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NBC sacrificed “Must See TV” for the sake of “This Is Us.”

The Peacock network had big plans this season to bring back the storied “Must See TV” label by moving “This Is Us” to Thursday nights this fall – along with the return of “Will & Grace”). But NBC Entertainment president Jennifer Salke told fans at the Atx Television Festival on Friday that the network abandoned those plans in order to air more episodes in the fall. (“Must See TV” may still be resurrected for the night, however, as “Will & Grace” remains there, among other things.)

Now, by keeping “This Is Us” in its Tuesday slot behind “The Voice,” the show will air 10 consecutive episodes this fall. On Thursdays, there was only room for six episodes before “Thursday Night Football” took over the night.

Read More: ‘This Is Us’ To Help NBC Relaunch ‘Must See TV,’ and Lands Post-Super Bowl Timeslot

The show’s producer,...

If you were a TV critic from 1956 to 1976, you would have witnessed some big changes in the business: the rise and fall of the Western as the dominant primetime genre, or the color TV boom, or CBS' shift from silly rural comedies to socially conscious ones like All in the Family and M*A*S*H. If you covered the beat from 1976 to 1996, you would have written about Hill Street Blues and its many imitators, the classic years of SNL, and the early days of original cable programming. Almost any 20-year span would give you a front row seat to enormous artistic and technological change. As of this week, I've been professionally writing about television for exactly 20 years(*), and it's safe to say that the only two-decade period that featured a more radical transformation in how television was made and consumed would be back when the medium was first introduced into America's living rooms.

Some TV shows are meant to run for years and years, only getting better and more impactful the longer they go. Others, though, were destined to live fast, die young, and leave a good-looking corpse, and in some ways feel even more special because our time with them are so brief. Here are the five best one-season wonders: 5)Terriers. Terrible name, terrible marketing, and a premise that sounded been-there, done-that doomed this wonderful 2010 private eye drama with spectacular buddy chemistry between Donal Logue and Michael Raymond-James. 4)Ez Streets. This intricate and engrossing 1996 drama about the cops and crooks of an unnamed Rust Belt city was a few years early for the cable drama revolution, and wildly out of place on CBS, but the lucky few who tuned in saw something special. 3)Joss Whedon's 2002 sci-fi/Western mash-up Firefly was doomed from the start, with a premise that was hard to...

Welcome to the latest installment of our summer trip through "The Sopranos" season 1. When I revisited early seasons of "The Wire," as well as the whole run of "Deadwood," I did separate versions of each review for newcomers and veterans, but over time realized that the newcomers weren't commenting much, if at all, and that it therefore made sense to simply do one review. Any significant spoilers for episodes beyond the one being reviewed will be contained in a separate section at the end of the review; so long as you avoid that, and the comments, you should be fine. Thoughts on the eleventh episode, “Nobody Knows Anything," coming up just as soon it's 1954 inside this house... "This is our friend we're talking about here." -Tony After "A Hit Is A Hit" put most of the bigger season 1 stories on pause, "Nobody Knows Anything" presses play on one of the...

Sunday night at 8, HBO debuts the first two hours of "Show Me a Hero," a new miniseries co-written by "The Wire" creator David Simon and directed by Paul Haggis, an Emmy and Oscar-winning writer and sometime director, whose movie "Crash" won the Academy Award for Best Picture in 2006. Last month, Haggis and I had a long talk about his career, his shifts between movies and television, and "Show Me a Hero." It was a really interesting conversation, and I recommend reading the whole thing. That said, I know how the internet works, and I know that one passage of the interview would overwhelm all discussion of the rest of it, so I'm making this separate post just on that portion, in which we discuss the controversies over "Crash," its depiction of race relations, and the many people — Paul Haggis included, it turns out — who don't think it should have won Best Picture that year.

The very first pilot I watched on this job was for a CBS drama called "Ez Streets." Created by Paul Haggis — then best known for creating "Due South," but most commercially successful for having helped develop the "Walker, Texas Ranger" pilot — it was essentially an HBO drama before such a thing existed: dark, dense, ambitious, heartbreaking, and addictive. It even featured Joe Pantoliano playing a sociopath gangster years before he won an Emmy for it on "The Sopranos" (and was, to my mind, better as Jimmy Murtha than as Ralphie Ciffaretto). It was also the first time I got my heart broken in this job. Despite rave reviews from me and my more established colleagues across the country, "Ez Streets" was Doa: CBS pulled it off the air after only two episodes had aired, and though most of the remaining episodes would air the following winter, it was just running out the string.

