys, as good as Inception was and is, there was nothing original about the concept). Last year, we felt that there were two recent feature films that would make great scripted television series; 2011’s Source Code and, of course, The Adjustment Bureau.  We’ve actually known about The Adjustment Bureau being picked up for series treatment by SyFy for a long time but we didn’t have much to go on until now which is why we didn’t report on it, but we certainly think that this project has a tremendous amount of potential and we’re looking forward to it.  Film to television adaptations haven’t always fared so well in the past but one thing to note is that George Nolfi, the director/screenplay writer/producer of the film is one of the two executive producers on the show so you can imagine that the show won’t stray far from the original vision. Oh, and, by the way… in case you haven’t heard, Source Code was also picked up for series treatment by CBS.
  • High Moon  Based on the novel, The Lotus Caves, by John Christopher, this imaginative, out-of-this-world series explores a world where the countries of Earth have established colonies to mine the Moon’s resources. When a new life form is discovered, chaos erupts as various factions race to uncover its powerful secrets. – Even though we’ve never read The Lotus Caves, we absolutely love the idea of bringing classic Science Fiction from the “space age” generation to contemporary audiences.  This is old school, big theme, cerebral SciFi the way it should be. 
  • Grave Sight   From the best-selling author of True Blood, this Charlaine Harris book series follows Harper Connelly – a young woman with a unique gift. After being struck by lightning as a teenager, Harper can sense the location and last memories of dead people. She teams up with her protective stepbrother, Tolliver Lang, to help find a missing teenage girl — only to uncover a network of lies and murders throughout a small town in the Ozarks. – For the ladies in the house. We’re not really sure what to make of this. There’s a couple of big gimmicks going on here.  First, the obvious is the need to take advantage of the Charlaine Harris brand when that may not necessarily be a recipe for success.  Yes, True Blood is an incredibly popular series based on the Charlaine Harris Sookie Stackhouse novels but that has far less to do with the author and the source material and far more to do with Alan Ball and his ability to HBO-ize a concept.  The other issue here is the recycled nature of every aspect of this. It seems a lot like Ghost Whisperer meets Haven meets True Blood, oh and the whole notion of being able to see the dead’s last memories has been done on both Star Trek: Voyager and Torchwood.  That being said, it seems pretty safe and generic, which means it will probably be a big hit.
  • Untitled Booster Gold Project  Based on the best-selling DC Entertainment Comic, this is the story of a washed-up athlete from the future who travels back to the present in hopes of becoming the greatest superhero of all time. But instead of chasing criminals, his main priority is chasing fame and money. Booster Gold discovers that being a hero takes more than just a megawatt smile. – We know absolutely nothing about this comic book but it seems like a pretty fun concept (but there they go again… doing a project that focuses on the forever shunned time travel premise) and we like the fact that SyFy is finally putting its toe into the waters of the comic book genre.  It certainly seems a lot more appealing than The CW’s upcoming Arrow (based on DC Comic’s Green Arrow which by chance, Greg Berlanti is also producing).  To our shame, we didn’t get into Smallville during first-run but apparently Booster Gold made an appearance on that fan favorite, as well.
  • Seeing Things  Based on the comic Grey Legion from Platinum Studios, after a cop meets his violent demise, he returns as a ghost to close his last case. But the only person who can help him is a socially awkward man who is realizing for the first time that his hallucinations may not be all in his head. – More of the recycling/repackaging but, again, another comic book adaptation for the network.  Kinda like Ghost and A Gifted Man made into a police procedural (or serial… perhaps?).  It’s got our attention.
  • Defender  In the aftermath of an intergalactic war between humans and transhumans, the starship Defender, populated by a combustible mix of former enemies, is sent on a seemingly simple goodwill mission, which turns into a fight for their lives and for the safety of the Universe at large. – Our type of show… period, but again, for those keeping score, that’s four series so far that are in development that violate the policy of limiting space-based, aliens and time travel themed shows.
  • The Family  For generations, an alien family has hid amongst humans in plain sight using their advanced intellect to carve out a life for themselves as their family grew. But when the family patriarch that kept peace amongst the factions dies, a war begins to brew with some members believing the time has come to reveal themselves, and their superior power, to the inferior human race. – Ditto and that makes it five.
  • Darkfall  When, without warning, modern forms of power and technology become a thing of the past, Los Angeles, and the world at large, becomes a place where magic rules and life as we know it is turned upside down. – OK… this is a weird one.  Not that it doesn’t sound cool, but it sounds like a premise for a video game.
  • One Mile Straight Down  When a powerful earthquake hits California and opens up a chasm bigger than the Grand Canyon, it reveals an enormous hidden ocean lying deep beneath the earth’s crust. Billionaire adventurer James Exeter works with the government to take an advanced nuclear submarine down to explore it and discovers more than he ever could have imagined. – What we like about this one is that even though it’s a hodgepodge of several repackaged concepts (LostJourney to the Center of the Earth, The River, Terra Nova… to name a few) it’s high-concept and it seems like the kind of show that would work perfectly on the niche cable network.
  • Eyes of the Dragon  Based on Stephen King’s best-selling novel. A kingdom is in turmoil as the old king dies and his successor must battle for the throne. Pitted against an evil wizard and a would-be rival, Prince Peter makes a daring escape and rallies the forces of good to fight for what is rightfully his. – Is it just us or does this seem like another attempt by SyFy to capitalize on the popularity of an HBO show and a famous writer.  The first thing that came to mind with this was Game of Thrones and the second thing that came to mind was “When the Hell did Steven King start writing Medieval Fantasy?” The project seems amibitious though a tad bit obvious and we question SyFy’s ability to come anywhere close to HBO’s GoT production values just simply based on the limited budget that the show will have being on a basic cable channel, but, hey, then again, Merlin has been working out quite well for the network.
Via Press Release:

SYFY IGNITES THE IMAGINATION WITH MOST ORIGINAL PRIMETIME PROGRAMMING HOURS IN HISTORY

RECORD 28 SCRIPTED AND REALITY PROJECTS IN DEVELOPMENT

EPIC TRANSMEDIA EVENT DEFIANCE TO PREMIERE IN 2013

NEW YORK – April 24, 2012 – Coming off Syfy’s most watched First Quarter ever in total viewers, Adults 18-34 and key women demos, Syfy and Chiller President Dave Howe today ignited the imagination of the advertising community by unveiling the next phase of the channel’s largest original programming slate in history. This will feature Syfy’s most original primetime hours ever, a record 28 scripted and reality development projects and the 2013 premiere of the highly-anticipated Defiance, the visionary transmedia experience that will unite television and Massive Multiplayer Online (MMO) gaming for the very first time.

