News zur Serie

[chaotic4life]

...bla...bla...bla

Auf zu News:

The CW Official VM Website

Noch nicht viel, aber immerhin ist es jetzt sicher

Freue mich, das Ryan wohl noch im Maincast bleiben wird.
Leider keine Info über Michael oder Tina

[Yavanna]

Ok, es steht nicht von allen Serien, aber doch zumindest, dass Veronica Mars für 22 Folgen geordert wurde, und nicht für 13 wie du gesagt hast!

HP: Da steht DICK CASABLANCAS! Ich dreh gleich durch vor lauter Freude!

[Marti]

Irv

Michi hat dir ja schon den Link für die 13 Episoden Sache gegeben (daher war die Aussage von dir, dass VM nichtmal volle 22 Episoden bekommen hat, eindeutig falsch)

Ich habe mir nicht alle Berichte zu den anderen Serien durchgelesen weils mich schlichtweg nicht interessiert hat Aber ich habe dies des öfteren im VM-Fandom gelesen, unter anderem auch hier: Klick

Steffi
Jaaaa... Ryan in der Maincast! Ich bin schon so gespannt was Rob daraus machen wird!

Und Michael und Tina kommen bestimmt noch... da bin ich mir sicher!

[chaotic4life]

Fand den Artikel beiFAZ.netganz interessant!
Scheinbar ist sogar die FAZ der Meinung, das der Sendeplatz bei ZDF ein Witz ist. Wir haben wohl bald das selbe Problem wie in USA : Kritiker sind begeistert und kein Mensch kennt Veronica Mars

[Yavanna]

Scheint wirklich genau auf das selbe hinaus zu laufen! Und dann auch noch die ständigen Unterbrechungen wegen der Fussbal WM Ich meine, ich liebe Fussball, aber das ist sowas von einer Frechheit! Die sollen sofort einen neuen und vor allem besseren Sendeplatz für die Serie finden, so kann das echt nicht weitergehen

[emil]

Ich finde ja nur "witzig", dass sie damals den Starttermin verschoben hatten, damit durch den Wintersport nicht nicht immer unterbrochen wird und jetzt das... naja, wer sich selbst lächerlich macht

[Faith]

@Emil, genau dasselbe hab ich im Wallpaper-Thread bemerkt. Der ZDF weiß echt, was er will. Ich mein klar, der Sport wird sicher mehr Quoten bringen. VM versauert einfach auf diesem Sender und diesem Sendeplatz. Einfach nur traurig.

[Philipp]

Wo steht das denn mit den Unterbrechungen durch Fussball?

[emil]

Hmm, also die WM wird das nicht so sehr beeinflussen, da die Spiele alle frühestens 15.00 Uhr anfangen, meistens dann später. Nächste Woche ist dann erstmal UEFA Cup, das findet man im Programmplan.

[ladybird]

Hmm, also die WM wird das nicht so sehr beeinflussen, da die Spiele alle frühestens 15.00 Uhr anfangen, meistens dann später.

Am 17.06. fällt VM aber wegen dem ZDF-WM-Studio aus. Ein bißchen beeinflusst die WM also schon den Sendeplan. Wahrscheinlich bringen sie irgendwelche Vorberichte zu den einzelnen Spielen.

[René]

Hmm, also die WM wird das nicht so sehr beeinflussen, da die Spiele alle frühestens 15.00 Uhr anfangen, meistens dann später.

Am 17.06. fällt VM aber wegen dem ZDF-WM-Studio aus. Ein bißchen beeinflusst die WM also schon den Sendeplan. Wahrscheinlich bringen sie irgendwelche Vorberichte zu den einzelnen Spielen.

Ja, natürlich. Das ist doch aber auch ganz klar und da ist nicht nur VM betroffen. Und wie gesagt, im ZDF Vorabend wären da sicherlich mehr Pausen drin gewesen .

[ladybird]

Ja, natürlich. Das ist doch aber auch ganz klar und da ist nicht nur VM betroffen. Und wie gesagt, im ZDF Vorabend wären da sicherlich mehr Pausen drin gewesen .

Ähm, habe ich irgendetwas anderes behauptet?! Ich weiß wirklich nicht, wieso du mir das zum 2. Mal vorhalten musst. Sorry. Wenn ich mich umständlich ausdrücke, dann kannst du mir das gerne anders sagen.

