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This carefully crafted ebook is formatted for your eReader with a functional and detailed table of contents. Lucifer is an American fantasy police procedural comedy-drama television series developed by Tom Kapinos that premiered on Fox on January 25, 2016. It features a character created by Neil Gaiman, Sam Kieth, and Mike Dringenberg taken from the comic book series The Sandman, who later became the protagonist of the spin-off comic book series Lucifer written by Mike Carey, both published by DC Comics' Vertigo imprint. This book has been derived from Wikipedia: it contains the entire text of the title Wikipedia article + the entire text of all the 286 related (linked) Wikipedia articles to the title article. This book does not contain illustrations. e-Pedia (an imprint of e-artnow) charges for the convenience service of formatting these e-books for your eReader. We donate a part of our net income after taxes to the Wikimedia Foundation from the sales of all books based on Wikipedia content.
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Main table of contents:
Lucifer (TV Series)
Introduction
Premise
Cast and characters
Production
Release
Reception
See also
References
External links
Linked articles
Contents
Lucifer (TV series)
Lucifer is an American fantasy police procedural comedy-dramatelevision series developed by Tom Kapinos that premiered on Fox on January 25, 2016.[1][2] It features a character created by Neil Gaiman, Sam Kieth, and Mike Dringenberg taken from the comic book series The Sandman, who later became the protagonist of the spin-off comic book series Lucifer written by Mike Carey, both published by DC Comics' Vertigo imprint.
In April 2016, Fox renewed the series for a second season, which premiered on September 19, 2016.[3] On October 31, 2016, the series received a 22-episode full second season pickup by Fox.[4] On February 13, 2017, Fox renewed the series for a third season initially of 22 episodes.[5] However, in March 2017, it was revealed that the final 4 episodes of the second season would be removed and put in the third season to air, meaning that the second season would consist of only 18 episodes.[6][7]
Premise
The series focuses on Lucifer Morningstar, the Devil, who is bored and unhappy as the Lord of Hell, and resigns his throne and abandons his kingdom for Los Angeles. Lucifer runs a nightclub in Los Angeles called "Lux", with the assistance of his demonic ally Mazikeen. Lucifer becomes involved with the LAPD when he begins to assist Detective Chloe Decker in crime cases. He becomes fascinated with Decker when she appears to be immune to his powers. Lucifer's mother later escapes Hell, and Lucifer's punishment for her is to stay on Earth, and the celestial family are forced to deal with the ramifications of this.
SeasonEpisodesOriginally airedFirst airedLast aired113January 25, 2016April 25, 2016218September 19, 2016May 29, 20173TBA2017TBACast and characters
Production
In September 2014, it was reported that DC and Fox were developing a television series based on the Sandman character Lucifer, as originally written by Neil Gaiman.[1] In February 2015, it was announced that Tom Ellis had been cast as Lucifer Morningstar, and that Tom Kapinos would write the pilot, to be directed by Len Wiseman.[8]Lina Esco was originally cast as Maze (Mazikeen),[21] however, the role was later recast with Lesley-Ann Brandt.[15]Nicholas Gonzalez portrayed Dan in the pilot episode.[22]
In May 2015, the series was officially picked up for 13 episodes for the 2015–16 season.[23][24] Fox then hired Almost Human alum Joe Henderson as showrunner, with Kapinos remaining on the series in a lesser capacity.[25]
In June 2016, it was announced that Tricia Helfer had been cast as Lucifer and Amenadiel's mother, Charlotte, and that she was to appear in multiple episodes in season 2.[26] The character was promoted to series regular in July 2016.[27]Aimee Garcia had also been cast as a regular in season 2, playing L.A.P.D.'s forensic scientist Ella Lopez.[28]
In August 2016, executive producer Ildy Modrovich announced the casting of Michael Imperioli as the angel Uriel, Amenadiel and Lucifer's middle brother with "a chip on his shoulder".[29]
Music
The opening theme is a six-second clip from "Being Evil Has a Price", performed by the band Heavy Young Heathens.[30] In a lawsuit filed against Warner Bros., the song's composers, Robert and Aron Marderosian, claim the song has been used without giving them proper credit or a licensing agreement.[31]
Several episodes include musical performances by Tom Ellis, although he has stated in interviews that while it is his vocals, the piano accompaniment seen on screen is not actually him.[32]
Release
Broadcast
Broadcast on the Fox network in the US, and on FX in Australia.[33]
Home media
The series can be streamed on Amazon Prime in the United Kingdom,[34] and the first season on CraveTV in Canada.[35]
Reception
Ratings
Critical reception