Said Howe: “Syfy’s Upfront celebrates the power of Igniters, our influential audience who has the highly coveted ability to move brands forward faster. This audience Imagines Greater and, as a result, we will be bringing them the most groundbreaking entertainment phenomenon in 2013. Nearly four years in the making, Defiance is the first ever, weekly scripted television and Massively Multiplayer Online game, converging to create a singular, interactive and epic story. Along with this unprecedented experience, we will be unveiling our most ambitious development slate ever of relevant and contemporary original programming.”

The diverse Syfy reality slate features six new series: School Sprits, Paranormal Highway, Collection Intervention, Viral Video Showdown, Ghost Mine and, from the producers of the Smash hit series Face Off, Hot Set. Unscripted development projects include a chilling “found footage” paranormal experiment; an extreme concierge company; Destination Truth’s Josh Gates transforming awesome ideas into awesome reality and the unearthly challenges of selling haunted houses.

Among the scripted development projects are adaptations of popular works by best-selling novelists such as Stephen King (Eyes of the Dragon), John Christopher (The Lotus Caves) and Charlaine Harris (Grave Sight), as well as the hit movie The Adjustment Bureau and the DC Entertainment Comic Booster Gold. Syfy further announced shows about a Fifth Column of feuding aliens and a time-traveling elite military squad.

This record expansion, including eight scripted development projects from Universal Cable Productions, builds upon the channel’s powerhouse lineup of hit series such as Warehouse 13, Being Human, Alphas, Face Off and Ghost Hunters. These programs have transformed Syfy into a top 10 cable entertainment network among Adults 25-54 for 16 consecutive years.

Said Mark Stern, President Original Content, Syfy, and Co-Head Original Content, Universal Cable Productions: “Over its 20 year history, Syfy has always pushed the boundaries of our genre and the entertainment experience. This new crop of innovative, thought-provoking, emotionally-charged programming will propel us even farther as we imagine all the greater possibilities ahead for the powerful Syfy brand.”

For the gala, star-studded Upfront event at the American Museum of Natural History, Syfy created an opportunity for guests to live like an Igniter – highly imaginative people who move brands forward as showcased in the channel’s groundbreaking study with Simmons/PSFK — along with celebrity Igniters from the worlds of business innovation (Sir Richard Branson), music (Young the Giant, DJ Spooky That Subliminal Kid) and the culinary arts (Marcus Samuelsson).

Syfy is also expanding its multi-platform growth. Syfy Ventures announced a partnership with Hasbro to develop the first online social game based on the iconic G.I. JOE franchise. G.I. Joe: Special Ops, published by Syfy Games, will debut in June on Facebook and Syfy Games.com, among other platforms worldwide.

Continuing its expansion of original video content, mobile reach to new platforms and commitment to cutting edge technology, Syfy Digital unveiled four new initiatives, from its first ever unscripted program, new apps for Windows Phone and Roku and the upcoming addition of sync-to-broadcast functionality to its successful Syfy app for iPads and Android tablets for season three of the hit series Face Off.

A global brand, Syfy is currently available in 75 countries, reaching nearly 150 million households.

NEW SCRIPTED SERIES

Defiance – 2013 – Defiance is in collaboration with Trion Worlds, with the Syfy series and Trion’s multi-platform shooter MMO poised to debut simultaneously. The series stars Grant Bowler, Julie Benz, Stephanie Leonidas, Tony Curran, Jaime Murray, Fionnula Flanagan, Mia Kirshner and Oscar-nominee Graham Greene. Set in the near future, Defiance introduces a completely transformed planet Earth, inhabited by the survivors of a universal war. Forced to co-habitate, the disparate group struggles to build a new society among the devastation. The dramatic tapestry of the series and the intense action of the game will exist in a single universe where their respective narratives will inform one another and evolve together into one overall story. Defiance is directed by Scott Stewart (Legion, Priest) and written/executive produced by Rockne O’Bannon (Farscape), Kevin Murphy (Desperate Housewives, Caprica, Hellcats) and Michael Taylor (Battlestar Galactica). Kevin Murphy serves as showrunner. Defiance is produced by Universal Cable Productions.

NEW REALITY SERIES

School Spirits – Premieres June 2012 – School Spirits will tell true ghost stories of hauntings that have happened at schools across the country. The stories will be told in first person narratives through the testimonials of real students, teachers, parents and staff that have encountered the paranormal activity, blended with bone-chilling cinematic reenactments to further bring the haunting experiences to life. Executive producers: Mark Burnett (Survivor, The Apprentice) and Seth Jarrett & Julie Insogna Jarrett (Celebrity Ghost Stories).

Paranormal Highway – Summer 2012 – Paranormal Highway puts the pedal to the metal as Jack Osbourne and Dana Workman investigate the most frightening claims of paranormal activity along America’s remote back roads. Fueled by eyewitness interviews and evidence collected by state-of-the-art equipment, Jack and Dana will travel alone, self-documenting their harrowing road trip while coming face-to-face with paranormal legends. Production company: BASE Productions. Executive producers: John Brenkus, Mickey Stern, Ron Ziskin.

