Remember Leap Year?

In honor of Feb. 29, and just for fun, let's flash back for a moment to the first horrible movie of the '10s. Take it away, Michelle Orange: "It's hard to care about the shabby treatment of the Irish, the Italian, or Amy Adams's poor, spindly ankles when one's own honor is called into question by the film's specious, finger-wagging terms. Every time an Irishman fell off of his chair or dispensed a tediously quaint piece of folklore, every time the decrepitude of Ireland's public works was asserted with a wink, and every time Amy Adams unloaded a shrill expectation that was met with abject humiliation, I felt a little more sorry for myself. Is this really what you think of me, Mr. Tucker? Is this what you think we all deserve? [...] This one's a heart-sinker, fromage of the smelliest order; I am mystified by its existence." Happy leap day!

Dwts Uncovers Season 14 Cast

Smash Ok, large hugs for you if you are still hanging inside with Smash. Following a stellar pilot, a powerful second episode along with a strangely uneven visit to a Area karaoke bar a week ago, NBC's splashy rankings-deterrent returned to being fabulous using the kick-from rehearsals for Marilyn: The Musical last evening. A lot of music, a not-hateful guest place from one of these there Jonas Siblings, an indication concerning the falling-out between former buds Tom and Derek...really, the only real factor missing would be a good Eileen martini-toss and also the violent, sudden and fatal run-among a runaway taxi and awful Ellis that people continue to be praying for. However the real high note would be a much-needed emotional transformation for Katharine McPhee's Karen. Around we like her to be a Broadway newbie having a heart of gold (along with a voice of awesome), if she's gonna have the ability to go foot to foot using the extreme-featured Ivy Lynn, Miss Golden Sprout's gonna require a thicker skin plus some NY-style sass. Which is what she began to build up last evening, because of her three new chorus-klatch besties and what's quickly becoming probably the most overused Adele song. Plus, McPhee is simply flat-out fantastic. Our only wish is the fact that more and more people understood this. With audiences running the show faster compared to crowd inside a burning theatre, they are passing up on a star turn that warrants to appear and heard. Would you agree? Is Smash must still-see for you personally? Sign up for TV Guide Magazine now!

Erland Josephson, Bergman Star, Dead at 88

I was just speaking about Moments From the Marriage, too: The Swedish actor-author-director Erland Josephson has died carrying out a protracted fight with Parkinson's Disease. He was 88. Josephson found prominence like a friend, theater friend and eventual ensemble player for that great Ingmar Bergman, finally entering the key-guy ranks within the filmmaker's seminal relationship epic Moments before eventually diversifying with roles in films by Peter Greenaway (Prospero's Books), Philip Kaufman (The Intolerable Light to be) and, most indelibly, Andrei Tarkovsky, who cast Josephson in the 1986 masterpiece The Sacrifice. Very sad. R.I.P. [NYT]

Spartacus Alum Jai Courtney Lands Coveted Die Hard Lead

EXCLUSIVE: An extended search is finished, and twentieth century Fox has set Jai Courtney to experience the boy of John McClane (Bruce Willis) inside a Good Day To Die Hard, the 5th installment from the Die Hard franchise. John Moore will direct a movie that's been dated for Feb 14, 2013 release. Alex Youthful is creating. This can be a large surprise, because the studio, Moore and Willis met a lot of rising youthful stars, simply to expand the search several occasions. Courtney hadn’t been in any one of individuals short lists which i’d heard about, however i accept is as true came lower to Courtney and Liam Hemsworth, the Hunger Games star. Courtney is possibly most widely known for enjoying Varro within the Starz series Spartacus: Bloodstream and Sand. He was the close confidante of Spartacus until these were forced right into a fight towards the dying. Courtney most lately continues to be starring opposite Tom Cruise in Vital’s One Shot, the Christopher McQuarrie-directed adaptation from the Lee Child bestseller. He's also mounted on star opposite Aaron Eckhart in I, Frankenstein. He's repped by UTA and also the Collective. A Great Day to Die Hard puts McClane with an worldwide stage, a classic New york city seafood from water in Moscow, and introduces his estranged boy Jack (Jai Courtney). An apple which has not fallen not even close to the tree, Jack might even become more of the hardass than his father. Despite their variations, they have to interact to help keep one another alive and the planet safe for democracy. This positions Courtney to carry on later on payments from the franchise with Willis, who last reprised his franchise character in 2007. DEVELOPING…

