'Terra Nova' Reviews: Must-See TV Or Soon To Be Extinct?

Monday night's two-hour debut of "Terra Nova" sits unwatched in my DVR, a victim of a new puppy who needs far too much attention and then my wife's insistence that if we were going to watch any TV it'd have nothing to do with dinosaurs and everything to do with finally catching up on Leslie Knope's political ambitions in Pawnee. The day after, the web is abuzz over "Terra Nova," though not necessarily for reasons that make me think my wife and my dog kept me from being an early adopter of a show I'll be itching to check out each week. I plan to watch tonight, but I'll approach the DVR with caution. Anyone under the impression that Fox has served up a "Lost"-like time-travel mystery should now be fully aware the show is trying to attract not just geeks but the four-quadrant demographics so important in Hollywood (and mega-budget TV series). "A rollicking, old-fashioned action-adventure sci-fantasy family saga, 'Terra Nova' strove mightily to offer something for everyone," wrote Ken Tucker of Entertainment Weekly. "You could feel the strain 'Terra Nova' was under to make this show appeal to as many demos as possible." The show, it seems, is as much "Swiss Family Robinson" as it is "Stargate": a family in the year 2149 flees their dying earth and travels 80 million years back in time to our world in the time of the dinosaurs. There are action set-pieces, but also much time spent on Jim (Jason OMara) and his wife Elisabeth's (Shelley Conn) strained marriage and the difficulties of taking their three kids on a road trip of epic proportions. For me, the key for "Terra Nova" will be how it handles its central mythology. "[I]n a nice 'Mad Max'-ish twist, there are some renegade forces out there as well, trying to take down Terra Nova," explains Tim Goodman of The Hollywood Reporter. "They are the Sixers so called because they came in the 6th Pilgrimage. This is another welcome element to Terra Nova. Who sent the Sixers from the future? Why do they want to kill Taylor [Stephen Lang] and stop Terra Nova?" Any talk of a mythological component in a TV show leaves me a little intrigued and a lot wary (and weary): for every "Lost" there are a half-dozen time sucks like "Jericho" (dribbling out its reveals too slowly), "4400" (uncorking its big reveal and then finding it had nothing left to say) and "The Event" (just, honestly, a freaking mess from top to bottom). The recapper over at Vulture neatly summarizes all these thoughts as they relate to Fox's new show. "[The] pilot was at its most tantalizing when it teased us with details of the Sixers," Chadwick Matlin wrote. "The man versus dino-nature stuff is fine, but if the show is going to grab us, it'll be because we don't know whose side to take. None of the principals in 'Terra Nova' are compelling enough to earn our allegiance by default. By the end of the episode, I was already rooting for a Sixers coup, if only so life in Terra Nova would get a little more interesting. If theres anything I trust the writers to flesh out, it's the Sixers-Nova conflict: nothing makes better TV than two warring tribes. Just ask 'Lost.'" Tell us what you thought of "Terra Nova" in the comments section and on Twitter!

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Artios names winners

Broadway tuners "Follies" and "The Book of Mormon" and pics including "The Social Network," "The King's Speech" and "The Kids Are All Right" were among the projects to pick up Artios Awards from the Casting Society of America. At the 27th annual bi-coastal award ceremony held in Gotham and L.A. Sept. 26, kudos also went to casting directors of TV skeins "Boardwalk Empire," "Raising Hope," "The Good Wife" and "Modern Family," among others. Casting director Laura Stanczyk won in the regional theater east category for the D.C. run of "Follies," which preceded the current Main Stem transfer, while Carrie Gardner scored for "Mormon." Also among the legit winners were Bernard Telsey and Will Cantler for the Broadway revival of "The Normal Heart," David Caparelliotis for "Good People" and Telsey and Justin Huff for the L.A. bow of "Leap of Faith," sharing the regional theater west trophy with Samantha Barrie for "August: Osage County" at the Old Globe in San Diego. On the feature side, Laray Mayfield scored for "Social Network," Nina Gold won for "King's Speech" and Laura Rosenthal and Liz Dean took the trophy for "Kids Are All Right." The casting team of "Red" and Kerry Barden and Paul Schnee of "Winter's Bone" also took home awards in categories that separate features by budget size and by genre (comedy or drama). CSA, the trade association of casting directors, hands out about 25 awards during its annual kudofest. Previously announced winners of special honors went to Whoopi Goldberg at the Gotham ceremony and to Dick Wolf and casting director Meg Liberman in L.A. Contact Gordon Cox at gordon.cox@variety.com