[Fortinbras]

ZDF sendet die Folgen offenbar nach der Reihenfolge der Produktionscodes und nicht nach der US-Ausstrahlung.
"Silence of the Lamb" Prod.#2T5709
"An Echolls Family Christmas" Prod#2T5710

'Silence of the...' wurde vor 'An Echolls Family...' gedreht bzw. produziert, man musste im amerikanischen Fernsehen allerdings die Folgenausstrahlung tauschen, da die Weihnachtsfolge sonst nicht mehr rechtzeitig zu Weihnachten ausgestrahlt worden wäre, sondern erst im Januar (also zu spät für die klassische Weihnachtsfolge).

AFAIK passiert in den beiden Folgen doch auch gar nichts (oder kaum was) bzgl. des Falls Lilly Kane?!
Weiß es nicht mehr genau...

[Faith]

Nicht, was Lilly angeht, aber Du siehst in der 11er Folge in der "Previously", was in der 10er passiert. Allein das ist ja schon bescheuert.

[ladybird]

AFAIK passiert in den beiden Folgen doch auch gar nichts (oder kaum was) bzgl. des Falls Lilly Kane?!
Weiß es nicht mehr genau...

Ich glaube bezüglich des Falles geht es in beiden Folgen "nur" um

Jake Kane, Clarence Weidman und die Fotos, die er von Veronica geschossen hat.

Es kann sein, dass das ein bißchen durcheinander kommt. Ich bin mir nicht sicher.

@~Faith~:
Vielleicht schneiden sie das ja heraus oder ist das zuviel verlangt?

[Faith]

@Alex: Hab mich eh geirrt, Kommt doch nicht in der "Previously" vor, aber ich schreib ZDF trotzdem ne Mail. Vielleicht reagieren sie ja darauf.


Edit:
Irgendwie passt das alles nicht mehr zur Folgendiskussion. Vielleicht kann man die paar Beiträge in den News-Bereich verschieben?

[Fortinbras]

Nicht, was Lilly angeht, aber Du siehst in der 11er Folge in der "Previously", was in der 10er passiert. Allein das ist ja schon bescheuert.

Ja gut, diese Sequenzen werden aber auch nachträglich produziert. Da die Folgen aber auch in der Reihenfolge auf den DVDs sind, wäre es wirklich am besten, das ZDF mal anzuschreiben.

[Philipp]

... wäre es wirklich am besten, das ZDF mal anzuschreiben.

Ist schon in Arbeit

[Yavanna]

Ein etwas älteres, aber doch sehr interessantes Interview mit Rob Thomas! Spoiler sind im Tag und für alle die versucht sind dahinter zu schauen, tut es nicht, denn hier wird der Killer aus Season 1 verraten

Rob Thomas seems fated to write about teenagers. His parents were both educators, with his father working as a vice principal at Austin's Westlake High, described by Thomas as the school where the local "well-to-do kids" went (and likely a spiritual forbear of Veronica Mars' stratified Neptune High). Thomas himself taught high school journalism for five years; moved to L.A. to work for Channel One, which produced programming aimed at teenagers; and then began writing young adult novels, including Rats Saw God. He broke into television writing for Kevin Williamson's 1990s teen opus, Dawson's Creek, and just narrowly missed out on writing for the acclaimed My So-Called Life, but for that show's cancellation at the end of its first season. He took a brief side-step out of adolescence as executive producer of ABC's short-lived Cupid, which lasted 14 episodes, long enough to develop a cult following. But his roots summoned him back when a concept he'd developed for a novel found new life as UPN's Veronica Mars.

Veronica Mars combines Thomas' knack for writing teens with his love for film noir and hard-boiled detective fiction, telling the story of teen sleuth Veronica (Kristen Bell), who balances helping her P.I. dad (Enrico Colantoni) stake-out adulterers against algebra tests and adolescent angst. Many of the crimes Veronica gets tangled up in would make Encyclopedia Brown soil his sheets, but the show leavens the occasional darkness with generous helpings of wit, particularly in the snarky, highly stylized, and frequently hilarious dialogue. The show gleefully twists genre tropes such as mistaken identities, unstable alliances, and corrupt authority figures, and even puts a gender- reversed spin on the femme fatale in the form of Veronica's on-again/off-again nemesis and love interest, Logan Echolls (Jason Dohring). Each season features its own season-spanning core mystery, for which clues are doled out gradually amongst the show's "mystery-of-the-week" format. As the show prepares to wrap up its second year with next Tuesday's season finale, Rob Thomas chatted with CS Weekly about playing fair with the audience, the perils of voiceover, and even that little CW merger you might have heard something about.