U.S. deal for '28 Hotel Rooms'

'28 Hotel Rooms'Gotham-based distrib Oscilloscope Laboratories has picked up U.S. rights to "28 Hotel Rooms," which bowed earlier this year at the Sundance Film Festival. Pic is targeted for a theatrical run later this year prior to a VOD release. Writer-helmer Matt Ross' film centers on a couple's increasingly intense romance, starting with a one-night stand that develops into something deeper. Chris Messina and Marin Ireland star. Closed in Berlin, the distribution pact was negotiated by David Fenkel and David Laub of Oscilloscope with Kevin Iwashina, Christine D'Souza (both of Preferred Content) and Elsa Ramo. Lynette Howell, Louise Runge and Samantha Housman produce, with Messina, Andrew Meieran, Stefan Nowicki, Joey Carey and Alex Sagalchik on board as exec producers. Elle Driver is currently hawking rights in international territories at the European Film Market. Contact Gordon Cox at gordon.cox@variety.com

Rob Letterman Knows The Paranomalists

More found footage...When you hear that SyFy Films has made a deal for a new project, you'd be forgiving for having your brain head straight towards Monster Squid Vs. Giant Kittenbot territory. But it's actually just a label for the company to work with Universal to release low-budget genre pics that don't always have to feature massive creatures fighting while C-list celebrities spout dodgy dialogue. Which is good news for Rob Letterman and The Paranormalists.Letterman, who made DreamWorks 'toon Monsters Vs. Aliens and (whisper) the shonkyGulliver's Travels, is set to write and direct the film, which will apply the well-established found footage genre to the story of a group entering a haunted house intending to debunk the locals' claims of phantoms. Naturally, because we'd all be disappointed otherwise, things don't go quite according to plan. We're guessing either the place ends up truly haunted or it's Old Man Withers, the janitor, who would've gotten away with it if it wasn't for those meddling kids.The plan is to make this one a little quirkier and funnier than, say, your usualParanormal Activity clones. There's no word on when Letterman will get started on the film.

