Game of Thrones season 7, episode 5 (Helen Sloan/HBO)

(Photo by Helen Sloan/HBO)

The final season of Game of Thrones will air in the first half of 2019, HBO President of Programming Casey Bloys said during his executive session with the Television Critics Association on Wednesday. For those still itching for a more definitive answer, one thing to remember is that the Emmy eligibility period ends in May, which is likely to have an impact on the air date of the final, six-episode season.

Bloys also reaffirmed previously reported news that they have chosen a Game of Thrones prequel script and are putting it into production. (Read: “Everything We Know About HBO’s Game of Thrones Prequel.”)

“The update I will give, we are doing a pilot that Jane Goldman wrote,” Bloys said. “We’re just starting the search for a director [and] casting director. We hope to be shooting sometime in the year. Beyond that no plans.”

That still leaves more Game of Thrones prequel scripts out there that could just as well be produced and give fans more Westeros. Bloys was coy about whether the remaining prequel scripts were scrapped or could still be viable.

“A combination,” Bloys said. “Our thought going in, the reason we did multiple scripts, [was that] out of five, we’d be lucky to get one we’re very excited about. We did get that. That’s the update.”


Deadwood Movie Confirmed

Deadwood (HBO)

(Photo by HBO)

Bloys offered some good news for Deadwood fans, too: HBO will begin production on a Deadwood movie to wrap up their Western series that ended in 2006. Since cast members Ian McShane, Timothy Olyphant, Molly Parker, Brad Dourif, John Hawkes, Paula Malcolmson, and others are all busy working on new shows and movies, it was not easy to get them all scheduled to film in October.

“Dan Minahan will direct.” Bloys said. “Gregg Feinberg, Carolyn Strauss, and David Milch worked very hard. It was a nightmare getting cast members schedules aligned, but they are there and it’s greenlit.”

Don’t ask him when it will air yet.

“I don’t wanna be too optimistic,” Bloys said. “I would hope Spring ’19, but let’s get cameras rolling before we worry about that. Let’s take the green light and celebrate that.”


Jane Fonda Teases 9 to 5 Reunion

9 to 5 keyart (20th Century Fox)

(Photo by 20th Century Fox)

During a panel on the HBO documentary Jane Fonda in Five Acts, Jane Fonda herself gave an update on the 9 to 5 reboot in development with Fonda, Lily Tomlin, and Dolly Parton set to reprise their roles from the original.

“Right now, Dolly, Lily, and I are intending to be in it,” Fonda said. “My involvement is as an executive producer, with Lily, working with the writers, talking to the writers.”

Those writers may include Rashida Jones who Deadline reported was sought to cowrite with original 9 to 5 writer Pat Resnick. The rumored premise is that a new trio of women plot revenge on their sexist boss, but this time they seek advice from the original three.

Fonda is pushing for the new movie to address changes in the modern workplace.

“I’m sorry to say the situation is worse today,” Fonda said, “and I’ll tell you why: Back in the day the company was called Consolidated, which it still is. You worked for the company, if you had problems you went to the company. Today a lot of the company is hired outside and subcontracted back to Consolidated. Who do you go to? Who do you complain to? Who do you fight with? Social media, the internet, computers, you can be spied on a lot more easily.”

She did, however, imply that sexual harassment may decline thanks to movements like #MeToo and Time’s Up.

“I do think probably sexual harassment will tend to drop because guys are scared,” Fonda said with a laugh.


Watchmen Pilot Holds Promise

WATCHMEN, Rorschach, as drawn by co-creator Dave Gibbons, 2009. ©Warner Bros./courtesy Everett Collection

(Photo by Warner Bros./courtesy Everett Collection)

HBO has already filmed a pilot for the Damon Lindelof–created Watchmen adaptation. Once Bloys sees the finished show, he will decide whether or not to order the series, but he expects to soon, and he is optimistic about it, saying that they can greenlight Watchmen “as soon as possible.”

“That’s our hope,” he said, “but we’ve got to see the pilot. I’ve got very, very high hopes. He wrote a phenomenal script, and Nicole Kassell did a phenomenal job shooting the show. We’ll see in a few weeks.”