The pilot episode was screened in July at the 2015 San Diego Comic-Con. The pilot was met positively by the viewers, with Bleeding Cool's Dan Wickline praising the episode, saying "the show itself is enjoyable because of the great dialogue and flawless delivery from its lead" and "This version of Lucifer refuses to take almost anything seriously and the show is better for it."[42] Max Nicholson of IGN rated the pilot episode a 6.9/10, praising Tom Ellis's performance as Lucifer and the lighthearted tone of the show, but criticizing the show for essentially being another crime procedural show.[43]
The first season received mixed reviews. The review aggregator website Rotten Tomatoes gave it a 50% approval rating based on 36 reviews, with an average rating of 5.24/10. The site's critical consensus reads, "Lucifer's got sex appeal, but the show's hackneyed cop procedural format undermines a potentially entertaining premise."[44]Metacritic, which uses a weighted average, assigned a score of 49 out of 100, based 22 critics, indicating "mixed or average reviews".[45]
Critics were more generous of the second season. It holds a 100% approval rating on Rotten Tomatoes based on five reviews, with an average score of 7.75 out of 10.[46] Several critics praised the second season for its atmosphere and Tom Ellis' performance as Lucifer Morningstar. Ed Power of the Telegraph gave the season 2 premiere a 4/5 stating that "It is entirely beguiled by its own preposterousness".[47] Bernard Boo of We Got This Covered gave the premiere 3.5/5 stars saying "Lucifer's second season gets off to a nice start, building on the show's strengths while retaining some of the weaknesses. It remains an unapologetically sordid, demonically fun hour of TV".[48] LaToya Ferguson of the AV Club gave it a B, calling the episode funny with "genuinely funny moments to come from" and saying that the premiere "starts the season off on a good note". She praised Tom Ellis' performance calling it "pitch perfect".[49]
Awards and nominations
Censorship campaign
On May 28, 2015, the American Family Association (AFA) website One Million Moms launched a petition to prevent the show's airing.[52] The petition says the new series "will glorify Satan as a caring, likable person in human flesh."[53] It posted the petition on that date and 31,312 had signed the petition by the series' premiere date.[54] The petition on the main AFA website, posted the same date, garnered 134,331 signatures by the premiere date.[55][56] In response to the petition, character creator Neil Gaiman commented on his Tumblr page: "Ah. It seems like only yesterday (but it was 1991) that the "Concerned Mothers of America" announced that they were boycotting The Sandman because it contained lesbian, gay, bi-sexual and trans characters. It was Wanda that upset them most: the idea of a trans-woman in a comic book... They told us they were organizing a boycott of The Sandman, which they would only stop if we wrote to the American Family Association and promised to reform. I wonder if they noticed it didn't work last time, either..."[57] Fox renewed the series in April 2016 for a second season.[58]
See also
References
External links
This page was last edited on 13 June 2017, at 07:18.
This text is based on the Wikipedia article Lucifer (TV series): https://en.wikipedia.org/wiki/Lucifer_(TV_series) which is released under the Creative Commons Attribution-ShareAlike 3.0 Unported License available online at: http://creativecommons.org/licenses/by-sa/3.0/legalcode List of authors: https://tools.wmflabs.org/xtools/wikihistory/wh.php?page_title=Lucifer_(TV_series)Contents
Police Procedural
The police procedural, or police crime drama, is a subgenre of detective fiction that attempts to convincingly depict the activities of a police force as they investigate crimes. Although traditional detective novels usually concentrate on a single crime, police procedurals frequently depict investigations into several unrelated crimes in a single story. Traditional mysteries usually adhere to the convention of having the criminal's identity concealed until the climax (the so-called whodunit), whereas in police procedurals, the perpetrator's identity is often known to the audience from the outset (the inverted detective story). Police procedurals depict a number of police-related topics such as forensics, autopsies, the gathering of evidence, the use of search warrants, and interrogation.
Early history
The roots of the police procedural have been traced to at least the mid-1880s. Wilkie Collins's novel The Moonstone (1868), a tale of a Scotland Yard detective investigating the theft of a valuable diamond, has been described as perhaps the earliest clear example of the genre.[1]
However, Lawrence Treat's 1945 novel V as in Victim is often cited, by Anthony Boucher (mystery critic for the New York Times Book Review) among others, as perhaps the first true police procedural. Another early example is Hillary Waugh's Last Seen Wearing ..., 1952. Even earlier examples from the 20th Century, predating Treat, include the novels Vultures in the Dark, 1925, and The Borrowed Shield, 1925, by Richard Enright, retired New York City Police Commissioner, Harness Bull, 1937, and Homicide, 1937, by former Southern California police officer Leslie T. White, P.C. Richardson's First Case, 1933, by Sir Basil Thomson, former Assistant Commissioner of Scotland Yard, and the short story collection Policeman's Lot, 1933, by former Buckinghamshire High Sheriff and Justice of the Peace Henry Wade.
