Is Showtime's 'The Franchise' Hurting the San Francisco Giants?

Showtime For the record, I've worried about what impact The Franchise: A Season With the San Francisco Giants would have on my team. A team that is no longer in first place. A team that looks distracted and confused. A team that can't hit for you know what. I've also said I love The Franchise -- with the caveat being I have no critical faculties in place to review a show based on my beloved baseball team. Even my fantasy baseball team is annoyingly titled Your World Champion Giants. That said, with the initial six episodes having finished on Wednesday -- and two more added for the next two weeks -- some things can be gleaned from the series and others can be guessed at. First, I'd say The Franchise's growth in viewers most weeks relates directly to the series ability to hit on the emotional elements in the team -- Ryan Vogelsong's amazing story from being out of baseball to being an All-Star; Brian Wilson's story about his father's cancer and brain tumor; and a few other off field stories that reached out to viewers more than just a baseball story would. But my initial worry was about distraction. It's one thing for the New York Jets to go on HBO's Hard Knocks - it's a 16 game football season. Baseball is 162 games. And even though The Franchise condenses events, the camera crew has been around for a long, long time. Even if you buy into the notion that the camera eventually evaporates when people are being recorded constantly, you have to wonder if there's a lack of focus effecting the Giants because they're in the spotlight (in addition to having a target on their respective foreheads for being world champs). Yes, this may be my way of blaming The Franchise for the recent slide in good fortune instead of the Giant's incredibly lame ability to actually score runs. That, by the way, is a story that The Franchise is hitting on, but perhaps not hard enough. With one of the best pitching staffs in all of baseball, the Giants wouldn't have let a team like the Arizona Diamondbacks linger in the NL West race this long (and, indeed, eventually move past the Giants into first place) if they actually had hitters making contact. Tim Lincecum might have 20 wins by now if he was a Yankee. (Speaking of LIncecum, it took an awful long time for The Franchise to really focus on him and I'd argue they haven't done enough, given that he's really The Franchise rather than The Freak.) In all seriousness, it would be impossible to lay blame entirely on The Franchise for the Giants not getting it done on the field. That's just me trying to slyly scapegoat. But I do believe there's an element in play here that can't be ignored (even if the players say that, no, the cameras are not a distraction, they're pros who need to get the job done no matter what, blah blah blah). Take Aubrey Huff as a prime example, followed in short order by Cody Ross, two heroes from last year's glorious run. Both of them are having off years and both suffered through brutal early-to-midseason stretches. It was during those times -- less so now that Huff and to a lesser extent Ross have emerged a bit -- where one might have to consider what happens to a baseball player in a serious slump when the camera is constantly on them. And I think The Franchise cameras and the show in general are perceived differently than the beat reporters and daily press that cover the team. They are used to the latter and, obviously, most of those cameras and recorders play to a decidedly local market. But The Franchise, no matter what ratings it may get, is a national spotlight, a first-ever project from Showtime and Major League Baseball. If you're barely hitting your weight - or in some cases, under it -- how much grinding goes on wondering if the next team to be profiled in The Franchise (which could be any of them) is out there watching and mocking your struggles. I'd argue the attention the Giants are getting above and beyond that which comes from being world champs, is in someway different via The Franchise than it is being on the MLB Network or ESPN's SportsCenter, (which doesn't give a damn about most West Coast teams anyway, champs or not). I would also argue that the psychology of a baseball player is different than that of a football player. It's a more cerebral game (beyond the X's and O's of football, obviously) and one where, if you get into a funk, an awful lot of doubt can creep in (the series is doing a fine job documenting Barry Zito's struggles -- and he's a player that fits perfectly into the notion that baseball players live in their head too much, no matter what Zito says on camera). There is something to being in the spotlight -- all the time. Followed home, followed to the park, tracked down when you've been sent down (Brandon Belt, Emmanuel Burriss), etc. While my desire to scapegoat The Franchiseis just a joke that may not explain away the woes of the Giants (where a horrendous string of injuries and inability to make a bat square up a baseball have more to do with it), I feel safe in saying that if The Franchise is not hurting the Giants, it's not helping them either. As or the series itself, this could not be a better season to follow the Giants for drama (check that - duh - last year would have been better). But there's no end to the stories this year. Among them: how the biggest move the Giants made -- adding Carlos Beltran at the trade deadline -- is playing out on camera. So far, it's not. Beltran isn't loquacious to start with and seemed, once he'd been traded from the Mets and plopped in a van and driven to the Giants with a camera crew in his face, less than eager to participate. The Franchise, in the next two epiosodes, might want to consider getting into how the trade hasn't exaclty ignited the team (especially since Beltran is currently on the DL). Late additions like Jeff Keppinger and Orlando Cabrera have had to be tossed into the mix, but Keppinger - in the tradition of all Giants this year -- is hurt and Cabrera, also in the tradition of this current line-up, can't hit. So they haven't really made an impact on the storyline in The Franchise. Ah, the storyline. What is it, exactly? For Giants fans, the show is partly frustrating because it's behind the current action so, for example, it may be no fun rewatching Atlanta take 3 of 4 from them and how that played in the locker room. And fans who watch daily know that there are dozens of good storylines that either aren't being address or are being truncated, losing their emotional impact (although, to be fair, a couple of hours of air time watching Huff and Ross and everybody else miss balls might be boring). Not surprisingly, The Franchise is in love with Wilson, the charismatic closer. (But now he's hurt -- thanks for that, you cursed show!) Elsewhere, the half-hour format (where, admittedly, they jam a lot in) can't seem to contain enough of the ongoing storylines. Or, conversely, as it chases those many stories, it may not focus on the bigger ones -- like, counterintuitively, how this season may actually be judged a success to this point because the Giants are still very much in it despite all the injuries and distractions (ahem) and could very likely win the division again. As they proved last season, this is not a team you want to face in the playoffs. Of course, back in that glory year, all the hits were timely. Now, there are no hits. And this year, the team is decimted by injury (Buster Posey, Freddie Sanchez out for the season, on down a very lengthy list of DL-occupants). Oh, and as I write this, Pablo Sandoval -- akaKung Fu Panda -- has just been scratched with an injury. Damn you, Franchise! Let's see what kind of narrative the series can wrap-up with in the next two weeks (unless it gets extended again). Then it will be easier to judge its impact as a TV show and as something you might not want to wish on another team. Unless that team is the Dodgers, of course. Email: Tim.Goodman@THR.com Twitter: @BastardMachine Showtime The Franchise