True Detective Season 3 Update

True Detective season 1 (HBO)

(Photo by HBO)

Season 3 of True Detective hit a bit of a snag when director Jeremy Saulnier exited after two episodes. The season is still in production and Bloys is optimistic about when it might air.

“My hope is top of the year,” Bloys said.

Season 2 was a setback for the HBO phenom (it even ranked in our article about TV shows with the biggest sophomore slumps), but Bloys said season 3 measures up to the first.

“The scripts that [Nic Pizzolatto] wrote did all the talking for him,” Bloys said. “When I read the scripts, I was sure. It wasn’t based on conversations. It was on the page.”


Bloys Defends Westworld

Westworld Episode 14 (season 2, episode 4), debut 5/13/18: Jeffrey Wright. photo: John P. Johnson/HBO

(Photo by John P. Johnson/HBO)

Westworld ended its divisive second season with some fans unsure if they like where the series might go in the third season. Bloys assured fans that the show’s creators expected that reaction.

“I’m not sure that I would agree that the backlash was widespread,” Bloys said. “What I love about Westworld is the people who love it really love it. Even the people who dislike it feel the need to talk about it, discuss it and debate it. For a show to arouse that kind of feeling, that’s what we want. It is not for casual viewers. It requires your attention. I think Jonah [Nolan] and Lisa [Joy] like to challenge their viewers. Many feel they’re rewarded by that.”


Comedies News: Curb Your Enthusiasm and Veep Final Season

Curb Your Enthusiasm - June Diane Raphael, Larry David, Ed Begley, Jr. (John P. Johnson/courtesy of HBO)

(Photo by John P. Johnson/courtesy of HBO)

On the comedy side, Bloys confirmed Larry David is writing another season of Curb Your Enthusiasm, though he has no estimate when it will be ready. The final season of Veep is being written and will film this fall, no air date plans yet.


Controversial The Confederate on Hold

Writer/producers David Benioff (L) and D. B. Weiss attend the 17th annual AFI Awards at Four Seasons Los Angeles at Beverly Hills on January 6, 2017 in Los Angeles, California. (Photo by Steve Granitz/WireImage)

(Photo by Steve Granitz/WireImage)

Finally, HBO’s controversial upcoming series The Confederate is on hold indefinitely. Created by Game of Thrones’ David Benioff and D.B. Weiss, the original series is about an alternate history in which the confederacy wins the Civil War, and modern day has evolved under a victorious slave owning South. The idea was controversial when announced, but the creators are busy with other projects and have not been able to focus on it. HBO is still committed to The Confederate though.

“David and Dan have got to finish the final season of Game of Thrones,” Bloys said. “[Writers] Malcolm [Spellman] and Nichelle [Tramble Spellman] have a show at Apple. Malcolm has multiple project. Dan and David have the Star Wars movies. When they figure out their schedule they will come back. No changes.”

13 Reasons Why stars Dylan Minnette and Katherine Langford (Beth Dubber/Netflix)

(Photo by Beth Dubber/Netflix)

UPDATED Feb. 24, 2019

Sometimes the first season of a show is so good that the second season just can’t measure up, resulting in the dreaded sophomore slump. The 2018 season 2 release of Netflix’s 13 Reasons Why notably stumbled in its follow-up season, scoring an abysmal 25% on the Tomatometer after being Certified Fresh with a 79% score for 2017’s season 1.

How does that plummet compare to other sophomore slumps we’ve seen before? We’ve put together a list of shows with the biggest drops from season 1 to season 2 by Tomatometer, each with at least 10 reviews on each season. The series on this list fell for different reasons – some had good second seasons that simply weren’t as great as their first; others truly lost their way. Few that made it past season 2 ever truly recovered.

And if you’re wondering where shows like The Walking Dead, Friday Night Lights, Heroes, Glee, and even the original run of Twin Peaks are on this list, their second seasons still got good reviews even though word-of-mouth seemed to suggest otherwise. If you disagree, let us know in the comments.

Here are the 11 biggest sophomore slumps on television by Tomatometer score.

Please note that the percent change is based on the scores at the time of the update — scores may change as additional reviews are added to the Tomatometer.