Apart from being one of my favorite actors, Donal Logue is also coming up in three of my favorite shows. Unfortunately (maybe), once in a while you find yourself in an interview that turns out, somehow, not to actually be one. You have your questions set out. You know the shows and the talking points. Your subject is equally prepared to run through the routine of extolling the virtues of whatever they happen to be working on. But, it doesn’t end up going that way.

These are the interviews which ultimately find you running out of time, and scrambling for something, and spitting out, “Umm… tell me about the show.”

Or, to put it another way, these are the interviews that make you glad you don’t work for someone, who might not think it’s actually completely brilliant that you killed thirty minutes talking to Donal Logue as...

Jason Gedrick (Iron Eagle, Backdraft) has joined the cast of Dexter season 7. Comingsoon reports that the actor will appear in a multi-episode arc, will play the manager of a Miami-area gentlemen's club that becomes linked to a high-profile murder case. Filming for the new season starts in May in Los Angeles with episodes premiering on Showtime Sunday, September 30th at 9:00 Pm Et/Pt.

Gedrick is also known for his roles in Stacking and Heavenly Kid. He also co-starred with Meg Ryan and Kiefer Sutherland in Promised Land and in Crossing the Bridge. He has also appeared on Broadway in a production of Our Town with Don Ameche and Helen Hunt, as well as recently appearing in the production of Wrongturn at Lungfish, directed by Gary Marshall. He recently appeared in the television series Luck, and has also appeared in Murder One, Ez Streets, Falcone, Boomtown, Ally McBeal and Desperate Housewives.

Jason Gedrick is the first guest star announced for the upcoming seventh season of "Dexter."   Showtime announced on Tuesday (May 22) that Gedrick will appear in a multi-episode arc playing the manager of a Miami-area gentleman's clue that is linked to a murder case.   "Dexter" won't begin production until later this month, but Showtime has already set a Sunday, September 30 premiere date for the drama.   Gedrick was most recently seen as a regular on HBO's abruptly cancelled "Luck." His other TV credits include "Murder One," "Ez Streets," "Boomtown" and "Falcone."   On the big screen, Gedrick has...

Glee has yet to finish off its third season, yet reports are already coming in of celebrities being cast for parts in Season 4, with the first actresses to be hired being Sarah Jessica Parker and Kate Hudson. For Parker, this will be her first time on television since her days on Sex and the City, while Hudson hasn’t been on television since her 1997 appearance on Ez Streets. They must have worked out a very nice deal to secure them both so early on. Parker I’m not as surprised with, but Hudson has never seemed like someone who would do a stint on a television show. I was actually surprised to learn she was even on Ez Streets.

Yet TVLine reports it’s true, with both actresses signing on for multiple episodes. There was not an exact number for Parker, but Hudson was said to have a six-episode arc on the Fox series.

"Glee" has signed two big-name actresses for guest appearances in the show's fourth season. Kate Hudson and Sarah Jessica Parker will both appear next year.

Fox isn't sharing any details the characters they'll be playing yet, but we do know Hudson is signed for six episodes and will appear in the fall. There's no word yet on when Parker will appear.

"Glee" is moving to Thursday nights next season and will also be juggling a couple of storylines: In addition to introducing a couple new faces at McKinley High School, the show will also follow some of its established characters as they follow their dreams to New York.

Parker's "Glee" appearance will be her first TV role since "Sex and the City" ended its run on HBO. Hudson, meanwhile, hasn't done TV work since the very beginning of her career, when she guest-starred on "Party of Five" and "Ez Streets.

Anyone who became addicted to HBO’s horse racing drama Luck — which the net elected to cancel on Wednesday — should get some closure in the next two weeks. The ninth and final episode that is set to air on March 25 has the feel of finale, even though it wasn’t necessarily designed to be the series’ last, EW has learned.

And HBO will still release the entire first season on DVD. The only lingering question is whether the scenes that were shot during Luck’s final days will be added as extras: The drama from David Milch and Michael Mann...