Collection Intervention – Collection Intervention follows Elyse Luray, a sharp and to-the-point collectibles expert as she helps couples who are divided over what to do with an overwhelming collection of memorabilia. Whether it’s a husband’s collection of mint-condition G.I. JOE action figures worth thousands of dollars or a girlfriend’s treasure trove of Star Wars movie posters, Elyse helps couples decide what’s worth keeping and what they can sell. For each couple, their new cash windfall will make their dream come true, whether it’s an engagement ring, a down payment for a home, or the honeymoon they never had. Production company: High Noon Entertainment. Executive producers: Pam Healey, Elizabeth Grizzle Voorhees, Jim Berger.

Hot Set – From the producers of Syfy’s hit series Face Off, Hot Set is an extreme design challenge pitting two Hollywood production designers each week in a head-to-head battle to design, build, decorate and ultimately create an original and signature movie set that transports the viewer into an immersive world. Production company: Mission Control Media. Executive producers: Michael Agbabian and Dwight Smith.

Viral Video Showdown – The greatest viral video creators on the planet go head-to-head each week in an epic battle for bragging rights and a cash prize. Two teams will have to dig deep into their bag of viral tricks to create a video that best captures that week’s theme and impresses the expert panel of viral video judges. Production company: 495 Productions. Executive producers: SallyAnn Salsano, Kevin Pereira.

Ghost Mine – In the remote woods of Oregon lays one of the richest gold mines in the United States. For the last 100 years, it has remained abandoned — until now. Soon to be re-opened by a scraggly group of miners, these hardy souls will battle the elements to find their fortune. But with a rich history of paranormal activity surrounding the mine, they may just find something else. Production company: 51 Minds. Executive producer: Mark Cronin.

SCRIPTED DEVELOPMENT/DRAMAS

Rewind – Rewind revolves around a team of military field operatives and civilian scientists who must use untested technology to travel back in time to alter events and change the future — and avoid a devastating terrorist attack. Shane McRae stars as Sean Knox, ex-Special Forces who ranks as a field operative in a special division of the Department of Homeland Security. The pilot also stars Jennifer Ferrin, Academy Award nominee Keisha Castle-Hughes (Whale Rider), Robbie Jones and Keon Mohajeri, and is currently in production in Toronto. Jack Bender (Lost, Alphas) is directing the pilot, written by Justin Marks (Street Fighter: The Legend of Chun-Li), who will also executive produce with Tom Spezialy, Gail Berman, Lloyd Braun and Gene Stein. A production of BermanBraun and Universal Cable Productions.

The Adjustment Bureau – In this drama, based on the hit movie starring Matt Damon, guardian angel-type agents work to keep the world according to The Plan. They create everything from plane crashes to coffee spills in order to steer people to realize their true destiny. But there is one thing the operatives and their Chairman can’t control — free will. Writers: Todd Slavkin & Darren Swimmer (Melrose Place, Smallville). Executive producers: George Nolfi (The Adjustment Bureau, The Bourne Ultimatum), MRC, Slavkin and Swimmer. A production of Universal Cable Productions.

High Moon – Based on the novel, The Lotus Caves, by John Christopher, this imaginative, out-of-this-World Series explores a world where the countries of Earth have established colonies to mine the Moon’s resources. When a new life form is discovered, chaos erupts as various factions race to uncover its powerful secrets. Executive producer: Bryan Fuller (Hannibal, Pushing Daisies). Co-executive producer: Jim Danger Gray (Pushing Daisies). Writers: Bryan Fuller and Jim Danger Gray. Executive producer: Granat Entertainment. A production of Universal Cable Productions.

Untitled Booster Gold Project – Based on the best-selling DC Entertainment Comic, this is the story of a washed-up athlete from the future who travels back to the present in hopes of becoming the greatest superhero of all time. But instead of chasing criminals, his main priority is chasing fame and money. Booster Gold discovers that being a hero takes more than just a megawatt smile. Writer: Andrew Kreisberg (Arrow, Warehouse 13). Executive producers: Greg Berlanti (Green Lantern, Arrow) and Andrew Kreisberg. Producers: Greg Berlanti Productions in association with Warner Horizon Television. The Booster Gold comic book series is published by DC Entertainment, which will also act as an executive producer.

Grave Sight – From the best-selling author of True Blood, this Charlaine Harris book series follows Harper Connelly – a young woman with a unique gift. After being struck by lightning as a teenager, Harper can sense the location and last memories of dead people. She teams up with her protective stepbrother, Tolliver Lang, to help find a missing teenage girl — only to uncover a network of lies and murders throughout a small town in the Ozarks. Writer: Kam Miller (Law And Order: SVU). A production of Universal Cable Productions.

Seeing Things – Based on the comic Grey Legion from Platinum Studios, after a cop meets his violent demise, he returns as a ghost to close his last case. But the only person who can help him is a socially Awkward man who is realizing for the first time that his hallucinations may not be all in his head. Writers: David Slack (Person Of Interest, Lie To Me) and Gabrielle Stanton (Haven, The Vampire Diaries). Executive producers: David Slack, Robert Cort and Scott Mitchell Rosenberg. A production of Fox Television Studios.

Defender – In the aftermath of an intergalactic war between humans and transhumans, the starship Defender, populated by a combustible mix of former enemies, is sent on a seemingly simple goodwill mission, which turns into a fight for their lives and for the safety of the Universe at large. Executive producer/writer: Robert Hewitt Wolfe (Alphas). A production of Universal Cable Productions.