'Idol' an easy Wednesday winner

Fox controlled Wednesday's primetime ratings race with a two-hour episode that contributed to some series lows on the other networks. Meanwhile, though down a bit more again this year, CBS opened the 24th edition of ''Survivor'' to good numbers.According to preliminary national estimates, "American Idol" averaged a 6.0/16 in 18-49 and 18.6 million viewers overall from 8 to 10 p.m., on par with last week's hourlong episode and easily the night's No. 1 program in all categories. In adults 18-49, "Idol" won its opening hour over "Survivor" by 7 shares, topped "Modern Family" by 5 shares at 9 o'clock and then surged to a 9-share advantage at 9:30 when CBS' "Criminal Minds" was runner-up. If "Idol" edges up to a 6.1 in the nationals, it will edge out the Monday delivery of NBC's "The Voice" to rank as television's No. 1 show among young adults for the week.CBS kicked off ''Survivor: One World'' with a 3.0/8 in 18-49 and 10.7 million viewers overall, down from last winter's premiere (3.2 in the demo) but still a solid second-place finisher to ''Idol'' in the 8 o'clock hour. It was followed by ''Criminal Minds'' at a season low (3.0/7 in 18-49, 11.9 million viewers overall), but ''CSI'' edged up week to week to win at 10 (2.7/7 in 18-49, 11.1 million viewers overall) as auds tuned in to see the premiere of Elizabeth Shue as a regular cast member. For the night, CBS ran second in 18-49, 25-54 and total viewers.At ABC, ''The Middle'' (2.5/7 in 18-49, 8.1 million viewers overall) and ''Suburgatory'' (2.4/6 in 18-49, 6.9 million viewers overall) were down a bit week to week and at season-low levels for a regular original. Similarly at the shallow end of the pool were ''Modern Family'' (4.7/12 in 18-49, 11.2 million viewers overall) and ''Happy Endings'' (2.5/6 in 18-49, 5.8 million viewers overall), which had to do battle with ''American Idol'' this week and thus dipped more week to week than the net's opening-hour comedies. And at 10, ''Revenge,'' despite a key episode in the soap's plotline, edged down slightly week to week (2.4/6 in 18-49, 7.6 million viewers overall), placing second in most categories and first among the broadcasters in adults 18-34 (1.9/6).The Alphabet was the only major network to post gains vs. its performance on the comparable night a year ago. NBC's ''Whitney'' (1.6/5 in 18-49, 4.5 million viewers overall) ticked up week to week, drawing its largest overall audience in five weeks, but ''Are You There, Chelsea'' went a bit in the other direction (1.4/4 in 18-4, 3.5 million viewers overall). Also down week to week were 9 p.m. newsmag ''Rock Center'' (0.8/2 in 18-49, 3.0 million viewers overall) and 10 p.m. drama ''Law and Order: SVU'' (1.7/4 in 18-49, 5.8 million viewers overall).CW's ''One Tree Hill'' held steady (0.7/2 in 18-49, 1.4 million viewers overall) while ''Remodeled'' dipped week to week (0.2/1 in 18-49, 0.5 million viewers overall) , but in good news, it really can't dip much farther.Preliminary 18-49 averages for the night: Fox, 6.0/16; CBS, 2.9/8; ABC, 2.8/7; Univision, 1.4/4; NBC, 1.3/3; CW, 0.5/1.In total viewers: Fox, 18.6 million; CBS, 11.2 million; ABC, 7.9 million; NBC, 4.3 million; Univision, 3.4 million; CW, 0.9 million. Contact Rick Kissell at rick.kissell@variety.com

Foreign exchange guru talks Avengers opening sequence

It takes lots of people to make certain a film round the scale in the Avengers looks much like it'll, and SFX specialists Hydraulx will be the team charged with making sure Iron Guy and chums have been in their most visually dazzling. Effects supervisor Chris Wells has already established break from his schedule to lower an update regarding the movie's opening sequence, as well as in the sounds from this, it'll be epic..."We're doing what essentially boils lower for the prelude in the movie," he mentioned. "There's an entire intro that happens before beginning even acquiring the overall game game titles which is pretty large. There's nothing small in this particular movie." "I visited a screening using the temporary visual effects plus it was pretty fleshed out," continues Wells. "It's a extended movie however it doesn't appear enjoy it. Of all of the comic movies and franchises I've done, this really is really the correct one I've come across up to now."To put that into context, Wells has been doing Captain America, The Incredible Hulk, Fantastic Four, Eco-friendly Lantern as well as the X-Males series. The man knows his superhero movies."I promise you it won't be boring," according to him. "This factor went so large that Marvel are dwarfing their other franchises. For individuals who enjoy the comics and haven't really loved the means by that your couple of from the figures were treated in other movies, In my opinion they could be more appeased by that certain." "Specially the Hulk," he continues, enticingly. "They permit the Hulk be Hulk which is excellent. He functions a great deal a lot more like the comic Hulk. It's fun. My finest challenge with every single superhero movie is I don't think the payback ever matches the develop. That certain certainly does."The Avengers opens inside the Uk on 27 April 2012.