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Andrea Wong Attracted on As Leader Of Intl Production In The new the new sony Pictures TV & Leader Worldwide In The new the new sony Pictures Entertainment

EXCLUSIVE: Carrying out a year . 5 in the spotlight, Andrea Wong is rejoining the executive ranks with top worldwide positions in the new the new sony Pictures Entertainment. The first sort Boss of Lifetime, who had previously been rumored for nearly any high-profile TV executive job that increased being available formerly 18 several days, remains named Leader of Worldwide Production for that new the new sony Pictures Television and Leader of Worldwide for SPE. She is dependent london. In their SPT position, Wong will mind the art galleries worldwide TV production business, verifying to SPT leader Steve Mosko. She'll oversee SPT’s 15 possessed and partnership worldwide production companies. Wong will shepherd the development of new formats together with the neighborhood adaptations of SPT-possessed formats, mainly round the unscripted side. The studio’s library of reality formats, which was elevated with the 2008 acquisition of Nederlander company 2waytraffic, includes Who What's To Become Uniform?, Dragon’s Family room and Pyramid. In addition, SPT remains creating local versions of the daytime talk show Dr. Oz plus a few of their library sitcoms, like the Nanny, Married… with Children and Everybody Loves Raymond. It absolutely was Wong’s effective tenure as mind of alternative and late evening at ABC, where she developed such hit franchises since the Bachelor, Dwts and Extreme Transformation: Home Edition, that was key in landing her the SPT job, that's skewed heavily towards reality. Andreas business acumen and her role in developing effective unscripted programming like Dwts, as well as the Bachelor, make her a perfect fit for SPT, Mosko mentioned. Wong replaces Kees Abrahams who's walking lower as leader of worldwide production for SPT. Abrahams, former Boss of 2waytraffic, happen to be controlling SPT’s worldwide production methods since 2waytraffic’s acquisition. Kees’ business spirit remains instrumental towards the introduction of our television production business worldwide which we thank him its his efforts, Mosko mentioned. Added Kees, “I think it is now time will be able to pursue more recent and much more effective commercial options, and when just the new the new sony well.” As Leader of Worldwide for that new the new sony Pictures Entertainment, a lately created position, Wong assists as SPE’s liaison operates on matters connected with worldwide production, verifying to SPE chairman and Boss Michael Lynton and co-chairman Amy Pascal. SPE is now offering offices in 39 areas. Wong will probably be designated with championing worldwide SPE’s business and political agendas, working carefully with some other corporate groups for instance Government Matters group situated in Culver City additionally to SPE’s other business models. “Andrea will probably be an important ambassador for that new the new sony Pictures inside the worldwide marketplace, Lynton mentioned. Added Wong, “There has not been a far greater time to be globally focused which i anticipate working with The brand new the new sony’s strong creative team to create and convey great programming worldwide.” Wong, who serves round the board of Liberty Media Corp., segued from her impressive turn as EVP alternative programming, special deals and late evening at ABC with a rocky 3-year stint as leader and Boss of Lifetime Systems, which ended once the organization was absorbed having a&E Television Systems a year ago. Throughout her tenure there, Wong oversaw the launch of Lifetime’s flagship drama series Military Partners and orchestrated our prime-profile acquisition of Project Runway, but wasn’t capable of stem the cable network’s ratings erosion.