() %Marvel's Daredevil: Season 2 (2016) 81%

DOWN 19%

The show: Marvel’s first Netflix series told a grounded version of Matt Murdock (Charlie Cox), the blind lawyer who uses his other enhanced senses to fight crime as Daredevil.

The ratings: Netflix famously does not reveal their ratings, but the success of Daredevil launched several more Marvel series and more seasons of Daredevil.

What happened: Season 1 was a revelation, both compared to the derided Ben Affleck movie and to show how serious superhero shows could work on streaming. By the time season 2 rolled around, Daredevil couldn’t measure up to the monster it created in Jessica Jones. “It’s still nowhere near as interesting or innovative as Marvel’s Agent Carter or Jessica Jones,” wrote The Daily Dot’s Gavia Baker-Whitelaw. “It’s hard to do anything new in the superhero genre, but the second season of Marvel’s Daredevil seems resolutely determined not to try,” wrote Abraham Riesman 0f New York Magazine/Vulture. Sharing the spotlight with Frank Castle (Jon Bernthal) just made people more excited for The Punisher than Daredevil. Aggressive Comix’ Steph Cozza called Punisher “the true MVP here” in her Fresh review.


V: Season 1 (2009) 60%V: Season 2 (2011) 40%

DOWN 23%

(Photo by ABC)

The show: A modern-day reboot of the ’80s series, in which lizard-like aliens arrive wearing human skin.

The ratings: Season 1 dropped from 14.3 million viewers to below five, but ABC still gave it another chance. Season 2 couldn’t rise much above 5.7 million so that was that.

What happened: V went on hiatus after only four November episodes. By the time it returned in March following the Olympics, viewers just didn’t come back.  A second season may have been a chance to establish stability, but critics assured viewers it hadn’t improved. Uproxx’s Alan Sepinwall said, “This one’s not working, and it doesn’t matter how many fresh coats of paint or new showrunners they try to slap onto it.” The San Francisco Chronicle’s David Wiegand said, “The groan-worthy dialogue, usually spoken in a monotone by alien and human alike, is rarely credible and lacks the kind of self-aware irony that might make this enjoyable.”


Smash: Season 1 (2012) 80% | Smash: Season 2 (2013) 56%

DOWN 23%

(Photo by NBC)

The show: The NBC series featured all of the drama of putting on a Broadway musical, the fictional Bombshell about the life of Marilyn Monroe, along with the backstabbing and rivalries behind the scenes.

The ratings: Starting strong with 11.44 million viewers, season 1 steadily lost viewers week by week, ending with 6.74 million. Season 2 began with only 4.48 million and by the middle of the season NBC moved the show to Saturday to dump the remaining episodes.

What happened: Show creator Theresa Rebeck departed the series following the first season, and the plot veered Off Broadway, literally, splitting its focus between Bombshell and a new independent rock musical, and in so doing losing some of its glitzy central appeal. “Its failure wasn’t so much that it didn’t reflect the real workings of Broadway; it never came close to reflecting any aspect of the real world,” New York Times critic Charles Isherwood wrote. With the grind of writing new songs every week and rehearsing the same show, basically it was never as good as the pilot. Or as Boston Herald’s Mark A. Perigard put it, “It still feels as if you’re trapped in the middle of opening night of a third grade dance recital.”


True Detective: Season 1 (2014) 87% | True Detective: Season 2 (2015) 62%

DOWN 23%

The show: Each season centers on a different set of detectives investigating a harrowing case.

The ratings: The first season debuted mid–Hunger Games mania for Woody Harrelson and Matthew McConaughey‘s career “McConaissance” (coming off of acclaimed performances in the likes of Dallas Buyers Club and Magic Mike) and captivated 3.5 million HBO subscribers by the finale. Season 2 stars Colin Farrell, Vince Vaughn, Rachel McAdams, and Taylor Kitsch were each probably hoping for their own career renaissance (“Vaughnaissance”? “McAdaissance”?) after collectively starring in a number of Rotten movies around the time they signed on for the series. But the HBO thriller held onto viewers (2.7 million, which was on par with season 1 regular viewing), who stuck with season 2 hoping it would get good again.

