Being Erica: An Interview with Erin Karpluk

Have you ever wished you could revisit your past and change a certain event to see if the outcome would be different? Or wish that you could straighten out a previous mistake in the hope it would influence your future? That’s the premise behind the Soapnet TV series Being Erica, currently in its second season and airing each Wednesday night at 10PM. The series, created by Jana Sinyor who executive produces with Aaron Martin, stars Erin Karpluk as Erica Strange, who, via the therapist “Dr. Tom” (Michael Riley) is able to revisit key moments in her life to make changes where necessary, but, more importantly, to utilize the past to illuminate the present.

Tonight’s episode — “Yes We Can” — is a perfect jumping on point for viewers as it nicely re-establishes the rules for the show, and then breaks them as Dr. Tom gives Erica a “do over” day in which nothing she does will have lasting consequences.

In the following interview, Erin Karpluk discusses the evolution of the series and the impact that Erica has had on her own life.

SCIFI MEDIA ZONE: Considering you’ve gone back in time to high school and college days, do you ever feel as thought you’re playing different characters?

ERIN KARPLUK: I do. I really find that when I’m with my brother or my family on the show, back in time, I just take on this younger energy. But I, as Erin, even going home at Christmas, I’m a 31-year-old woman, but as soon as I’m home, I’m, like, “Mom, can you do my laundry?” I’m pulled back there, and on the show I think Erica certainly has fun with being back in high school and taking everything in. But I almost have it easier than some of the other actors, certainly the actress that plays young Erica when she’s 12. They [the producers] don’t think I can play 12, so they hired this fantastic actress. But she was a 12-year-old girl who had to play 32, and I thought that she did a fantastic job.

SCIFI MEDIA ZONE: Can you describe the difference in tone between season one and season two? Season one seemed a little light-hearted with heavy moments, but season two seems different.

ERIN: It’s the same show, though we do get into the time travel aspect a little more. But I look at the time travel as the catalyst for her learning and growth and development. One thing I have to give credit for regarding the second season is that I remember when I read the pilot, I said, “How many regrets can this woman have? How many times am I in Dr. Tom’s office; where he is the teacher and I am the student? Is it going to be repetitive or stagnant?” But that hasn’t happened. Season two was so much fun to shoot. Erica is more worldly and responsible and accountable in the ways of the time travel and uses her experience from the first season and applies them into the second season. It’s not only in helping and developing herself, but also to help other people. That’s something that’s very fun to play, to see her kind of step outside of herself. Depending on what the particular regret is, that will shape the episode. It’s still the same show, but if it’s dealing with the death of her brother, it’s obviously going to be a bit more heavy than if it’s her singing Britney Spears to try to stand up to a professor.

SCIFI MEDIA ZONE: Are there ways this has affected you as a real person?

ERIN: I’ve learned so much from Erica. Just that regrets are the kind of thing that can fester inside of you and you can hang on to for years. It just seems so pointless. There’s one episode where Erica wants to go back and relive a regret, but she realizes that, in fact, it wasn’t a regret at all. It was a hard thing that she had to go through, but given the chance again, she would do it the same. I thought that was interesting in my own life, and it helped me kind of let go of certain things that I may still be hanging on to. I think the biggest thing that I’ve learned from playing Erica, and just as an actor on the show and the experience, is just to let go of things. It’s a lot easier.

Look for much more on Being Erica in the weeks to come at SciFi Media Zone.

“The Walking Dead” Goes to Pilot at AMC

The AMC network has given the green light to a pilot for a potential series based on Robert Kirkman’s The Walking Dead series of graphic novels. As AMC’s senior VP of programming Joel Stillerman explains it, “This is not about zombies popping out of closets. This is a story about survival and the dynamics of what happens when a group is forced to survive under these circumstances The world is portrayed in a smart, sophisticated way.”

Kirkman is supposed to serve as an executive producer on the proposed series alongside writer/director Frank Darabont. “When I heard that Darabont was interested in doing it a long, long time ago,” Kirkman explained in an interview with MTV, “I was just ecstatic. For me, The Walking Dead is not necessarily a horror thing. It’s not all about the shocks. It’s about characters and all of that dramatic nonsense. And Darabont does that better than anybody.