The Family – For generations, an alien family has hid amongst humans in plain sight using their advanced intellect to carve out a life for themselves as their family grew. But when the family patriarch that kept peace amongst the factions dies, a war begins to brew with some members believing the time has come to reveal themselves, and their superior power, to the inferior human race. Writer: Dan Harris (Superman Returns, X2). Executive producers: Neal Moritz (21 Jump Street, Total Recall), Mark Verheiden (Falling Skies, Battlestar Galactica). A production of Sony Pictures TV.

LONGFORM SCRIPTED DEVELOPMENT

Eyes Of The Dragon – Based on Stephen King’s best-selling novel. A kingdom is in turmoil as the old king dies and his successor must battle for the throne. Pitted against an evil wizard and a would-be rival, Prince Peter makes a daring escape and rallies the forces of good to fight for what is rightfully his. Writers: Michael Taylor (Defiance, Battlestar Galactica) and Jeff Vintar (I, Robot). Executive producers: Michael Taylor and Bill Haber. A production of Universal Cable Productions and Ostar Productions.

Darkfall – When, without warning, modern forms of power and technology become a thing of the past, Los Angeles, and the world at large, becomes a place where magic rules and life as we know it is turned upside down. Writers: Ethan Reiff and Cyrus Voris (Kung Fu Panda, Sleeper Cell). A production of The Jim Henson Company and Universal Cable Productions.

One Mile Straight Down – When a powerful earthquake hits California and opens up a chasm bigger than the Grand Canyon, it reveals an enormous hidden ocean lying deep beneath the earth’s crust. Billionaire adventurer James Exeter works with the government to take an advanced nuclear submarine down to explore it and discovers more than he ever could have imagined. Writers: Skip Woods (X-Men Origins: Wolverine), Naren Shankar (CSI: Crime Scene Investigation) and Deran Sarafian (CSI: NY). Executive producers: Skip Woods, Naren Shankar and Deran Sarafian. A production of Universal Cable Productions.

REALITY DEVELOPMENT

The Genie – The Genie follows Steve Sims and his extreme concierge company, Blue Fish, as they make outlandish experiences and imaginative adventures come to life for their clients. Whether it’s rebuilding the chocolate river from Willy Wonka’s Chocolate Factory or experiencing life as a Hobbit, making the impossible possible is the job of “The Genie.” Production company: Smart Dog Media. Executive producer: Craig Plestis.

Stranded – In each episode of this frightening paranormal social experiment, a family or group of friends moves into an infamously haunted location, self-documenting their experience in total isolation. Production company: Ping Pong Productions. Executive producers: Brad Kuhlman, Casey Brummels, Josh Gates.

Awesome Foundation – In this new project starring Destination Truth’s Josh Gates, each week inventors, artists and regular people from all over the country pitch their amazing and imaginative ideas to the Awesome Foundation, a group dedicated to turning awesome ideas into awesome reality. The members grant their own money to the lucky three people with the best ideas, leading to a race to complete the projects in the given time and budget. Production company: Idiot Box Productions. Executive producer: Dan Taberski.

Exit – Based on the hit Japanese format, Exit is a nail-biting game show where two teams of contestants battle to escape three diabolical rooms. To do so, they must beat the clock while solving rapid-fire brain games and navigating booby-traps and bottomless pits. Production company: Zig Zag Productions. Executive producer: Danny Fenton.

Buyer Beware – What does someone do when they need to sell their house — but it’s haunted? They call in a real estate professional who specializes in matching haunted properties with eager buyers. In each episode, viewers will see what it takes to sell a home — still occupied by the spirits — and what kind of buyers have the guts to take it off the market. Production company: Zodiak USA. Executive producers: Natalka Znak, Claire O’Donohue.

Untitled Mark Burnett Project (wt) – From acclaimed producer Mark Burnett comes a competition show where fans of science fiction/fantasy books and movies compete to create the most flavorful and inspired dishes from the foods featured in the imaginary worlds that they love. Production company: Mark Burnett Productions. Executive producer: Mark Burnett.

Deadfinder – When the morgue drawer closes on a Jane or John Doe, rarely is it reopened. Deadfinder follows a group of mediums as they search through the vaults of cold cases using their paranormal skills to bring the mysteries of the murdered back to life. Production company: NorthSouth. Executive producers: Charlie DeBevoise, Mark Hickman.

Ghost Town, USA – Settled in 1677, Mount Holly, New Jersey, is a town teeming with reports of paranormal activity. And for the residents of this town, that’s just the way they like it. Ghost Town, USA follows the colorful characters and real drama that plays out among the town’s living residents, from renovating a haunted house to organizing the annual Witches Ball. Production company: Cream Productions. Executive producers: David Brady, Christopher Rowley.

The Wrights – Joe and Chris Wright are relatives of the famous Wright Brothers, but instead of building airplanes, this father-and-son-duo build paranormal contraptions to communicate with the dead. Each week the show follows the Wrights as they use their inventing ability to gain answers from the “other side.” Production company: Jarrett Creative Group. Executive producers: Julie Insogna Jarrett, Seth Jarrett.

Chris Cox Project – Young and charming, Chris Cox is the mind reader who can’t read minds. Cox has the mind-manipulating abilities of Derren Brown, the mischief of Ferris Bueller and the comic eccentricity of Mr. Bean all wrapped in a style uniquely his own. In everyday situations and locations – at a coffee shop, the post office, or just walking down the street – Chris amazes and confounds real people. Production company: Mission Control Media. Executive producers: Dwight Smith, Michael Agbabian, Erich Recker.

Divas of Dress Up – This program follows the six hottest cos-play stars as they push the boundaries of creativity and costuming in this docu-series that takes viewers inside the amazingly creative world of cos-play competition. Each week, the top women competitors transform themselves into fictional characters with visually arresting costumes, pushing the boundary between fantasy and reality. Production company: Skip Films. Executive producers: Skip Chaisson, Brian Gallagher.