Elizabeth Gabler reups at Fox

GablerFox 2000 Pictures prexy Elizabeth Gabler has restored her deal with Fox. Additonally, Fox 2000 has hired Jessica Goodman as professional V . p . of production and upped Marisa Paiva from creative professional to director of development.Among the movies Gabler has overseen at Fox 2000 are literary adaptations "The Demon Wears Prada," "Marley & Me," "Water For Tigers" and "Diary from the Wimpy Kid," together with the arrival films "Information on Pi" from Ang Lee, "Guernsey" from Kenneth Branagh and follow-up "Percy Jackson & The Olympians: The Sea of Monsters," furthermore to "Walk the roadInch as well as the billion-dollar grossing "Alvin as well as the Chipmunks" franchise. Her career at Fox includes oversight in the hit photos "Cast Away," "Waiting to Exhale" and "Mrs. Doubtfire."Tom Rothman and Jim Gianopulos pointed out: "In the last twelve years, Elizabeth's savvy, vision and taste has already established Fox 2000 Pictures to some success and accomplishment that exceeded our already high anticipation. We're able to 't be more comfortable they is constantly on the advice the division inside the years ahead," mentioned Fox Shot Entertainment chairmen Jim Gianopulos and Tom Rothman in the joint statement.Goodman joins Fox 2000 from Warner Bros., where she's labored since 1998, most recently as professional V . p . of production. At WB, Goodman was responsible for controlling projects for instance "Contagion," "I am Legend," "Michael Clayton," "The Informant" as well as the "Oceans" trilogy."It's with tremendous excitement that individuals welcome Jessica to 20th Century Fox also to they at Fox 2000 Pictures," mentioned Gabler. "She's a substantial informative experience and shares our passion and respect for wonderful material and filmmakers. Her fresh perspective and desire for her work will probably be inspiring to many of us.InchPaiva, who was simply the creative executive on "Water For Tigers," it's presently working "Information on Pi." Contact Rob Sneider at rob.sneider@variety.com

Mirror Mirror gets a new TV spot

It's fair to say that up until this point, we've been fairly disappointed by the trailers for Tarsem Singh's Snow White story, Mirror Mirror. However, a new TV spot has now been released and... well, we feel pretty much the same, to be honest.The new spot places the spotlight firmly on Julia Roberts' Queen, making the point that she "radiates crazy" before going on to describe her as both "wicked" and "evil". Quite the rep she's got there!Take a look at the new teaser below... Those wise-cracking dwarves are on hand again with another batch of witless quips ("Do you think she has a boyfriend?") whilst Armie Hammer still looks a bit glazed as Prince Andrew (no, not that one).That said, it's still an improvement on the teeth-grindingly awful first effort, so perhaps we shouldn't be quite so scathing. Here's hoping there are some top notch gags in reserve for when the film opens on 2 April 2012.