“Frank understands the material 100 percent,” he continued. “It’s always been shocking to me, doing Hollywood meetings over the years, just how easy it is for someone to come in to the meeting and say something like, ‘We want the zombies to have super powers.’ Knowing that, I’m really excited about it, because from my discussions with Frank, he likes the right things about Walking Dead.

“One of the concerns I have about zombie fiction is when they rely too much on the shocking gore aspects. That’s not really the point of Walking Dead, so to a certain extant, I think it will work better at AMC— because it forces people not to rely on that stuff. As far as Walking Dead not having teeth on AMC, if you’ve ever seen [certain episodes of] Mad Men or Breaking Bad, they push a lot of boundaries as far as content goes.

“In fact, I just had a meeting with a bunch of the executives at AMC, and Darabont, and Gale Anne Hurd and David Alpert at Circle of Confusion, and the executives were talking to Darabont about his script and they said, ‘You can’t use the F-word.’ That was the only limitation they gave him. We were all stunned.”

MTV’s “Teen Wolf” Finds Its Cast

MTV’s reinvention of the 1985 Michael J. Fox film Teen Wolf has put its cast together, with Tyler Posey as Scott McCall, a high school student who is attacked by a wolf and finds himself endowed with extraordinary powers (albeit attached to a curse); Crystal Reed as a new girl in school romantically attracted to Scott; Dylan O’Brien as Scott’s best friend who gradually believes his buddy’s tale of being bitten by a wolf; and Tyler Hoechin as a vicious werewolf.

The pilot is being written by Criminal Minds creator Jeff Davis, who serves as executive producer Marty Adelstein and Rene Echevarria (Star Trek: Deep Space Nine, Now and Again, Medium, Castle).

Whereas the original film took a more comic approach, The Hollywood Reporter describes this new take as “a dramatic thriller with a buddy-comedy element at the center and a romantic plotline.”

“True Blood” Casting Notes

Looks like Tara is going to find love of the undead kind in the form of vampire Franklin Mott, described in the casting breakdown as “a tall, dark and handsome vampire who seems to have an ‘immediate and torrid’ connection to Tara. According to EW’s Michael Ausiello, the “heavily recurring” part will be played by James Frain, from The Tudors.

Additionally, Tony-nominated actress J. Smith-Cameron will be playing the recurring role of Melinda, Sam Merlotte’s mother; and Prison Break’s Marshall Allman is playing Sam’s brother.

For more vampire news, check out VAMPIRE PARADISE.

Dexter: Notes on the Season Finale

SPOILERS! SPOILERS! SPOILERS! You would be hard-pressed to find a season finale that left so many collective jaws hanging open in the way that season four of Dexter did. After a season of Dex (Michael C. Hall as the most sympathetic serial killer since Norman Bates) pursuing the Trinity killer (John Lithgow), things pretty much ended as the audience had come to expect: with his opponent on Dex’s table, about to meet his maker.

As the episode, “The Getaway,” ended, Dexter seemed to have come to a place of peace regarding his place in the world, his wife, Rita, their son and her two kids, filled with the hope that maybe he could change his ways. The game-changer came at the final moment, however, when Dexter, upon returning home, discovered that Trinity had indeed gotten the last laugh, by murdering Rita. The end result of this, theoretically, is that Dexter will be changed forever — and not for the better — a point that will become apparent when season five debuts about a year from now.

Needless to say, there was a lot of buzz about the episode online from reviewers and, in fact, comments from the show’s creators as well, as these excerpts demonstrate:

In an interview with Entertainment Weekly’s Michael Ausiello, executive producer Clyde Phillips said of Rita’s death, “I would say we made the decision pretty late in the season. We didn’t know what we were going to do [in the finale]. The story evolved and it kind of became inevitable. We knew that we had to do more than kill Trinity. It’s a little bit of a corner that we paint ourselves into. Last year we tried to avoid that and actually I think we didn’t do as well as we could have. We killed off Jimmy Smits’ character [in the 11th episode] of 12 episodes and then we had to figure out what we were going to do in the 12th episode. This season, we knew that we were going to take Trinity out in the 12th episode and we think that the audience knew that, too. We had to raise the bar to as high as possible and then figure out what to do next year.”