Do you typically write starting from plot or from character?
It has really evolved in my career. In my first two or three novels it was incredibly organic, in that I would have the roughest idea of where the novel was doing, but I never outlined. I was just writing until it felt done. Now I can't imagine how I ever did that.

Today I am much more a plot-first sort of person. The fun is finding the scenes that allow action to define character. The thing that drives me nuts about television, and there are way to many of these shows, is where dialogue dictates character. Where what people say out loud or how they express their feelings in dialogue defines character. I gravitate towards shows where people rarely say out loud how they feel. Particularly Veronica, who I wanted to play as a guarded character and tight-lipped about her own internal struggles, to let what she does to define what she is. The audience can figure out how she's feeling by watching what she's doing. Even in a show that has voiceover, I don't want the writers to ever have a character say, "He hurt my feelings because he blah blah blah."

Was Veronica's voiceover narration always going to be in place, and was that primarily a tip of the hat to the detective-fiction genre or something more?
Oh, absolutely. The crazy thing about the voiceover, and sometimes I wish we didn't have it, but what attracted me originally was the whole idea of noir, and having the very Raymond Chandler-esque narration weaving through it. But it bumps up against my desire to not let Veronica share her emotions. When you use voiceover to truncate plot, that feels like cheating. I don't want Veronica to share much with the audience in terms of her inner struggle. When we use it best, it's snarky commentary. I have a real love-hate relationship with the narration. Over the course of the two seasons, we're probably using 50% or 30% of what we used at the beginning of season one.

You managed to handle the season arc, as far as balancing the ongoing mystery against self-contained episodes, really well, and managed to wrap up the season's storyline really well. How do you find that balance?
The whole impetus for this has been my frustration with shows that sort of jerk you around for years. I adored Twin Peaks when it was on the air. This was one of those few shows that we gathered with friends to watch, and everyone was psyched about it. Then, two-thirds of the way through the first season, you have this revelation that they don't know what they're doing. All the fun about solving the mystery…they don't know what they're doing, and you lose faith in the show. I wanted to promise the audience, "We're going to solve this. We're going to solve it by the end, and we're going to put real clues in. We're going to put in a lot of clues that are red herrings that will steer you in the wrong direction or make somebody look suspicious who didn't do it in the end. But there's always going to be a clue."

The big thing going into each episode is that our C story is supposed to give a real clue as to who did it. At the beginning of the year, before we start breaking episodes, we can describe the crime. We know who did it, we know how they did it, and once you know who did it and how they did it and what happened on the day of the crime, you kind of mentally have your guilty party placed, so you know how you can make other people look like they could have done it. Everything else flows from that. So, at the beginning, we solve the crime; we know the crime. We try to think of an interesting person to have done it, and an interesting motivation, and how they did it. Everything else is filling in the gaps, but that's ironclad and you can't step on it because that would totally screw up the apple cart.

And then there are -- I don't want to say hiccups, but there are decisions you have to make along the way. We had a two- or three-day writers' room debate about whether we could show [first-season murderer] Aaron Echolls (Harry Hamlin) in his first episode as being a man who beats his kids. Half of the room felt like, if you show them that, he's clearly the bad guy. I certainly understood that opinion, but my feeling was, we're savvy television viewers of the 21st century, and we know that's supposed to mean he's the bad guy, so the more interesting way is to set him up as this guy who beats his kids who's trying to change. That's the story where people won't quite see it coming. Because you also don't want to play the sweetest person in the world for 21 of the 22 episodes and then say, "And that's the killer!" I think that's a cheat. I also want it to be a person we've seen onscreen a lot. I don't want it to be, "You remember that guy who walked in and said three lines in episode 11? That's the killer!" I want it to be fun for the audience. You have six or seven people who you think maybe it could be that person, and can see the justification for it. I want them debating out there. My feeling is, if we do it right, somewhere between 15% and 25% of the people get it right. Everybody has a theory going into the finale, and if about a quarter of them get it right, that to me means we're working right.