Fan Girl/Fan Boy Project – From the producer of Jersey Shore comes a docu-series that celebrates the incredibly unique, often misunderstood and infinitely fascinating fan girl and fan boy cultures. Production company: 495 Productions. Executive producer: SallyAnn Salsano.

Limitless – Limitless is a cutting-edge series that recounts firsthand, true-life tales of ordinary men and women who discovered hidden powers – that they never knew existed – when faced with extreme life and death circumstances. Every story will explore the often unexplainable potential of the human body and psyche, leaving viewers to wonder what hidden abilities humans might possess. Production company: Karga 7. Executive producers: Kelly McPherson, Miriam Leffert, Sarah Wetherbee, Emre Sahin.

Superhumans – Superhumans uncovers the secrets of unbelievable stunts, record-breaking abilities and exceptional feats of human power and skill by putting real people through physical on-location challenges and a series of tests in a high-tech lab to answer the question: “How did they do that?” Production company: BASE Productions. Executive producers: John Brenkus, Mickey Stern.

Toy Traveler – Shane Turgeon, the Indiana Jones of toy collectors, travels to remote corners of the world to find the rarest and most valuable toys and collectibles. Whether it’s in an old toy warehouse in a remote Guatemalan town or a small swap meet in the Ukraine, Shane will go to all lengths to find the most unique and collectible toys. Production company: Jarrett Creative Group. Executive producers: Seth Jarrett, Julie Insogna Jarrett.

Master Control – Master Control is a weekly competition that pits user-generated videos against each other in a battle for viewer popularity. Each week, self-submitted videos must entertain the host, celebrity panel and the entire viewing audience, who are all simultaneously rating the video and anointing a winner. Production company: The Gurin Co. Executive producers: Phil Gurin, Kevin Pereira.

Stranger than Fiction – Stranger than Fiction is the only viral video clip show where comedians compete for laughs while commenting on and arguing over the strangest clips from the web. Good jokes earn points, while lame jokes lose them. At the end of the show, one comedian is crowned the irreverent victor. Production company: BASE Productions. Executive producers: John Brenkus, Mickey Stern.

Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in more than 98 million homes, Syfy is a network of NBCUniversal, one of the world’s leading media and entertainment companies. (Syfy. Imagine greater.)

GEEK ALERT! SyFy: Eureka Final Season, Lost Girl Season Two Premieres TONIGHT, 2012 – 2013 Schedule Info!

Hitting us like a shovel to the face, we just found out that not only is Eureka‘s fifth and final season starting tonight, but the second season of the Canadian transplant and now SyFy hit, Lost Girl will begin immediately after the Eureka premiere.  In the annals of television history that has to be the quickest transition between seasons a show has ever had in the U.S.  If you’ll recall, Lost Girl‘s first season just premiered in January and it just wrapped up a few weeks ago.  Yes, we are aware that the show has been on in Canada sice 2010 and we are just catching up with it here in the states, but still, SyFy S.O.P. on imports is to wait and have them air a season behind their country of origin.  This tells us that SyFy is very high on this show and that they are scrambling to get the season two episodes aired so that they can air season three episodes simultaneously with the Canadians.  Good for them as short breaks between seasons only help to keep audiences interested.  Read the full press release for more details below.

In other news, we just found out that SyFy’s upfront advertising event will be on April 24th.  As we’ve noted in the past, SyFy traditionally holds their upfront events in April ahead of the major networks upfronts in May.  For those unfamiliar with the upfront advertising events, these are the events that the networks hold to sell airtime to their advertisers.  This is the Christmas morning for television junkies like us when the networks announce their upcoming schedules and we find out what’s new, what’s renewed and what’s been canceled.

Now, what should be of particular note is, as we mentioned in our big Battlestar Galactica: Blood & Chrome piece, that this is where we’ll really have an idea of what’s really going on with the BSG spin-off prequel.  As we noted, despite statements to the contrary by SyFy, we think it’s certainly a possibility that B & C will wind up being broacast on the network and not digitally, (or at the very least, they’re hedging their bets and it’s still up in the air) and the upfronts will give us a real indication of what direction they plan to take it.

Again, if SyFy announces that they will be airing the 90-minute B & C pilot in the Summer or Fall of 2012, all bets are off and they will be treating B & C as a backdoor pilot and will rely on its Nielsen 18 – 49 numbers, to determine which medium the saga will be distributed on.  If, on the other hand, they announce it for early 2012, then you can pretty much expect that it will be launched as a digital series exclusively, as they claim that they have intended from the beginning.  That being said, that’s nothing to fear.  Read all about why a digital B & C is actually a good thing, right here.

Now, what if they don’t tell us when they plan to air the 90-minute pilot?  Well, then… we’re screwed.

Via Press Release:

NEW YORK – April 9, 2012 – The spring season of Syfy’s “Powerful Mondays” programming block will feature the fifth – and final – season of the beloved, iconic series Eureka on Monday, April 16 at 9PM (ET/PT), followed by the second season of the sexy supernatural drama series Lost Girl at 10PM (ET/PT).

As Eureka’s thrilling fifth and final season kicks off, the town is reeling after the Astraeus and her crew mysteriously vanished just before their planned launch to Titan. When they finally crash land, Allison and the crewmembers are shocked to find themselves back in Eureka – and that they’ve been missing for four years. As the town copes with the shocking personal changes that have happened during their long absence, Sheriff Carter and Henry try to uncover the truth about the forces behind the crew’s bizarre disappearance – with deadly results.

Eureka stars Colin Ferguson (Sheriff Jack Carter) Salli Richardson-Whitfield (Allison Blake), Joe Morton (Henry Deacon), Erica Cerra (Jo Lupo), Neil Grayston (Douglas Fargo) and Niall Matter (Zane Donovan). Returning for the final season will be popular guest stars Wil Wheaton (The Big Bang Theory, Star Trek: The Next Generation) as the contentious Dr. Parrish and Felicia Day (The Guild, Red) as Dr. Holly Marten. Co-creator Jaime Paglia and Bruce Miller are executive producers. The series is produced and distributed by Universal Cable Productions.