What happened: They rushed it. With the first season’s success, HBO asked creator Nic Pizzolatto for another season, but a show as intricate as True Detective takes time. HBO President of Programming Michael Lombardo copped to essentially setting Pizzolatto up to fail. Lombardo told radio show The Frame: “When we tell somebody to hit an airdate as opposed to allowing the writing to find its own natural resting place, when it’s ready, when it’s baked — we’ve failed … I take the blame. I became too much of a network executive at that point. We had huge success. ‘Gee, I’d love to repeat that next year’ … I think that’s what I learned from it: Don’t do that anymore.” We’ll see if more time and new directors save the third season.


Under the Dome: Season 1 (2013) 83% | Under the Dome: Season 2 (2014) 61%

DOWN 25%

The show: Based on Stephen King’s 1,000-plus page novel, the town of Chester’s Mill becomes enclosed in a clear dome leaving the residents to deal with a lack of resources and laws.

The ratings: A summer hit for CBS, season 1 averaged 11 million viewers. By season 2, they were down to six or seven million, still enough to earn a third season. By the time season 3 hit a low of 3.7 million, there was no plan for season 4.

What happened: Under The Dome straying from the book showed early potential for keeping the story going beyond the finite novel. By the second season, viewers and critics alike felt the story was stretched too thin to try to make it last. Showbiz Junkies’ Rebecca Murray said the show “has taken itself so seriously and yet it’s one of the most nonsensical prime time shows to ever survive more than three episodes.” Backing her up, Screenrant’s Kevin Yeoman called it “one of the most frustrating and dim-witted shows on television.”


Bloodline: Season 1 (2015) 81%Bloodline: Season 2 (2016) 53%

DOWN 28%

The show: The dysfunctional Rayburn family admits in the series premiere that they killed Danny (Ben Mendelsohn), compelling viewers to find out just what tore this Florida dynasty apart. Kyle Chandler, Linda Cardellini, Norbert Leo Butz, and Sissy Spacek played the Rayburns.

The ratings: Netflix does not release ratings, but the creators of the show were planning five or six seasons. They got three.

What happened: Danny died by the end of the first season. The season finale ended with a cliffhanger reveal that his long-lost son came looking for his aunt and uncles, but the real mystery was over. The Young Folks’ Katey Stoetzel called the season “a long, drawn out plot that at times seemed to make up mysteries on the spot in an effort to be just as mysterious as the first season.” In Vulture, Brian Tallerico wrote, “This year’s story never felt as confident as the first.”


The Man in the High Castle: Season 1 (2015) 95%The Man in the High Castle: Season 2 (2016) 64%

DOWN 31%

The show: When you imagine what the world would be like if Hitler had won World War II, that’s good drama. Based on the Philip K. Dick novel.

The ratings: Amazon called The Man in the High Castle their most streamed original series. Season 2 came with no such announcement, but they are still making season 3.

What happened: The setup was great! The follow-up started treading water with aimless subplots and villains failing to remain threatening. “The scary people who were villains in season one ultimately become antiheroes,” said YouTube reviewer Jeremy Jahns. Andy Hartup of Gamesrada went further, saying, “Thanks to dull characters and mostly flaccid story lines, it falls short of being essential viewing.”


The Killing: Season 1 (2011) 94% () %

DOWN 31%

The show: Based on the Danish series, detectives Sarah Linden (Mireille Enos) and Stephen Holder (Joel Kinnaman) investigate the death of Rosie Larson, which has ties to mayoral candidate Darren Richmond (Billy Campbell).

The ratings: Season 1 averaged two million viewers — pretty strong for AMC. Season 2 was down to 1.5 million and AMC canceled it. Thanks to a deal with Netflix, they revived it for a third season, and Netflix streamed the fourth and final.

What happened: They solved Rosie’s murder, but it was too little too late. By then, critics grew tired of the mystery and its characters. Slant’s Mike Lechevallier called it “a mystery show whose mysteries agitate and bore rather than mesmerize and astound.” The Mercury News’ Chuck Barney wrote, “The longer we spent with the show’s brooding characters, the more we came to realize that they were an unbearably dour and detestable bunch.”