Bad Movies We Like: Logan's Run

Sexually exciting news: Now’s important new movie Spy Kids: Constantly on the planet 4D (that’s not the sexually exciting part) is both “futuristic” and “sci-fi” — meaning we now have reason to revisit the advanced, sci-fi lovefest of Logan’s Run. Hooray! It’s probably the most decadent, senselessly gorgeous Bad Movies We Like ever. Better we re-watch it now than following the remake arrives and destroys our nostalgia. Isn't it time for ray guns, cult-like “carrousels” of dying, and also the hirsute hotness of Peter Ustinov? The entire year is 1976. The Exorcist isn't a factor yet, so Logan’s Run’s $9 million budget appears extreme. The plot goes such as this: People for the future reside in a pleasure dome, allow “servo-systems” to supply almost all their essentials, and kill themselves at 30 in magnificent dying events. It’s a geek wonderland! A genuine EPCOT for MST3K fans. A couple of of individuals people hightail it the dome, and our hero Logan (Michael You are able to, of Austin Forces fame), a “sandman,” needs to catch and get rid of the runaways together with his noisemaker of the ray gun. However when Logan themself flees the dome, an entire " new world " reveals. Yep, much like Aladdin. Logan’s Run is a Peabo Bryson anthem from perfection. Really, no. Logan’s Run is definitely an overlong story that flatlines within the last hour. We’re playing five great moments, but many of them occur before halftime. Please, indulge! 5. Probably the most insane preamble you’ll ever see. Talking about The Exorcist: Should you search movies that start with scrolls of text, Logan’s Run is the guy! It’s Scrollio Iglesias! Here’s its entire preamble, unabridged for historic precision: “Sometime within the 23rd century…the children of war, overpopulation and pollution live inside a great domed city, sealed from the forgotten world outdoors. Here, within an ecologically balanced world, mankind lives just for pleasure, freed through the servo-systems which offer everything. There’s only one catch: Existence must finish at thirty unless of course reborn within the fiery ritual of carrousel.” Oh, is the fact that all? Other things you’d prefer to mention, movie? Maybe the figures’ social security amounts or favorite breakfast cereal products? Guy. I really like the spelling of “carrousel,” the frightening dying ceremony where 30-year-olds float up inside a vortex, Fizzy Lifting-style, and explode in midair. “Carrousel” appears like the title of the Maury guest having a couple of hundred unplanned children. Maury may be like, “I hear Carrousel’s always got a wide open chair!” or “Gather ‘round, children, everybody will get a ticket towards the Carrousel! No saddle essential for this circus!” Much whooping follows, then Carrousel’s wild teen is distributed as well camping. 4. Peter Ustinov The double Oscar-champion and among the finest speaking voices of history 40,090 years is wasted in Logan’s Run because the making it through person in the forgotten outer-dome world. Logan and the woman friend haven't seen someone over the age of 30 before, then when the woman friend asks Ustinov, “Those cracks inside your face, will they hurt?” — it’s type of cute. It’s also type of painful. Looky here, you Mackenzie Phillips/Vera Farmiga creature (see top photo), you don’t reach mock Peter Ustinov’s dignity creases! You are able to’t even pronounce Topkapi! 3. Farrah Fawcett’s typically trained hair Farrah Fawcett(-Majors) seems in Logan’s Run for roughly two moments because the advanced secretary of the advanced cosmetic surgeon. What this means is, obviously, that they dresses in sparkly 󈨊s gowns and keeps giant Farrah hair. Strange that Farrah Fawcett, the legitimate sensation of 1976, is legendary because of her hair and hair alone. Is other people ever so acclaimed for just one not-so-unbelievable attribute? Aside from the Biebz, I am talking about? And, y’know, Helen Keller? Fawcett’s a passable actress along with a great beauty, but her sexy cartoon skunk mane makes her a Paley Center icon. She doesn’t do a lot of note in Logan’s Run besides hog screen-time with pregnant breaks, but guy! I’m really still considering that above-average hair! 2. Craig's list is invented before your vision. Within the freakish arena of Logan’s Run, people make use of a network known as “the circuit” when they would like to have sexual intercourse. They are able to beam up various horndogs for their teleportation products, trade the rejects, and schtup their faves. Within the literal sense, this really is as an average weekend at David Geffen’s house, however in the abstract, it’s much like Craig's list! Ideas see our guy Logan turn lower a shirtless male who just wants just a little lovin’. Couldn’t Logan have allow the suitor fondle his Richard Contractor haircut? “We’ve only beguuuuun — to difficulty?” Oh, well. Sorry, shirtless dude, however, you’re searching for a guy within the Can’t Stop the background music mold. See a week ago’s entry. 1. Probably the most fantastic, space-age sets ever or perhaps an average mall in Texas? Logan’s Run’s mystifyingly costly, extensive sets would be the sole reason to pay for money with this movie. It doesn’t matter that Farrah wags her haircut or Peter Ustinov is much more grizzled than the usual stir-crazy lumberjack. No, the miracle here is incorporated in the scenery: lush, exotic architecture from an Arabian absinthe dream Jetsonian cars water gardens neon blue signs walls colored like Simon buttons icy stalactites, ivy-covered landmarks remaining within the decrepit U . s . States a dying pit from some Devo-organized version of Medieval Occasions an urban area center that appears as an average mall — since it is a typical mall. Logan’s Run was shot on location in Texas, and many the crazy, advanced points of interest the thing is are simply regular tourist spots within the Lone Star condition. Pretty clever, movie. And type of a disappointment. Since there’s a poetic grandeur around the world here, also it manages to lose something knowing you'll find a Wet Seal behind that frightening, metallic hands sculpture. Still, it’s an astounding visual journey. It’s Willy Wonka for Wookies!