Update: 12th April We just made another massive update of the gallery. We have just added another 10,000+ images from the following shows.

8 Simple Rules, 21 Jump Street,Absolutely Fabulous, Accidently on Purpose,According to Jim, Taxi, Ally McBeal, American Dad, American Dreams, Andromeda, Angel, Angels in America, Babylon 5, Battlestar Galactica 1978, Band of Brothers, Bevelerly Hills 90210, Big Day, Birds of Prey, Blackadders, Blade, Boomtown, Bones, Boston Public, Brotherhood, Brothers, Buffy, Canterbury's Law, Caprica, Cavemen, Charlie Jade, Charmed, Chase, Cheers, Cold Case, Commander in Chief, Conan, Cracker, Cupid, Curb your Enthusiasm, Dark Angel, Dark Blue, Dawson's Creek, Dead Like Me, Defying Gravity, Dirt, Dollhouse, Eastwick,Es, Eleventh Hour, ER, Everybody Hates Chris, Ez Streets, Fastlane, Felicity, Flashforward, Flashpoint, Flics, Flight of the Conchords, Football Wives, Freedom, Friends, Friends with Benefits, Hellcats, Generation Kill, Ghost Whisperer, Gilmour Girls, Girls Club, Glory Daze, Green Wing, Hank, Harsh Realm, Haunted, Hawthorne, Head Case, Heroes, Hex,...

Following the news that ABC will not be ordering additional episode of freshman drama Eastwick, costar Lindsay Price (pictured) has been named a suspected show killer. Though undeniably adorable, the actress has a long rap sheet of failed TV shows that also includes NBC's Lipstick Jungle, Pepper Dennis, and Coupling. Which other actors are on TV's Most Wanted (and Least Lucky) List? Our top offenders: • Jason Gedrick: Truly impressive versatility in terms of the number of networks he's failed on. Victims include: Fox's Class of '96; CBS' Sweet Justice, Ez Streets, and Falcone; ABC's Murder One and The Beast; and NBC's Boomtown and Windfall.

Although I can see why it still attracts writers and actors, the undercover cop genre has seemingly gone stagnant. This makes me sad because it's a genre I love on the big screen -- "Serpico," "Point Break," "Donnie Brasco," "The Departed" -- and on TV -- "The Mod Squad," "Ez Streets," "Sleeper Cell." The major beats of the undercover genre are all crystalized. You await the scene where the stern authority figure threatens to pull our hero off the case because he's in too deep. You await the scene where the hero's wife/girlfriend complains that she doesn't know who she's sleeping...

NBC is taking an early start to the next development cycle with two drama pilot orders. The network has given the green light to a project from Oscar-nominated Million Dollar Baby writer Paul Haggis, and to a retooled version of the Fox pilot Windfall. The untitled Paul Haggis project, which will be produced by NBC Universal TV Studio, revolves around two Irish brothers who grow up against a backdrop of organized crime in the Hell's Kitchen area of New York. Haggis and Bobby Moresco, who wrote and produced the summer indie hit Crash, penned the project on spec. The two will exec produce the pilot, with Haggis also set to direct. Another Crash producer, Mark R. Harris, is on board as a co-exec producer, while Jeff King (EZ Streets) is in talks to serve as a producer.

Television writer-producer Paul Haggis, who wrote Million Dollar Baby, the film that Clint Eastwood is currently shooting, is diving back into the feature film world. Haggis will adapt Honeymoon With Harry, Bart Baker's unpublished novel that New Line Cinema picked up in April. Haggis also might direct. Honeymoon centers on a self-destructive recovering womanizer who loses his fiancee in a car crash two days before their wedding and ends up going on his honeymoon with the fiancee's father, who detests him, so they can scatter her ashes. The novel is described as a drama with comedic elements. Mike Karz is producing through his Karz Entertainment banner, while the company's Russell Hollander is executive producing. Toby Emmerich, Cale Boyter and Magnus Kim are overseeing for New Line. Haggis won an Emmy writing thirtysomething and went on to create Walker, Texas Ranger, Due South and EZ Streets. He also will serve as one of the producers of Harry. Haggis is repped by CAA, Larry Becsey of Becsey/Wisdom/Kalajian and attorney Peter Dekom.