In the Lost Girl season two opener, a nomadic Fae sideshow comes to town to take advantage of the chaos caused by both the bombing of the Light Fae headquarters and the declining physical condition of The Ash. Lost Girl stars Anna Silk as Bo, co-starring Kris Holden-Ried as Dyson; Ksenia Solo as Kenzi; Zoie Palmer as Lauren; Rick Howland as Trick, and K.C. Collins as Hale. Lost Girl is a Prodigy Pictures Production in association with Showcase. Executive producers are Jay Firestone, Michelle Lovretta and Peter Mohan. Lost Girl was created by Michelle Lovretta.

SyFy: Battlestar Galactica: Blood & Chrome Going Forward As Digital Series. We’re Thrilled! Teaser Trailer HERE!

We’ve been following the development of the prequel series, Battlestar Galactica: Blood & Chrome for going on two years, now, and we haven’t had much news to report for some time as SyFy has been very quiet about their plans for it.  Although the pilot finished filming in February of 2011, post-production wrapped up in September 2011 and there really hasn’t been anything released aside from rumors that SyFy was considering possibly releasing it as a web series.  There was no confirmation on this and in fact, we received conflicting reports from sources that SyFy was internally going back and forth on their plans for the epic series.  Well, SyFy has officially commented on it and it looks as if they have indeed decided to go forward with B & C as a web series, airing the 90-minute pilot at a future date on television.

We’ll comment on these developments in a moment, but first we wanted to give our readers a chance to check out the incredible teaser trailer that was shown recently at Wondercon and has been yanked every time it’s been posted on YouTube, since, and in fact, no matter were we’ve tried to post it (YouTube, DailyMotion, Facebook, Photobucket) it’s gotten immediately yanked.  So, we decided to get creative and do a little editing so that it didn’t raise any red flags.  In the beginning and at the end of the video we included a slide show of concept art from B & C and this apparently has allowed us to fly under the radar… at least for now.  So, enjoy until someone gets wise to the fact that we put the trailer up.

EDIT:  08/03/2012   Our video was blocked but we were able to find someone’s who’s wasn’t because he changed the audio completely.  Don’t know how long this will stay up either but his has been under the radar for a while.

Now, as we noted, SyFy has announced that they intend to go forward with this project as a digital series instead of a traditional network series and believe it or not, we’re actually O.K. with that.

From a statement issued by SyFy’s president of original programming, Mark Stern:

“Though the vision for Battlestar Galactica: Blood & Chrome has evolved over the course of the past year, our enthusiasm for this ambitious project has not waned.  We are actively pursuing it as was originally intended: a groundbreaking digital series that will launch to audiences beyond the scope of a television screen. The 90-minute pilot movie will air on Syfy in its entirety at a future date.”

Now of course, the fanboys are all up in arms about the fact that it’s going to be a digital series as opposed to a network television series but we’re going to set the record straight for you as to why this is a good thing as it stands right now.

One of the biggest problems we’ve noticed over the past couple of years with many of the respected sources for television news and commentary is the absolute inability of these outlets to see beyond the standard Nielsen-centric model of the television industry.  As we’ve made the point time and time again, it’s not just about network programming and 18 – 49 demographics.

From TV By The Numbers:

“Despite the “limited scope” of the television screen, TV is still where the big advertising dollars are and I can’t really see how the economics will work out, unless someone like Netflix steps in, so this sounds like the sort of  inevitable “being shopped to other networks” talk when TV shows are canceled. As a BSG fan, I hope I’m wrong…at least until I’ve seen the pilot!”

From io9:

“Last we heard, this pilot was going to be demoted to a webseries, instead of being aired as a TV movie. But this trailer is too amazing to be relegated to the internet — put this pilot on TV now, Syfy!”

*Sigh*

MAKE! IT! STOP!

Typical Staff of io9

Once again, what we have here is a typical moment where we have to repeatedly punch ourselves in the face.  Now, for the record, we can’t stand io9 because their articles are written from the perspective of a twelve year-old kid in a Batman costume and have ZERO insight into the reality of the film/television industry. io9 is simply a reposter and commenter and most of those comments are similar to the fanboy comments above.  TV By The Numbers, on the other hand, is a source that we have greatly respected over the years and a source where we regularly go to for information.  Generally speaking, they understand how the industry works as far as analysis of Nielsen numbers are concerned and have had a history of being right more often than not.  Lately, though, and in particular over the last two years, TVBTN has been showing their age and unwillingness to look outside the box as far as the direction of the television industry is going and they are making a lot of bold statements about the fate of television shows based solely on the old media model.

Recently, we called them out in the comments section of their article about the Deadline piece (that was also confirmed by THR) that reported that Netflix was in preliminary talks with 20th Century Television about the possibility of bringing the recently canceled FOX series, Terra Nova to Netflix streaming service for a second season.  TVBTN not only dismissed the report as foolishness and wishful-thinking, but they openly mocked the piece and Deadline, who, for the record is an elite source of entertainment information has been correct far more often than TVBTN has been.

As we noted then, the Deadline piece was very careful to note that these were only preliminary talks and that it was far too early for fans to get their hopes up, however they noted that considering Terra Nova‘s bubble-show status, it’s huge Live+7 DVR gains and the fact that picking it up would be perfectly in line with Netflix business model expansion, it was certainly possible that it could happen.  Besides the fact that their mocking of Deadline was childish, it represented a cognitive dissonance about the evolving landscape of the television industry that the old-guard simply either doesn’t want to accept or doesn’t understand. We’re not going to post the entire contents of our response to them (which, by the way, went unanswered whereas they responded to every other critcism of their piece and defended themselves) but if you want to understand more of what TVBTN doesn’t, read our piece, here, on the Deadline and THR  Netflix/Terra Nova story.

