TNT has renewed three of its summer hits: “The Last Ship,” “Major Crimes” and “Falling Skies.” All three dramas rank among basic cable’s Top 5 scripted series this summer with total viewers and adults 25-54.
TNT has ordered 13 episodes of “The Last Ship,” an increase over its first-season order of 10 episodes. The network is also ordering 15 episodes for season four of “Major Crimes.” And “Falling Skies” will mark its fifth and final season with 10 episodes.
“TNT’s refreshed and recharged drama brand is soaring this summer, and that is due in large part to these three enormously popular dramas,” said Michael Wright, president, head of programming for TNT, TBS and Turner Classic Movies (TCM). “‘The Last Ship’ has become this summer’s top drama among key adult demos with its epic scale and visceral storytelling. ‘Major Crimes’ continues to be one of the most enduring and popular crime-drama franchises on television. And ‘Falling Skies’ has begun an ambitious and thrilling story arc this summer as it sets the stage for next year’s climactic final season.”
“The Last Ship” is a hit in its first season, not only among total viewers but also among key adult demos. The action-packed drama from executive producer Michael Bay has averaged more than 7.2 million viewers in Live + 7 delivery in its first season and currently ranks as basic cable’s #1 scripted series this summer with adults 18-49 and adults 25-54. The show is also cable’s #1 new series for the year-to-date among total viewers and adults 25-54.
“Major Crimes” is showing an uptick over last year, with 7 million viewers in Live + 7 delivery for its third season so far. It ranks second behind “Rizzoli & Isles” among the summer’s top scripted series on basic cable. “Major Crimes” has also drawn key demo deliveries of 2.1 million adults 25-54 and 1.5 million adults 18-49.
“Falling Skies” has averaged more than 5.5 million viewers in Live + 7 delivery for its fourth season, including 2.5 million adults 25-54 and 2.1 million adults 18-49. It ranks behind “The Last Ship” and “Rizzoli & Isles” among basic cable’s Top 3 scripted series this summer with adults 25-54.
TNT will also launch the drama “Legends,” starring Sean Bean, on Wednesday, Aug. 13, at 9 p.m. (ET/PT). It will be followed by “Franklin & Bash,” which is coming back for its fourth season. And on Aug. 18, “Dallas” will return to continue its third season.
TNT Renews The Last Ship, Major Crimes and Falling Skies
1×03 Dead Reckoning Screen Captures
1×04 We’ll Get There – Promo
The Last Ship Season 1 – Promotional Photoshoot
1×02 Welcome to Gitmo Stills & Screen Captures
1×03 Dead Reckoning – Promo
Universal yanks James Marsden’s ‘The Loft’ from release calendar
Universal Pictures has pulled the James Marsden and Karl Urban film The Loft from the release calendar barely two months before it was set to hit theaters.
The thriller was set for an Aug. 29 theatrical release date, but there has been no word as to why it was yanked or when it will be released now, Deadline reports.
The film, which also stars Rhona Mitra, Wentworth Miller and Eric Stonestreet, was based upon a 2008 film out of Belgium directed by Eric Van Looy, who helmed the original. The Loft follows five married men who quietly share a penthouse for affairs and one day they stumble upon a dead woman and believe each other capable of murder.
In the empty Aug. 29 slot, Universal is bumping back As Above/So Below from Legendary Pictures, according to The Hollywood Reporter. The John Erick Dowdle-directed flick was originally set for Aug. 15.
The Loft is the second summer flick to be pulled from the release calendar, behind the much higher profile Jupiter Ascending at Warner Bros. The latest film from the Wachowskis was set for July 18 release date, but will now be out next February.
1×01 Phase Six Screen Captures
1×02 Welcome to Gitmo – Promo
CS Interview: Eric Dane and Rhona Mitra Set Sail with The Last Ship
CS: Your character is in sort of an interesting position in that she knows, at least at the beginning of the pilot, a whole lot more than the rest of the ship.
Rhona Mitra: Yes, she knows a certain amount, which is that a virus has impacted the world and is moving at a rate that no one has ever seen before. As the story unfolds, she receives information from land that 80% of the world’s population has been infected, she has to actually break that news to her captain and the crew of the ship. That potentially means their families. It’s a pretty heavy secret to be harboring.
CS: Is this the end of her secrets, or does she still have twists to reveal as the season progresses?
Mitra: No. I think she knows more than the average person, because she has been prepared for the potential of something like this happening. But she’s not a vaccine producer, she’s virologist. This is sort of uncharted territory for her as much as it is for everybody else on the ship. They’re all working together to try and figure out a way to work through this inconceivable possibility that has now become reality. It’s not like the films they made back in the ’80s and ’90s. This isn’t some sci-fi potential. The global pandemic that could. This is real and this is on our doorsteps.
CS: The first season of “The Last Ship” seems set to play out like a ten-hour summer blockbuster in a lot of ways. As someone who is used to blockbusters, how does the actual behind the scenes compare?
Mitra: The stuff that we shot with Michael Bay certainly felt exactly the same. I had the great privilege of doing a lot of the snow-chasing scenes with him up in this incredible location two hours north of Whistler in Canada. When you work with him and get a feel for how he directs, you tap into what his vision is and how he sees the whole composition. You understand that you’re working on a feature that’s being squashed into a television show and delivered in bite-sized pieces. Every week, to keep up that level and that magnitude is, for one, not something everyone needs to see at that level every week. I think that it’s important that you get into the characters. As the season moves on, we get more into the character relationships. Obviously, there’s a lot of action and we have the ship. That ship is such a beast itself. It manages to keep its enormity, but it also manages to get deep into the texture of the characters.
CS: To what degree to you have to learn about how viruses work to successfully sell the fact that your character is an expert?
Mitra: Unfortunately, I already knew quite a bit about this, because it’s a fascination of mine and a reality of our species. I started studying neurotoxins a few years ago and the impact they have on our central nervous systems. How our immune systems are not equipped to deal with pretty much anything anymore. We are intolerant of just about everything and allergies are through the roof, leading to autoimmune diseases. When a virus like this comes along, it’s really a conversation about why our systems can’t cope with it and why 80 percent of the world’s population is impacted so swiftly. I was already well-versed in this world as much as a pedestrian might know and read about and learn about. I was studying natural cures as a result. When this role came along, it just seemed like kind of a fit. Now I’ve just been geeking out with virologists on a weekly basis, just fully getting ensconced in this amazing world. The more you know, the less fearful you are of it. That sort of empowers you.
CS: Are there little details that virologists out there are going to pick up on and appreciate?
Mitra: I wasn’t quite so privileged as to have as many as Naval officers as were around to pat people on the back. I’m sure, without a shadow of a doubt, they’ll come down on me like a ton of bricks for various things that I do or don’t do right. I’ve been really on-point with making sure all the language fits, as does all the relationships with the items in the lab — the centrifuges and pipettes and needles — has been as on-point as possible. I’m sure they’ll still have issues here and there, but that’s what they’re supposed to do. To pick us apart. I’ve done my best.