Film Movement nabs 'Corpo celeste'

New York-based Film Movement has nabbed North American rights to "Corpo celeste," the directorial debut of Italy's Alice Rohrwacher that screened in Cannes' Directors' Fortnight.The speciality label is targeting a New York theatrical release early next year, a limited national roll-out to follow, and a day-and-date cable video-on-demand premiere."Corpo celeste" chronicles a 13-year-old girl's indoctrination by the Catholic Church after she and her mother move from Switzerland to the bedraggled southern Italian province of Calabria.Sold internationally by RAI Trade, and lensed by French d.p. Helene Louvart ("Pina"), pic is the debut of producer Carlo Cresto Dina's Bologna-based Tempesta.Co-production partners include Gaul's JBA Prods. and Arte France Cinema.Picked up for France by Ad Vitam, "Celeste" has played at the Karlovy Vary, Dubai, Munich and London festivals.Deal was negotiated by RAI Trade's Catia Rossi, Film Movement prexy Adley Gartenstein and VP of acquisitions and distribution Rebeca Conget. Contact the Variety newsroom at news@variety.com

Hot Fake Trailer: 'Our Idiot Brother' Star Paul Rudd Pitches To Harvey Weinstein

Movie companies lately have been coming up with out of the box ways to spread the word on their movies, like the promo that Ryan Reynolds and Jason Bateman made for The Change-Up, or the musical that Final Destination 5 star Miles Fisher made to promote this Friday's opening. Rarely do these viral efforts feature the head of a studio. But Paul Rudd got Harvey Weinstein to take part in a Funnyordie.com bit in which the actor subjects Weinsein to the worst marketing ideas ever to sell the film that Weinstein acquired in Sundance. While Weinstein was said to have been an inspiration for Tom Cruise's manic Les Grossman character in Tropic Thunder, the real Harvey actually seems a pretty calm screen presence. Paul Rudd Pitches Harvey Weinstein from Paul Rudd