'Glee' Exclusive: Jum Michele and Idina Menzel Cover 'Somewhere' (Video)

Because the Glee kids of McKinley High start to fight it for that lead within the school's performance of West Side Story, it appears like Jum Michele's Rachel Berry will get additional help. STORY: 'Glee' Season 3: The Fight for that School Musical Starts Idina Menzel's Shelby Corcoran returns to McKinley on Tuesday's episode of Fox's hit musical dramedy like a teacher who ends up getting back using the daughter she threw in the towel for adoption. STORY: 'Glee': Rachel and Finn's Future and much more Season 3 Spoilers Within the clip only at The Hollywood Reporter, Michele and Menzel team for "Somewhere," in the 1957 Broadway musical West Side Story. Michele told THR that she'll work a great deal with Menzel this year. "As her mother, she is going to help Rachel a great deal this season,Inch Michele stated. PHOTOS: 'Glee' Season 3 To School Pictures Launched Episode 2 of Glee, entitled "I'm Unicorn," airs Tuesday at 8 p.m. on Fox. Email: Lesley.Goldberg@thr.com Twitter: @Snoodit Glee Idina Menzel Jum Michele

Glam Slam: Inside The Files Of The Super Stylish

By Ryan PattersonLOS ANGELES, Calif. -- Want to achieve impeccable style? Then get ready to take notes! The new issue of InStyle features some of the fashion industrys top tastemakers, who reveal everything from style advice to guilty pleasures. The magazine goes inside the files of the super stylish with actress Zoe Saldana, fashion designer Vera Wang, actress Lauren Hutton, television personality Padma Lakshmi and celebrity stylist Kate Young. Whats the secret to great style? Zoe Saldana: My grandmother told me, Dont be afraid of wearing color. I try to always remember that. The NYer in me is tempted by head-to-toe black. Vera Wang: Embrace yourself and your body shape. I have a runners build and spent years wishing that I looked more voluptuous. It can take a long time to feel confident and understand that there are so many types of beauty. Lauren Hutton: Notice what people compliment you on its often a specific color, shape, or proportion and youll know what works. Padma Lakshmi: This is going to sound highfalutin, but its cultural knowledge reading, viewing art, broadening your mind because it will broaden your closet and your taste as well. Kate Young: Know what doesnt look good on you. Im only 5 foot 3, so wide-leg pants are never gonna happen! What should every woman have in her wardrobe? Zoe Saldana: A pair of tall black leather riding boots. Vera Wang: A statement necklace that you can wear with a T-shirt or a cocktail dress. Lauren Hutton: A pair of white canvas Top-Siders. Ive worn them since 1964, and they havent gone out of style. Padma Lakshmi: A sweater dress. They dont wrinkle, they keep you warm and they show your shape. Kate Young: Have your pants hemmed by a tailor. When theyre the right length, you cant wear the same pair with heels and flats. If you really like a certain style, buy two pairs. What is your guilty pleasure? Zoe Saldana: Chinese food. Ive been going to the same hole-in-the-wall on Mott Street for Sunday brunch with my family since I was a little girl. Vera Wang: Pizza. Not the nouvelle cuisine kind the good ol slices you get at a NY pizzeria. Padma Lakshmi: I never feel guilt in taking any pleasure. Kate Young: TLCs Extreme Couponing. The deals they get are sick! For more style tips and inspiration, the October issue of InStyle is on newsstands today. Copyright 2011 by NBC Universal, Inc. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

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How Glee Boss Ryan Murphy Plans to Win You Back in Season 3