How does this all relate to the future of B & C?  Well, to put it simply, the television landscape is not exclusively dependent on Nielsen ratings and television advertising any more.  The fact is that the networks and studios are looking for more and more avenues to expand their brands and profit from their programming beyond the traditional outlets of live television and home video sales.  It’s taken them a while, but the industry has come to the realization that Video on Demand Services, the Internet and digital platforms offer as much if not more than traditional live viewings and the advertising associated with it.  So, here are a few points to consider as to why Syfy has announced this direction for the series and the BSG franchise and why it is actually a positive and what viewers can possibly expect.

It’s dead, JIm… get used to it.

1.) Space-Based SciFi is Dead on Television.     This is the elephant in the room that no one wants to believe no matter how many times we explain it and no matter how many times the evidence to this presents itself.  The fact is, though, that on network television it’s been dead since the late 1990’s and on cable it’s been dead for about five years.  The Star Trek television franchise officially died in 1998 despite the fact that it continued with Enterprise until 2005. Farscape struggled to find an audience and was unceremoniously ended after four seasons with a cliffhanger that had to be resolved with a miniseries… and don’t even get us started with Firefly.  The simultaneous collapse of the Stargate and Battlestar Galactica  franchises around 2007 marked the official beginning of the end of the genre on cable television.  SyFy saw it coming which exactly why they changed their name in 2009 from SciFi to the current moniker.  SyFy president, David Howe said this back then:

“If you ask people their default perceptions of Sci Fi, they list space, aliens and the future. That didn’t capture the full landscape of fantasy entertainment: the paranormal, the supernatural, action and adventure, superheroes.”

The writing was on the wall for space-based SciFi and they knew it as well as we did because they saw the same numbers that we did.  Despite the criticism from the pundits in the blogosphere over the name change (CNet’s “Digital City” blogger and television flat-earther Dan Ackerman called it “…perhaps the most ill-advised branding move since New Coke” which was just stupid on its face because New Coke was a completely different formula and not merely a name change), SyFy has seen record ratings and revenues on their original programming (both scripted and unscripted, and it has nothing to do with one hour of wrestling per week)… that is of course with the exception of the two attempts since the name change at space-based SciFi, which were, Stargate: Universe and the BSG prequel series, Caprica.  Both of those shows, which SyFy gambled on and invested an enormous amount of money in development and promotion, were miserable failures not because they weren’t any good, but because general viewing audiences just DO NOT have any interest in the genre any more.

We have no doubt that SyFy still has an interest in the BSG franchise, because, after all, it’s their most successful property of all-time and the fact is that they didn’t spend all that money on that kick-ass pilot two months after the cancellation of Caprica to have it sit on a shelf and not make money, but SyFy and NBC-Universal view it in a much larger context than the dopey fanbase and bloggers do.  At this point, they aren’t going to make the same mistakes they made on SGU and Caprica by putting it on television for an audience that simply has very little interest in it and thereby destroying the franchise the same way that Paramount did with Star Trek.  SyFy is thinking global distribution with this to maximize profits and that’s the absolute best approach for this series.

Uhhhhh… no.

2.)  The Definition of a “Digital Series.”     How simplistic viewers and bloggers are when the phrase “digital series” is uttered as they sit around lamenting six minute mini-episodes for free that are used to promote shows like The Office on NBC.  We hate to burst the bubble of the Negative Nancys but when SyFy refers to this as a “digital series,” that’s not what they have in mind and simply because they offered webisodes to supplement Battlestar Galactica when it was in first-run, you have to understand that using webisodes to supplement and promote the primary product is not the same thing as having the primary product distributed digitally.  This is the typically short-sighted understanding of the television industry in this new global market that permeates the Internet and it really couldn’t be more ignorant of the facts.

The Internet’s impact on television has grown exponentially over the past five years and this is partly the result of a defensive posture by the networks and studios to combat piracy and partly because they realize that if they take advantage of the Internet it broadens their audiences and their customer base (if you can’t beat ’em, join ’em).  The old model of television really was less about programming and more about advertising. Unlike feature films where consumers actually purchase the entertainment product directly, television and television programming has traditionally been a means simply to expose viewers to advertising.  It’s been an intricate dance of providing programming that enough people watch to make it inticing for advertisers to spend money on advertising. This is why fan campaigns don’t work.  Despite quality of programming, if the numbers aren’t there, a show will not survive.  io9 and similar fan outlets as well as the fans themselves do not understand that the show itself has not traditionally been the product and can’t seem to get it through their heads that a demographically insignificant amount of fan signatures does nothing to keep a show alive if it doesn’t have an appeal to a larger consumer audience that will actually see the advertising.

But this is changing.  Studios and networks, though still tied to traditional methods of revenue, are now beginning to look at their shows themselves as the product. International distribution deals as well as non-exclusive distribution contracts with companies such as Apple, Amazon, Netlfix and Hulu are making advertising less of a concern  than they have been traditionally.  This is exactly why at least the notion of shows such as  Terra Nova and The River going to Netflix, a service that depends on subscribers, not advertisers, makes so much sense in the new economy (however, advertising may still be part of the picture for B & C even, digitally).

Again, just consider what we’re talking about, here.  We’re talking about BSG and we’re talking about SyFy, not just some random series on a generic network.  This is an incredibly valuable and profitable property for SyFy and SyFy has made it very clear that they are actively pursuing innovative ways to deliver entertainment that is not only profitable, but takes advantage of existing and developing popular technology.  Although the rest of the experts in the blogosphere may have not been giving this much attention, SyFy’s upcoming new series/MMO crossover, Defiance is the prime example of the network’s dedication to using innovative digital methods to change the landscape of television and delivering original content to consumers.  The Defiance project alone should be enough of an indication to fans and critics alike that SyFy has something far bigger planned for B & C than a handful of crappy 10-minute webisodes.