People always say there are two types of dialogue: characters who say what we'd really say, or characters who say what we wish we'd said. The more naturalistic type is demonstrated by a show like Freaks and Geeks, whereas the more stylized type is used in shows like Veronica or Joss Whedon's shows. How did you arrive at the style of dialogue used on the show?
It's interesting that you phrased it that way, because I always use Freaks and Geeks as an example of the naturalistic dialogue that I adore. Freaks and Geeks was my absolute favorite show, and yet I don't naturally write that way. I admire that they never let them go to the clever joke. They always sounded like the 14- or 16-year-olds they were in that show. At the same time, I love the movie Heathers, and that's incredibly stylized dialogue. I love both, and I think it can be done both ways. It's funny, I always get comments like, "You sure know the way that teenagers speak." Well, I do, I taught high school for five years, but I don't write them that way. Particularly with Veronica; Veronica can always say the line that, if you had 20 minutes to think about it, that's the line. In my books there are characters who are pretty savvy and who can speak like Veronica, and then there are characters who you don't let say the clever thing. Quentin Tarantino certainly lets his bad guys say smart, clever things. Francis, who plays [gang leader] Weevil on our show, has come up to me before and said, "You know gang kids don't talk like this, right?" [laughs] Yes, I do know that.

Sometimes it'll drive me nuts. I think I've gotten better at using the stylized dialogue. What you have to gain is an ear for how something is going to sound coming out of an actor's mouth. In the first Keith and Veronica scene [in the original pilot script], where he says, "How was school?" she has this huge mouthful of answer. It was verbose and unnatural. The trick is to be pithy, but you have to be pithy and natural. It has to sound right. You can't put in 40 dependent clauses and have somebody say that line out loud. It might look good on paper, it might make you think you're the cleverest writer in the world, but when you hear it out of an actor's mouth you just feel like an asshole. It's an important lesson. Sometimes we fail that litmus test and sometimes we get it right. Yeah, I want her to say the clever, funny thing, but I also want it to sound like a human being. I don't want you to be able to look down in the bottom of the screen and see me typing.

How did the announcement about the CW merger affect the show? I know you probably don't know for sure yet if you're coming back --
I know absolutely, totally, for sure…that I don't know.

Did you make any changes to the last episodes of the season, try to wrap up anything you might otherwise have left dangling? Obviously you never really know for sure that you're coming back unless you're a huge hit, but did you feel the need to alter anything due to the uncertainty of a new network?
We didn't really change season two, but it has certainly altered our thinking for season three. The season two premiere episode hinged a whole lot on season one -- half the episode was told in flashback, and a bunch of balls that were in the air from season one we kept going. Season three is going to have a very fresh start. Certainly we're not going to lose the Veronica Mars mythology, but we're going to begin season three with the assumption that people haven't seen the show, and think of the season three premiere as a pilot of sorts.

And it makes sense, because she's going away to college, so people aren't going to know she's a detective there. I don't even know that Veronica will really feel like she wants to be a detective anymore.

We're really going to try to design season three to catch all the people we can, because I think there are a ton of people out there who've heard the buzz on Veronica Mars and have a vague sense that, "Oh, there's this show that some really vocal minority of people adore on that network I never watch." I think we're going to get a crack at those people this year, and I want to welcome those people to the party. Veronica's inherent Veronica-ness won't change, the mythology won't change, but we just won't assume any previous knowledge and won't hinge stories on what came before

Quelle

Und Kristen von E!Online lässt mal wieder voten, und zwar für die Tater Tops, aber lest selbst:

Our annual fan-driven award show is going to be here very soon, so please take a moment and email me your nominees for this year, based on last year's categories (Breakout Star Female, Breakout Star Male, Best New Show, Worst New Show, Moment That Made You Want to Throw Out Your TV, Best Fight, Best Chemistry, Best Bitch, Best Baddie, Best Love Triangle, Favorite Funnyguy, Favorite Funnylady, Biggest Shocker, Best Kiss, Biggest Tearjerker, Biggest Disappointment, Best Guest Star, Best Show of Skin, Star You'll Miss the Most, Show You'll Miss the Most, Show You Look Forward to the Most, Favorite Drama Mama, Favorite Drama King, Best Drama, Best Comedy) and any new category you feel is worthy. This is important stuff that is actually really appreciated by the show runners and actors, so take a moment, okay? You can email your nominees to tvdiva@eonline.com

[ladybird]

Der österreichische Sender ATVplus hat die Ausstrahlung von VM nach hinten verlegt. Ab 8. Juni kommen die neuen Folgen erst um 21:15 Uhr. Auf den 20:15-Sendeplatz wird jetzt jeden Donnerstag die 2. Staffel von Nip/Tuck ausgestrahlt.

Quelle