The procedural became more prominent after World War II, and, while the contributions of novelists like Treat were significant, a large part of the impetus for the post-war development of the procedural as a distinct subgenre of the mystery was due, not to prose fiction, but to the popularity of a number of American films which dramatized and fictionalized actual crimes. Dubbed " semidocumentary films" by movie critics, these motion pictures, often filmed on location, with the cooperation of the law enforcement agencies involved in the actual case, made a point of authentically depicting police work. Examples include The Naked City (1948), The Street with No Name (1948), T-Men (1947), He Walked by Night (1948), and Border Incident (1949).
Films from other countries soon began following the semidocumentary trend. In France, there was Quai des orfevres (1947), released in the United States as Jenny Lamour. In Japanese cinema, there was Akira Kurosawa's 1949 film Stray Dog, a serious police procedural film noir that was also a precursor to the buddy cop film genre.[2] In the UK, there were films such as The Blue Lamp (1950) and The Long Arm (1956) set in London and depicting the Metropolitan Police.
One semidocumentary, He Walked By Night (1948), released by Eagle-Lion Films, featured a young radio actor named Jack Webb in a supporting role. The success of the film, along with a suggestion from LAPD Detective Sergeant Marty Wynn, the film's technical advisor, gave Webb an idea for a radio drama that depicted police work in a similarly semidocumentary manner. The resulting series, Dragnet, which debuted on radio in 1949 and made the transition to television in 1951, has been called "the most famous procedural of all time" by mystery novelists William L. DeAndrea, Katherine V. Forrest and Max Allan Collins.
The same year that Dragnet debuted on radio, Pulitzer Prize-winning playwright Sidney Kingsley's stage play Detective Story opened on Broadway. This frank, carefully researched dramatization of a typical day in an NYPDprecinct detective squad became another benchmark in the development of the police procedural.
Over the next few years, the number of novelists who picked up on the procedural trend grew to include writers like Ben Benson, who wrote carefully researched novels about the Massachusetts State Police, retired police officer Maurice Procter, who wrote a series about North England cop Harry Martineau, and Jonathan Craig, who wrote short stories and novels about New York City police officers. Police novels by writers who would come to virtually define the form, like Hillary Waugh, Ed McBain, and John Creasey started to appear regularly.
In 1956, in his regular New York Times Book Review column, mystery critic Anthony Boucher, noting the growing popularity of crime fiction in which the main emphasis was the realistic depiction of police work, suggested that such stories constituted a distinct subgenre of the mystery, and, crediting the success of Dragnet for the rise of this new form, coined the phrase "police procedural" to describe it.[citation needed]
Written stories
Ed McBain
Ed McBain, the pseudonym of Evan Hunter, wrote dozens of novels in the 87th Precinct series beginning with Cop Hater, published in 1956. Hunter continued to write 87th Precinct novels almost until his death in 2005. Although these novels focus primarily on Detective Steve Carella, they encompass the work of many officers working alone and in teams, and Carella is not always present in any individual book.
As if to illustrate the universality of the police procedural, many of McBain's 87th Precinct novels, despite their being set in a slightly fictionalized New York City, have been filmed in settings outside New York, even outside the US. Akira Kurosawa's 1963 film, High and Low, based on McBain's King's Ransom (1959), is set in Tokyo. Without Apparent Motive (1972), set on the French Riviera, is based on McBain's Ten Plus One (1963). Claude Chabrol's Les Liens de Sang (1978), based on Blood Relatives (1974), is set in Montreal. Even Fuzz (1972), based on the 1968 novel, though set in the US, moves the action to Boston.
John Creasey/J. J. Marric
Perhaps ranking just behind McBain in importance to the development of the procedural as a distinct mystery subgenre is John Creasey, a prolific writer of many different kinds of crime fiction, from espionage to criminal protagonist. He was inspired to write a more realistic crime novel when his neighbor, a retired Scotland Yard detective, challenged Creasey to "write about us as we are." The result was Inspector West Takes Charge, 1940, the first of more than forty novels to feature Roger West of the London Metropolitan Police. The West novels were, for the era, an unusually realistic look at Scotland Yard operations, but the plots were often wildly melodramatic, and, to get around thorny legal problems, Creasey gave West an "amateur detective" friend who was able to perform the extra-procedural acts that West, as a policeman, could not.