Elsewhere he added, “We haven’t even begun thinking about next year. Generally what happens is everbody gets back together in February and we have a little bit of a retreat and we start talking about all the ridiculous ideas we might have had during the off season, and out of those what-ifs grows the story. So we haven’t thought about if we’re gonna have what we call a big bad — Jimmy Smits was a big bad, John Lithgow was a big bad — there may not even be a big bad next year. I just don’t know.”

One final bonus of the episode was the fact that it pulled in 2.6 million viewers, the highest rated episode in Dexter’s history, ranking 54% higher than the season three finale.

For more insight into the episode, check out the following conversation between Michael C. Hall and John Lithgow.

Exclusive Interview: Scott Bakula on “Men of a Certain Age”

Scott Bakula, star (along with Ray Romano and Andre Braugher) of TNT’s December 7th-debuting series Men of a Certain Age, recently discussed the series, the changing television industry and and the current state of acting and journalism with SciFi TV Zone Editor Edward Gross.

Men of a Certain Age is officially desribed as exploring “the unique bonds of male friendship among three men experiencing the changes and challenges of mid-life. They have been best friends since college but now, in their 40s, are navigating through the second act of their lives. Joe (Romano) is a friendly, slightly neurotic, recently separated father of two who had dreams of being a professional golfer. Now he owns and runs a party store. Terry (Bakula) is a laid-back, handsome actor who seems to breeze through life (and women). Lately, he’s spending more time working as a temp than as an actor. And Owen (Braugher) is an overstressed husband and father of three who endures constant criticism from his father, for whom he works as a car salesman. These friends face very different challenges. Joe, who currently lives in a hotel, tries to connect with his kids and is dipping his toe in the dating pool, while also struggling with the gambling problem that may have ended his marriage. The unmarried Terry scoffs at domestic issues but sometimes wonders if his own single life is all it’s cracked up to be. Owen does everything he can to climb the sales board at his father’s car dealership and keep his cool over the seemingly endless renovation project in the home he can barely afford. Through it all, these men are there for each other when it counts.”

Bakula, of course, has starred in the sci-fi TV series Quantum Leap and Star Trek: Enterprise, which, in the future, he will be discussing with SciFi TV Zone in depth.

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A Night with the True Blood Writers

Last week I had the opportunity to attend the Paley Center for Media’s Inside the Writers’ Room for the popular HBO series True Blood. As the title states the panel highlighted the work of the talented writers for this show, including Executive Producer and Creator, Alan Ball; co-Executive Producers Brian Buckner and Nancy Oliver; Producers Raelle Tucker and Alexander Woo; Script Coordinator Kate Barnow and Writer’s Assistant Elizabeth Finch.

The night opened with a look back at Season 2 and all the memorable moments from the season. Moderator Alynda Wheat, writer for Entertainment Weekly, then took the stage and began the introductions of the panelist. Once everyone was settled in, Ms. Wheat asked Mr. Ball a very crucial question: “Will Snopp Dogg be playing a part in the series next season?” This question, of course, garnered laughs from the audience with Mr. Ball explaining that he planned to “protect the integrity of the series” and would not be casting the well-known rapper. He further explained that he is not a fan of stunt casting; and while no big names have expressed interest in appearing in the show next season, he would not be averse to it (although it would be to their benefit to actually be able to act).

After his series Six Feet Under finished its run, Mr. Ball wanted to do something fun – and that is precisely what True Blood has afforded him. He was quoted as stating, “It’s too much fun to do this and get paid for it,” which was well received by those in the panel room. He was asked at a later point what made him develop the show for TV and he explained he read one of Charlaine Harris’ books and couldn’t put it down, read several more then took it to HBO. He did state that once the fifth episode (the flashback to Bill’s Civil War days and his turning) was completed, he felt they had finally “hit their stride”.