Glee Here's what Glee boss Ryan Murphy says he likes about his new team of writers: "We hired people who will read scenes and scripts and go, 'We can do better, let's change that. Like, they'll literally say, 'You know what? We don't wanna do that with Mercedes. No one wants to f---ing see that.'" That may sound extreme, but to help plot out what will be senior year for most of the McKinley High glee clubbers, Murphy says he specifically sought out writers with "big opinions" about the show. Why? Because the second season of Glee had been hit with its own kind of Slushee and was in need of cleaning up. Even the most ardent gleeks seemed to take issue with the show's indulging in stunts and spectacle at the expense of ongoing stories. In some ways, their demands were simple: No more theme episodes (Christmas! Religion! Underage drinking!). No more tributes (Britney Spears! Rocky Horror! Fleetwood Mac!). No more new characters, and no neglecting the members of New Directions not named Kurt. We've seen the Glee Season 3 premiere - here's your spoilerpalooza! Even while Glee continued to pull in more-than-robust ratings and rake in major bucks from very healthy music sales, last season's backlash was felt. And it might have been a bitter pill considering the show's meteoric rise in Season 1, but Murphy seems to have instead used the fan feedback as fuel. The proof is in Season 3 premiere, "The Purple Piano Project," (Tuesday at 8/7c on Fox), a relatively stripped-down episode in which Mr. Schuester and the members of New Directions attempt to rekindle their love of show choir after a crushing defeat at Nationals. Whether or not fans or critics dub it a return to form, Murphy's all confidence, telling TVGuide.com just days before the show return that a back-to-basics plan is in effect, one that he believes will be emotional and heartbreaking in the all the right places as McKinley High's underdogs sing and dance their way to graduation. That plan began at the end. "Before we did anything, we figured out where we were going," Murphy says. "Who graduates? Who doesn't? Do they go off into the ether or do they stay in Ohio? This time, we know what we're writing towards, which is great." Fall Preview: Get scoop on your favorite returning shows He also brought in a lot of extra help for the show's creative team, originally just himself fellow executive producers Brad Falchuk and Ian Brennan. This year they've got six more writers, among them Buffy the Vampire Slayer's Marti Noxon and Michael Hitchcock (who you might recognize as Glee's Dalton Rumba). Before typing even a single page, the new team sat around for a good month delving into what Murphy calls "dream time," imagining all the possible stories and songs they might do - and then zeroing in on what made sense. "From that, came an amazing arc and an amazing season," Murphy says. It will start with four major stories that connect the core cast: Rachel (Lea Michele) and Kurt (Chris Colfer) together aspire to careers on the Broadway stage, Will (Matthew Morrison) and Emma (Jayma Mays) try to make it work as a couple, two members defect separately from the glee club, and another struggles with the very idea of life after high school. Murphy says he especially wanted to get back to that last idea, a key Season 1 theme now central to the show's senior class: Is everyone meant to fulfill their dreams outside of Lima, Ohio? Are you a Lima loser if not? "Sometimes college isn't for everyone," Murphy says. "What do you do if that's your sneaking suspicion? What happens?" Focusing on all of the original cast members also means new characters -- like Sugar and Mercedes' boyfriend Marcus -- will add "a sort of great flavor and spice" to the show but won't be taking away screentime from say, Tina (Jenna Ushkowitz) or Artie (Kevin McHale). Guest stars outside of Gwyneth Paltrow are also banned for the most part, although Idina Menzel, who plays Rachel's mom Shelby, will be back for a long run beginning in Episode 2. And while he's retracted saying that Michele, Colfer and Cory Monteith will definitely exit the show after this season, Murphy says he will, however, slowly begin readying McKinley's next generation of glee clubbers, including Glee Project winner Damian McGinty, who'll make his debut in Episode 4 as a sophomore foreign exchange student. McGinty told TVGuide.com this summer that Murphy envisions him as the next eventual "leader of the glee club." Check out our fall preview for galleries, scoop, premiere calendars and more! Murphy appears zen about the task at hand so far, even though he and Falchuk are about to launch a second show, American Horror Story, on FX. "We work on Glee in the morning and we do American Horror in the afternoon and then we go back to Glee or Horror around 6, depending on where we are. Then we work on the weekends. And then I work at night. So it's a lot of work." "But I love the Glee scripts and the direction of this year so much. Not that I didn't love Season 2, but between the tour and the reality show and the movie, it was so much of the business side of things for me. Now, I really am just concentrating on the scripts." Do you think the show can go "back to basics"? Or did you like Season 2? What do you hope to see senior year brings for McKinley's future graduates?