Wayward Pines: Season 1 (2015) 78%Wayward Pines: Season 2 (2016) 43%

DOWN 36%

(Photo by Fox)

The show: A Secret Service agent (Matt Dillon) wakes up in the mysterious town of Wayward Pines after an accident, and the authorities in town just will not let him leave.

The ratings: Season 1 was a solid summer hit with about 3.82 million viewers. Season 2 dropped to 2.0.

What happened: Once season 1 revealed what Wayward Pines actually was, season 2 was just about new characters (Jason Patric, Djimon Hounsou) who didn’t know as much as the audience. IndieWire’s Ben Travers wrote, “You almost feel bad for the series in its second season, limping along, trying to rebuild from what little was left.” THR’s Dan Fienberg wrote, “If what you liked about the first season was the insidious unknown, that’s gone with little to replace it.”


Genius: Einstein (2017) 84% | Genius: Picasso (2018) 57%

DOWN 38%

The show: Each season told the biography of a different genius. Season 1 was Albert Einstein (Geoffrey Rush), season 2 was Pablo Picasso (Antonio Banderas). Season 3 will be Mary Shelley.

The ratings: Only two-thirds of Einstein’s audience of a million tuned in for Picasso, down to only half in week two, and only about one-third by midway through the season.

What happened: Perhaps artistic genius was too abstract to contain in episodic format. Surely an artist as complex as Pablo Picasso cannot be encapsulated in a TV series, but critics complain Genius didn’t even try. The Straits Times’ Alison de Souza called it “disappointingly conventional” and New Statesman’s Rachel Cooke said the script failed both Picasso and Banderas. “Even he can’t make his lines sound convincing,” Cooke said. Plus, the creative magic that led to ​season 1’s 10 Emmy nominations, including one for Rush’s buzzy performance, may have set the bar impossibly high for any subject or lead actor that followed.


13 Reasons Why: Season 1 (2017) 77%13 Reasons Why: Season 2 (2018) 28%

DOWN 54%

The show: Hannah Baker (Katherine Langford) commits suicide and leaves 13 tapes for her classmates. As Clay Jensen (Dylan Minnette) listens to the tapes, each one reveals one of the reasons Hannah ended her life.

The ratings: Netflix does not release ratings, but the first season was a water-cooler conversation piece, as well as the center of controversy. Some mental health advocacy groups worried it glamorized suicide. But season 2 remained a trending topic on social media, and on Wednesday, Netflix announced that 13 Reasons Why has been renewed for a third season.

What happened: We already found out the 13 reasons in season 1. Season 2 tried to add more reasons, and stretch out the story with the civil trial Hannah’s mother (Kate Walsh) filed, but it was obvious to fans and critics that the story had naturally concluded. ScreenRant’s Kevin Yeoman wrote, “Right away it becomes clear this season’s narrative foundation is built on sand, which is worsened by a lack of forward momentum and over-reliance on rehashing the past.”

Trying to tackle gun control only gave critics more reasons to grouse about the show’s handling of sensitive issues. “It is bleak and depressing, scarringly graphic and stupidly glamorizing in its treatments of guns and ideas of vengeance,” wrote Siena Yates of the New Zealand Herald.

When True Detective and Fargo both premiered in early 2014, they shared many similarities: they were both “prestige anthologies,” revolving around weird, dark crime stories, created and written by novelists (Nic Pizzolatto, Noah Hawley), both starring Oscar-winning Southerners (Matthew McConaughey, Billy Bob Thornton). Detective ended up getting all the buzz, while Fargo got all the Emmys and Golden Globes.

When both shows returned for a second season this year, one turned out to be better-assembled than the other. People were quite disappointed with season two of Detective, as viewers found the story to be both monotonous and pretentious. Meanwhile, the second season of Fargo had audiences and critics saying it was better than the first (and in the same league as the 1996 Coen brothers movie that jump-started this whole thing). Hawley has said that he wanted to make sure his show was perfect since he believed he was making a movie. As the show ended its second season last night, let’s list the several things Fargo did right that Detective unfortunately did wrong.