Naga… naga… nagunna happen.

Even though it’s nice see that TVBTN  is begrudgingly at least sort-of understanding that Netflix is a viable option for original programming and and keeping alive shows that have been canceled by networks, this news is not a harbinger of SyFy shopping the series to Netflix (or another television network, for that matter), in fact don’t expect this series to be on Netflix for years.  The concern that these Internet outlets have is that they think that the 90-minute pilot movie will be cut down into 10-minute webisodes and once all of the episodes have been released, that will be the end of B & C.  Though it’s possible that it could be cut down into individual webisodes, we don’t think this is very likely, and we certainly don’t think that once the pilot movie is shown its entirety, it will be the end of the project.

First, unlike the BSG webisodes that supplemented the television series and were available for free, the pilot film wasn’t designed to be a story spliced up into a web anthology and furthermore the webisodes were incredibly inexpensive to produce and not produced as direct revenue generators.  The B & C  pilot movie was produced with the intention of telling a stand-alone story in the form of a film while leaving setting it up as a launching point for a series.  That format simply won’t work with a 10-minute webisode experience with the end of each ten minutes being a cliffhanger for the next webisode.  That’s simply not how the pilot was produced or written.  SyFy knows this which is exactly why they are airing the pilot movie in its entirety on the network.

We suspect that B & C will most likely wind up on Hulu after the pilot airs on SyFy and available ad-free/limited ad-supported for Hulu Plus subscribers (and video game consoles, TV’s and other devices that  have the SyFy App) simply because of the fact that NBC-Universal has a stake in that company.  We think they will probably use the broadcast of the pilot movie to promote subscriptions to Hulu Plus which will be the exclusive content provider for B & C.  We don’t currently subscribe to Hulu Plus because we have no need for it and we suspect a lot of consumers feel the same way.  Our cable package includes an HD DVR, every channel that Cox Communications offers as well as all of the premiums.  If we want to watch a show that we have missed or isn’t on the DVR, we go to Cox’s VOD service.  If we want to see older shows, we simply go to Netflix.  That being said, if Hulu Plus carried B & C we’d subscribe tomorrow and there is no question in our mind that if SyFy does bring full series treatment of B & C to Hulu Plus, they would immediately gain one to two million new subscribers.

And this would not be Hulu’s first venture into high-profile web content.  Last year we reported on and reviewed the groundbreaking web series, The Confession, starring Kiefer Sutherland and John Hurt. The web series, consisting of 11 six to eight-minute episodes, was an incredible success for Hulu and its producers that was deficit-funded and began producing a profit by the second episode.  The company that produced it, Digital Broadcasting Group, noted that each episode had a 95% viewership rate (in other words, viewers watched each episode, including ads right up to the credits) and that the only complaint was how short each episode was, which was exactly why didn’t give it a perfect score when we reviewed it.

What The Confession proved is that original digital content can be profitable provided that it has strong production values and a strong cast.  Add these features to the popular nature of the BSG franchise and you’re looking at the future of entertainment and B & C seems ideally suited for it as it’s also destination viewing in that it targets specifically the audience that wants to watch this show without trying to profit from it by airing it to an audience that has little interest in it (the old throw enough sh*t at the wall and see what sticks method that’s been used for 70-years).

3.)  Smoke and Mirrors?  Possibly.     There is another possibility that makes as much sense as any other and that is that though SyFy continues to plan to move forward with this as a digital series, depending on which way the wind blows, the series itself may wind up being aired on the network after all.

The truth is that no matter what SyFy says right now, nothing will really become clear until after they announce their 2012 – 2013 schedule.  Unlike the major networks, who announce their schedules at the upfront advertising events in May, SyFy has a history of announcing theirs in April.  In April, if an airdate for B & C is announced for the summer, that will be very important because it kind of means all bets are off as far as what SyFy is actually going to do.

If they air it in the summer, it could very well wind up being given full-series network treatment depending on how well it does in the ratings.  What they have in the can right now is not just a pilot film but they may be consider it to be a backdoor pilot if it can garner high enough ratings to support a network series.  What that means is that it was written produced as a stand-alone film with the opportunity to expand on the story if there is enough interest in it for a series.  This is a common practice within the television industry and we’ve discussed this concept before in regards to B & C.  It’s called hedging your bets and considering the hype and anticipation they’ve already built around this recently with the Wondercon release of the teaser trailer and almost Gestapo-like patroling of the Internet to curb its avaialbility, it almost seems like this is a viral campaign to spike interest in it and create hysteria.

Right now, as we write this, there are hundreds of fan campaigns actively harassing SyFy to bring this series to the network and we have a funny feeling that this is exactly what SyFy wants.  Just like the name change controversy, SyFy may be intentionally trying to piss everyone off by making what appear to be very definitive statements about their programming in an effort to spike brand awareness.  Remember, there’s no such thing as bad publicity.

Now, we could be dead wrong with this theory and we’ll only have an indication of whether or not this is the case when SyFy releases their schedule, but again, this section is dedicated to idle speculation, only, not hard facts.  The key is a summer release date.  If it’s announced for an early 2013  release and not announced for Summer 2012 or at the latest Fall 2012, then we think it’s safe to say that this isn’t a viral campaign and SyFy will definitely be moving forward with their digital plans.

But again, that’s not a bad thing and fans should embrace SyFy’s leap forward in digital distribution.  It will have a dramatic effect on the rest of the industry if B & C finds success in this format and will usher in a new era of innovation and creativity in television.  It will prove once and for all that the old business model is irrelevant and that good shows that couldn’t survive through traditional broadcast mediums can indeed find life digitally and furthermore it will give programming that may have never seen the light of day a chance to find an audience.