Ms. Wheat acknowledged that the writing team seemed to be female-heavy and wondered if Mr. Ball had gone seeking that to which he stated it wasn’t intentional, as he is “very instinctive,” going with staff based on their own original work – not spec scripts – in order to get a sense of their voices; their gender did not play into any decisions.

Mr. Buckner and Mr. Woo then answered the query about the provocative nature of the storylines, joking “there’s almost nothing we can’t do or haven’t done” – and Mr. Woo couldn’t “envision (True Blood) anywhere (else) but on cable”. There was, however, at least one storyline that was scrapped due to its controversial nature. The flashback scene of Bill and his maker in the 1920’s was written much harsher than what was seen by the viewers. Mr. Ball believed the original depiction was more of rape then murder than was needed.

It was explained that Ms. Tucker is the only staff member who has genre experience whereas most of the staff has comedy in their background. This came into play for Mr. Buckner as his first draft script was too funny and had to be changed to fit the context of the show. After all the “cast plays everything so straight, it’s funnier than comedy”. They simply let the cast go with the lines and it turns out funny (even if not always intentional).

The subject matter then veered on to fan reactions and their experiences at this July’s Comic Con. Ms. Tucker joked she “grew up with hippies” so the event wasn’t scary for her. Mr. Ball interjected that he “wasn’t afraid,” but did state you, “have to be careful what you say at Comic Con.”

When asked which characters the writers like writing for Mr. Ball was diplomatic saying he “loves all of them, but really enjoys writing for Lafayette and Jason”; Ms. Tucker stated Jessica and Hoyt; Mr. Buckner said Eric and Ms. Oliver stated Godric.

Some things to look forward to when True Blood returns next summer include:

• Eric appearing without most of his clothes in the first episode
• Learning where Bill is and what (or who) took him
• A return visit by Queen Sophie (Evan Rachel Wood)
• There will not be a wedding, although one character will want a wedding
• The possibility of the Newlins making a return visit
• A “boat-load” of characters to be featured, including more on Pam and Nan
• Learning more about what Sookie really is
• No marginalizing of Bill (unlike that reflected in the books
• The possibility of flashbacks between Eric and Godric
• There will not be a return visit by Mary Ann as she is DEAD

Perhaps one of the most extraordinary discoveries about life behind the scenes is that Mr. Ball allows the writer of each script to serve as on-set producer. This means they are involved in every aspect of the episode, including the prep, the casting, the post and everything in between. Mr. Woo further explained this is very rare as most show-runners (like what Mr. Ball is for True Blood) do not afford their staff this opportunity.

True Blood will return to HBO in June of 2010.

Exclusive Interview: Writer Melissa Rosenberg, From Dexter to The Twilight Saga

Writer Melissa Rosenberg is in a unique position. As an executive producer/writer on Showtime’s Dexter, she’s helping to guide one of television’s most innovative series, in which serial killer Dexter Morgan (Michael C. Hall) channels his “dark passenger” in such a way that he uses his urge to kill to remove those who truly deserve to die. At the same time, she is the screenwriter behind The Twilight Saga, the film series based on author Stephenie Meyer’s vampire romance novels, the second film of which, New Moon, is reaching theatres on November 20th. The following exclusive interview with Rosenberg is broken into four distinct segments.

NOTE: A couple of the audio players are taking longer than usual to load. It’s suggested that once you start the file, pause it and give it a minute or two to load up. This is particularly true on the New Moon and Eclipse audio files.

[SEGMENT 1: DEXTER
The series, now in its fourth season, is reaching a wider audience than ever before. This year, Dexter is trying to balance his inner nature with the fact that he's newly married and a brand new father. Added to the mix is the serial killer Trinity (John Lithgow). In this portion of the interview, Rosenberg details the challenges of keeping the show fresh and the line it needs to walk so that it doesn't go "over the top."