Bienstock Youthful Media Ink Producer Pod Cope With ITV America

ITV Galleries America has inked a pod cope with Bienstock Youthful media. The announcement, which may come as ITV furthers its U.S. expansion, brings principalsJay Bienstock and Eugene Youthful in to the fray as unscripted producers. The happy couple continues to be associated with such projects because the Apprentice, Survivor,Bachelor Pad, Deal or No Deal and Family Feud. "Both Eugene and Jay have magnificent track records in creating major primetime programming. They're an ideal fit once we still expand our sights on creating effective programming for that U.S. and marketplaces all over the world,Inch saidPaul Buccieri, leader of ITV Galleries America and controlling director of ITV Galleries Worldwide. Youthful, formerly chief creative officer at FremantleMedia The United States, released his career at CNN before segueing right into a senior producer/showrunner for added. Throughout his tenure at Endemol, he done series including ABC's Extreme Transformation: Home Edition and NBC's Fear Factor. More lately, he produced and executive produces CBS' Same Title. Bienstock, a six-time Emmy nominee, got his begin VH1's Behind the background music, before joining the initial team behind Survivor, genre determining because of its time.After that he assisted develop NBC's The Apprentice. "Once we keep growing BYM's business," stated Beinstock, "we're feeling ITV is a key element in growing our presence, not only here but worldwide too.Inch Email: Lacey.Rose@THR.com Twitter: @LaceyVRose Related Subjects Survivor The Celebrity Apprentice

Strong bow for 'Follies'

Bernadette Peters starred within the Kennedy Center manufacture of Follies as well as stars within the Rialto version.A week ago the brand new Broadway revival of "Follies" demonstrated it may draw crowds -- or at best one crowd, anyway. The Primary Stem transfer from the Kennedy Center's manufacture of "Follies" ($131,604) filled the 1,550-chair Marquis Theater to 97% capacity in the first and just preview performance a week ago. That's promising although not everything surprising: Rabid fans of Stephen Sondheim's musicals (which you will find plenty in Gotham) might be likely to come out in groups to trap the very first perf from the new revival. The actual test is based on the approaching days. Overall Broadway sales softened slightly a week ago, using the overall cume sliding about $600,000 to $20.six million for twenty-four shows about the boards. Most individual productions ended up a little, though couple of fell drastically. Greatest drop came at "Priscilla Full of Desert" ($649,231), which slid some $75,000 and saw average attendance are available in at under 60%. The Broadway return of "Hair" ($369,876) ongoing to struggle for attention, playing to houses at 50% of capacity. The number of shows to buck the week's downward trend were largely last-season's in-demand spring hits, including "It of Mormon" ($1,278,787, another house record), "How to achieve Business Without Really Trying" ($1,254,128), "War Equine" ($992,380) and "Anything Goes" ($874,887). Overall attendance slowed down by about 9,000 to 218,158, sliding only slightly to 86% of overall capacity versus. 87% the last frame. (Total convenience of a few days was reduced by the lack of "Rain," which shuttered the last sesh.) Still, the Rialto's large hits could not complain. Six musicals drawn in additional than $a million each a week ago, with "The Phantom from the Opera" ($999,773) falling just lacking the objective. Some legiters have started to theorize this summer's sales are starting to resemble receipts from recent Thanksgiving days -- no across-the-board spike in tourist-fueled sales but a far more focused rise which brings the actual bounty to some more compact part of the Primary Stem's heftiest hits. It's certainly correct that theatergoers are prepared to spend out for large-title shows they would like to see: Overall average ticket cost for that week would be a robust $94.26, a figure knocked up through the sky-high $146 average at "Mormon." Contact Gordon Cox at gordon.cox@variety.com

'Desperate Housewives:' Nicollette Sheridan Won't Return for Final Season

Nicollette Sheridan won't be returning for the eighth and final season of Desperate Housewives.our editor recommends'Desperate Housewives': Season 8 Will Be Its Last'Desperate Housewives': Cast Members, Viewers React to News of Final Season When asked on the Today show Monday about Marc Cherry saying at TCA over the weekend she'd be back for the finale, Sheridan told Kathie Lee Gifford and Billy Bush (filling in for Hoda Kotb), "That's news to me." PHOTOS: The Quotable TCA: TV Press Tour Eavesdropper Bush pressed her. "If asked, would you come back?" "I had an amazing time playing that character. I loved her dearly, but they killed her! She's dead," Sheridan said. THR's Complete TCA Summer Press Tour Coverage Bush said she could come back in a flashback, or it could have been a dream that she died. PHOTOS: TCA Highlights "Is this turning into a daytime soap opera?" Sheridan deadpanned. "In other words, she's saying no!" said Gifford. Sheridan's character Edie Britt was brutally killed off the ABC hit after five seasons amid rumors of feuding with Cherry, against whom she filed a $20 million wrongful termination lawsuit. Related Topics Desperate Housewives Marc Cherry Nicollette Sheridan TCA Summer Press Tour 2011