FARGO SHARED THE WEALTH IN THE WRITING DEPARTMENT

In both their respective first seasons, every episode of Detective and Fargo were written solely by its showrunner. However, although Pizzolatto had fellow novelist Scott Lasser share writing credit on a couple of episodes, the rest of the season was still Pizzolatto’s show. As for Hawley, he assembled a crew of seasoned TV writers, including Steve Blackman (Private Practice) and Bob De Laurentiis (Providence). Being a veteran TV writer himself, Hawley must’ve realized that if he wanted to do a sophomore season that was just as good — if not better — than the first, he couldn’t do it all alone.


FARGO TOLD ITS COMPLICATED STORY IN A COHERENT MANNER

As this season of Fargo quantum-leaped back to 1979, replaying the hellish crime spree that defined the career of then-Minnesota cop Lou Solverson (played by Keith Carradine last season and Patrick Wilson this season), this season had everything: a bevy of homicides, a turf war, a crime family dismantling Greek tragedy-style, an on-the-run couple, Ronald Reagan – hell, even aliens! And I could pretty much tell you exactly how everything went down. Don’t even ask me about the specifics of Detective this season, with its trio of tormented California cops (played by Colin Farrell, Rachel McAdams, and Taylor Kitsch) chasing down murder suspects and uncovering a conspiracy, while a gangster (Vince Vaughn) aching to go legit, finds he’s no match for corrupt government officials and shady, sinister businessmen. It was a cluttered mess that, to quote Matt Zoller Seitz, felt like “a first or maybe second draft rather than a polished final product.’


FARGO HAD BETTER-WRITTEN WOMEN

Since its first season, Detective has had a problem coming up with decent female characters who weren’t hateful harpies or straight-up sex objects. Even this past season’s main heroine, McAdams’ perpetually bitter Antigone Bezzerides (without question, the worst TV character name this year), had to get dolled up and go undercover in order to infiltrate a David Lynch-worthy orgy. Fargo didn’t have this problem. The show had its share of complicated, dangerous-but-sympathetic ladies: Jean Smart’s ruthless yet level-headed big momma Floyd Gerhardt; Kirsten Dunst’s somewhat unhinged but always optimistic Peggy Blumquist; Cristin Milioti’s cancer-stricken but still proud Betsy Solverson; and Rachel Keller’s doomed femme fatale Simone Gerhardt. Thanks to these characters (and the amazing work done by the actresses who inhabited these roles), the women of Fargo were often more fascinating than the men.


FARGO HAD BETTER-WRITTEN WAR VETERANS

By far, the worst-developed character on Detective this season had to be Kitsch’s Paul Woodrugh, a cop who had seen some hellish action in Afghanistan. He’s also a closeted gay man so determined to go/be straight, that he jumps at the chance to marry his on-again/off-again girlfriend when she tells him she’s pregnant. All through the season, it was hard to tell if it was his PTSD or his inner struggle with his sexuality that made him look like such an intense, emotionally confused fella. (It didn’t help that Kitsch played him like he was constipated all the time.) Fargo also had war heroes who were dealing with the aftereffects in their own ways. Some of my favorite moments from the series had Vietnam vet Solverson and his WWII-serving father-in-law Hank Larsson (Ted Danson) recalling all the good and bad times they experienced during wartime, wondering if they brought all that carnage home with them. There was also Hanzee (Zahn McClarnon), the Gerhardt’s Native American henchman and decorated Vietnam soldier who basically reaches his breaking point, inflicting his own carnage through the season’s final episodes.


FARGO’S MUSIC WAS WAY COOLER

Shout-out goes to Hawley and music supervisor Maggie Phillips for assembling many of the 1970s-era deep cuts that played all through the season. The score covered the gamut, from the decade’s biggest arena-rock stars (Jethro Tull, Fleetwood Mac) to little-known players (Billy Thorpe, Cymande). It’s like the world’s coolest classic rock station is always on while the show is in progress — rather than the throat-slitting melodies performed by Lera Lynn, the guitar-strumming singer who played many a bleak, depressing tune to accompany Farrell and Vaughn’s intense bar chats.

Craig D. Lindsey is a North Carolina-based TV and film critic. Follow him on Twitter: @unclecrizzle

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