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SEGMENT 2: SCRIPTING THE TWILIGHT SAGA
How challenging is it to take a best-selling book series turned phenomenon and adapt it to the big screen? Rosenberg tries to detail the process, noting what elements from the books are necessary to maintain and what needs to be altered.

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SEGMENT 3: THE TWILIGHT SAGA - NEW MOON
Rosenberg discusses the strengths of the new film, offering her feelings about how Taylor Lautner has inhabited the role of werewolf Jacob Black, the emotional core of the film and what director Chris Weitz is bringing to the franchise.

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SEGMENT 4: THE TWILIGHT SAGA – ECLIPSE
Each director brings something new to the individual chapters of The Twilight Saga, and in the final part of the interview, Rosenberg shares her feelings on what David Slade (30 Days of Night) is introducing to the franchise.

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Clone Wars: Children of the Force

As STAR WARS: THE CLONE WARS launched its second season, ruthless bounty hunter Cad Bane was wreaking his maliciously distinctive brand of destruction upon the heroes of the Republic – but he was merely a pawn in the greater game for galactic supremacy. In the thrilling conclusion to the events set in motion by Bane’s treachery, the ultimate architect of evil emerges to threaten the “Children of the Force,” in an all-new episode of STAR WARS: THE CLONE WARS, airing at 8:00 p.m. ET/PT Friday, October 9 on Cartoon Network.

After outwitting his Jedi foes and escaping with the Holocron, bounty hunter Cad Bane sets into motion the next stage of his nefarious assignment: to find Force-sensitive younglings and take them to Mustafar for Sith training. But Bane is merely the instrument of evil, a deadly distraction to occupy the Jedi while the true source continues to plot from the shadows. While he has been glimpsed in previous episodes – and in his seemingly benevolent double-role as Supreme Chancellor of the Republic – Darth Sidious emerges in “Children of the Force” as a direct threat to the galaxy’s future.

“He’s all the hidden secrets most of us have,” says Ian Abercrombie, who provides the smooth and silvery voice of the Janus-faced Sith Lord. “Palpatine is the face, and Sidious is the dark soul. When people are that bad, they cannot change. Somewhere in the back of my head, I know that Sidious is always there and that he will take over. Evil often does.”

For Abercrombie – perhaps best known for comedy roles such as Seinfeld’s doddering Mr. Pitt – providing the voice of THE CLONE WARS’ central villain has been a delicious departure – and a unique career challenge.

“Somebody told me once that when you play a villain, you must try to find a redeemable quality,” says Abercrombie. “I haven’t found it. He’s cold and completely shut down. So, in my head, it’s stillness; he’s very precise. He’s authoritative, he knows everything that’s going on, and so often he’s pulling the strings. It’s difficult to play, but it’s also interesting, because you can’t predict what he’ll do. I love it.”

While embodying the evil of such an iconic character may be new to the venerable British actor, the Star Wars universe itself was not – though he could not have predicted that he’d be portraying the subversive driving force of that “galaxy far, far away.”

“It’s quite something, as they say. I was at the very first screening in May 1977 at Grauman’s Chinese Theater. The first Star Wars movie ever! I can’t even believe it, because I never stand in line like that,” he recalls. “But someone sold me on it, and that’s why I did. I never imagined I’d be a part of it. It’s an actor’s dream, playing something bigger and larger than yourself. You can have a field day.”

And with the outcome of the Clone Wars a foregone conclusion and his character’s triumph inevitable, Abercrombie can let his dark side run rampant and have a field day, indeed.

Creating “Being Human”: An Audio Interview with Toby Whithouse

One of the most innovative genre shows to come out of England is Being Human, the drama that chronicles what happens when a vampire, a werewolf and a ghost share a house. It sounds like the set-up for a joke, but it’s not. The six episodes of “series” one, which aired on BBC America this past summer, helped solidify the show’s cult reputation, and, now, filming is underway on the eight episodes that will make up series two. In this audio interview with creator/producer Toby Whithouse, he details the odd genesis of this project. Look for much more on Being Human in the weeks and months to come.

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