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Lovely Molly

A Haxan Films and Amber Entertainment presentation. Created by Robin Cowie, Gregg Hale, Jane Fleming, Mark Ordesky. Executive producers, J. Andrew Jenkins, Robert Eick. Directed, compiled by Eduardo Sanchez story, Jamie Nash.With: Gretchen Lodge, Johnny Lewis, Alexandra Holden, Area Blauvelt."Lovely Molly" signifies a spooky but scattershot attempt by author-director Eduardo Sanchez to meld the very first-person handheld aesthetic of his 1999 horror landmark "The Blair Witch Project" having a more straightforward bump-in-the-evening thriller. Around Sanchez assisted to pioneer the found-footage technique which has since created numerous imitations, the gimmick feels ill motivated in the muddled tale of the youthful lady who foolishly moves into the house where she spent her abusive childhood. Still, before it tips over into banshee-wailing, screwdriver-carrying unpleasantness, this experimental exercise creates some legitimate shivers that may lure fringe horror fans in niche release. Bride and groom Molly (Gretchen Lodge) and Tim (Johnny Lewis) have elected to save cash by getting into that old, creaky countryside manse which has been in Molly's family for decades and it has been not inhabited because the dying of her father. Nobody thinks to warn the pair that it isn't really the best strategy -- not really Molly's sister, Hannah (Alexandra Holden), with whom she clearly shares uncomfortable girlhood reminiscences which are never clearly laid bare. Soon security sensors and unsettling noises are disturbing the couple's slumber, and Molly is rattled and shook with a noisy pounding at her door, despite the fact that regular police visits neglect to arrive proof of an burglar. With trucker Tim frequently on the highway, Molly becomes progressively disturbed and, a la "Paranormal Activity," begins utilizing a camcorder to record her actions throughout the house, wishing to capture proof of the menacing presence she gets so really. These nocturnal sequences are undeniably effective in the beginning, skillfully drawing the viewer's anxiety over what might lurk within the shadows, lower the staircase or behind a closet door. But it is a tool that can't sustain itself. An earlier, expensive-forward video capture of Molly, hysterically addressing your camera while clearly within the advanced stages of madness or demonic possession, appears to wink at Louise Donahue's close-up monologue in "Blair Witch" -- an evaluation that serves simply to underscore how shoehorned-within the technique feels within this more routinely frightening context. It's difficult to shake the concept that Sanchez (working from the story by Jamie Nash) made his protag a novice filmmaker partially to draw attention away from in the deficit from the material, as Molly's derangement leads her lower the foreseeable pathways: causing problems at the office, shunning clothing and making inventive utilization of household tools. With sharp features along with a close-popped hair do that lend her an abnormally tough, spunky search for a horror heroine, Lodge gives a completely committed performance, sometimes going screechily over-the-top but creepily finishing Molly's transformation right into a dead-eyed, bare-bodied succubus. Holden and Lewis work enough as her concerned family members. Using its bare walls, sparse decor and overall atmosphere of chill and rot, the home provides all of the production value "Lovely Molly" needs. Tech package is rough by design, and regardless of the problematic juxtaposition of first-person and third-person perspectives, d.p. John W. Rutland and editor Andrew Vona acquire a reasonably coherent mixture of footage. Soundscape is remarkably detailed, though repeated wailings of "Mollyyyyyyyyy..." tether the film towards the cheesy horror tradition it's clearly attempting to transcend.Camera (color, HD), John W. Rutland editors, Andrew Vona, Sanchez music, Tortoise production designer, Andrew Whitened set decorator, Natalie McAdoo-Howard seem, James Ridgley seem designers, Matt Davies, David West supervisory seem editor/re-recording mixer, Kevin Hill effects coordinator, Mark Fenlason visual effects supervisor, Tim Carras visual effects, Comen VFX casting, Pat Moran. Examined at Toronto Film Festival (Night time Madness), Sept. 15, 2011. Running time: 100 MIN. Contact Justin Chang at justin.chang@variety.com