In the mid-1950s, inspired by the success of television's Dragnet and a similar British TV series, Fabian of the Yard, Creasey decided to try a more down-to-earth series of cop stories. Adopting the pseudonym "J.J. Marric", he wrote Gideon's Day, 1955, in which George Gideon, a high-ranking detective at Scotland Yard, spends a busy day supervising his subordinates' investigations into several unrelated crimes. This novel was the first in a series of more than twenty books which brought Creasey his best critical notices. One entry, Gideon's Fire, 1961, won an Edgar Award from the Mystery Writers of America for Best Mystery Novel. The Gideon series, more than any other source, helped establish the common procedural plot structure of threading several autonomous story lines through a single novel.
Sjöwall and Wahlöö
Maj Sjöwall and Per Wahlöö planned and wrote the Martin Beck police procedural series of ten books between the 1960s and 1970s, set in Sweden. The series is particularly renowned for its extensive character development throughout the series.[3] Beck himself is gradually promoted from detective in a newly nationalised Swedish police force to ChiefInspector of the National Murder Squad, and the realistic depiction, as well as criticism of the Swedish welfare state at the time whilst the tedium of the police procedural continues in the background, is something still widely used today, with authors such as Jo Nesbø and Stieg Larsson.[4] The books gave rise to the Swedish noir scene, and The Laughing Policeman earned a "Best Novel" Edgar Award from the Mystery Writers of America in 1971. The books were translated from Swedish into 35 different languages, and have sold roughly ten million copies. Sjöwall and Wahlöö used black humour extensively in the series,[5] and it is widely recognised as one of the finest police procedural series.
Elizabeth Linington/Dell Shannon/Lesley Egan
A prolific author of police procedurals, whose work has fallen out of fashion in the years since her death, is Elizabeth Linington writing under her own name, as well as "Dell Shannon" and "Lesley Egan." Linington reserved her Dell Shannon pseudonym primarily for procedurals featuring LAPD Central HomicideLieutenant Luis Mendoza (1960–86). Under her own name she wrote about Sergeant Ivor Maddox of LAPD's North Hollywood Station, and as Lesley Egan she wrote about suburban cop Vic Varallo. These novels are often considered severely flawed, partly due to the author's far-right political viewpoint (she was a proud member of the John Birch Society), but primarily because Miss Linington's books, notwithstanding the frequent comments she made about the depth of her research, were all seriously deficient in the single element most identified with the police procedural, technical accuracy. However, they have a certain charm in their depiction of a kinder, gentler California, where the police were always "good guys" who solved all the crimes and respected the citizenry.
Georges Simenon
It has been suggested[by whom?] that the Inspector Maigret novels of Georges Simenon aren't really procedurals because of their strong focus on the lead character, but the novels have always included subordinate members of his staff as supporting characters. More importantly, Simenon, who had been a journalist covering police investigations before creating Maigret, was giving an accurate depiction, or at least the appearance of an accurate depiction, of law enforcement in Paris. Further, Simenon's influence on later European procedural writers, like Sweden's Maj Sjöwall and Per Wahlöö, or Baantjer, is obvious.
Joseph Wambaugh
Though not the first police officer to write procedurals, Joseph Wambaugh's success has caused him to become the exemplar of cops who turn their professional experiences into fiction. The son of a Pittsburgh, Pennsylvania, policeman, Wambaugh joined the Los Angeles Police Department after a stint of military duty. In 1970, his first novel, The New Centurions, was published. This followed three police officers through their training in the Academy, their first few years on the street, culminating in the Watts riots of 1965. It was followed by such novels as The Blue Knight, 1971, The Choirboys, 1975, Hollywood Station, 2006, and acclaimed non-fiction books like The Onion Field, 1973, Lines and Shadows, 1984, and Fire Lover, 2002. Wambaugh has said that his main purpose is less to show how cops work on the job, than how the job works on cops.
Tony Hillerman
Tony Hillerman, the author of 17 novels involving Jim Chee and Joe Leaphorn, wrote procedurals in which the procedures were those of the Navajo Tribal Police.
Detective novel writers
It is difficult to disentangle the early roots of the procedural from its forebear, the traditional detective novel, which often featured a police officer as protagonist. By and large, the better known novelists such as Ngaio Marsh produced work that falls more squarely into the province of the traditional or "cozy" detective novel. Nevertheless, some of the work of authors less well known today, like Freeman Wills Crofts's novels about Inspector French or some of the work of the prolific team of G.D.H. and Margaret Cole, might be considered as the antecedents of today's police procedural. British mystery novelist and critic Julian Symons, in his 1972 history of crime fiction, Bloody Murder, labeled these proto-procedurals "humdrums," because of their emphasis on the plodding nature of the investigators.