'Gossip Girl' Cast and Producers Reflect on the Road to 100 Episodes

When the CW launched in 2006, both its name and mission were something of a mystery. Formed from the ashes of the defunct UPN and The WB networks, the joint venture of CBS Corp. and Warner Bros. was desperately seeking programming that would not only lure younger viewers but also create an identity for its brand. "Gossip Girl" became that show. Based on Cecily von Ziegesar's young-adult books, the show centered on a circle of uber-privileged, impossibly attractive prep school students on Manhattan's Upper East Side whose world revolves around sex, drugs, high fashion and, naturally, text-messaging. What the series long has lacked in traditional Nielsen ratings (it's averaging only 1.7 million viewers this season) it has more than made up for in pop-culture cachet. As it readies for its 100th episode (Jan. 30) in what is most likely its penultimate season, "Gossip Girl" can lay claim to nearly 11 million Facebook fans, 197 international editions and an enviable median viewer age of 32. Along the way, a series that spoke to the digital generation has raised eyebrows, created stars and defined a network.A SHOW IS BORN Leslie Morgenstein, Alloy Entertainment CEO: We had taken a couple of cracks at developing the "Gossip Girl" books elsewhere. There was a script at Fox, and then we took a shot at a feature. The rights came back to us a couple months before the CW merger. We spent some time talking about how both Fox and The WB really broke through with sexy teen soaps: 90210 on Fox, "Dawson's Creek" on The WB. It seemed to us like "Gossip Girl" had the potential to be that for The CW. We talked to our studio partners, who got the books to [then-CW entertainment chief] Dawn Ostroff.Peter Roth, Warner Bros. TV President: In 2007, The CW was in its infancy and looking for a signature series. These books spoke magnificently well to the possibilities of the network. As far as a producing team, Josh [Schwartz] and Stephanie [Savage] were the only choice. Coming off of "The O.C.," I've always thought of Josh as the pied piper of this generation. Dawn Ostroff, former CW Entertainment Chief: We knew we wanted to go after 18- to 34-year-old women and do scripted content that was going to be bold. "Gossip Girl" fit so many of the characteristics that we were looking for. Josh Schwartz, Co-Creator: Just as The O.C. was ending, Alloy sent me the first "Gossip Girl" book. I thought it was interesting, so I sent it to Stephanie. I said, "If you like this, we should do it."Rick Haskins, the CW Executive vp Marketing and Digital Programs: It was fresh and fun and really captured how people talk about each other. It spoke for the first time to a digital audience in a very honest way. The premise of "Gossip Girl" -- a blogger with her own reporting website -- was very much a precursor to the reign of Facebook. Stephanie Savage, co-creator: We pitched the network our take of how we would do this show.Schwartz: It was a super-elaborate pitch of this NY fairy tale -- very archetypal characters: a princess, a knight in shining armor. I remember when it was all over, Dawn said: "You guys know we already bought this, right? You didn't really need to do that much."Ostroff: It was very easy to see their vision. There were so few notes. There's just no way we wouldn't have made this. When we saw their pitch, we thought: "This is it! This is everything we want!"SEEKING STARDOM Schwartz: When we first started casting, we read a lot of blogs that said, "You need to cast Blake Lively as Serena van der Woodsen." We were like, "Isn't that the girl from the [Sisterhood of the] Traveling Pants movie?" After we convinced her to do television, the network was concerned that she was "too California." So we dressed her up in boarding school attire -- clothes out of Stephanie's closet -- and straightened her hair to prove that she could look NY.Savage: I had worked with Penn Badgley [on WB's "The Mountain"] and had told him several times to stop doing WB pilots. Then I had to go back and say, "OK, one more!" Schwartz: Ed Westwick came in and blew us away. He originally read for Nate, but Stephanie and I looked at each other and wrote, "Chuck?" on a piece of paper. Once we cast him, he had to figure out his green card. We got several calls that he actually wasn't going to get it in time.Savage: The network was like: "You have to have a backup choice. We can't delay production. It would cost hundreds of thousands of dollars."Schwartz: But we refused to make the pilot if Ed wasn't Chuck Bass. Chace Crawford was very new and probably read 30 times.Chace Crawford, actor: I went back and forth to countless auditions because [CBS president and CEO] Les Moonves needed to sign off on me. They stuck me in this empty room with a hundred vacant chairs around a conference table. I sat down and this girl swiveled around in her chair, and it was Leighton [Meester].Schwartz: Leighton was a blonde when she came in to read, but Blake was the blonde, so we asked her to color her hair. A risky move on her part in the middle of pilot season, but she did a sink-rinse dye job to audition as a brunette.Leighton Meester, actress: I started auditioning back in December 2006. The process was really long. At the time, I wanted to move to NY, but I didn't have a reason or any money. So when my agent sent me the "Gossip Girl" script, I thought Blair was perfect for me. Originally the script had my character suffering from an eating disorder, but they ended up taking it out.Schwartz: Taylor Momsen [who played Jenny Humphrey and has since left the series] was an innocent 13-year-old when she came in. She played us the sweetest, poppiest Gwen Stefani music. (Laughs.) As for Matthew Settle and Kelly Rutherford, we really had to fight to get more money to pay for them. It was important to have adults to anchor the show.CREATING A STIR Haskins: The hardest thing about launching a new show is that people don't know the characters yet. You have to do an overall concept sell. We launched with a tagline: "You're nobody until you're talked about."Schwartz: When it premiered in September, it got a lot of buzz, but we didn't necessarily come out of the gate and pop a number. Ostroff: It was incredibly frustrating. Nielsen doesn't have a great grasp on measuring younger viewers. You couldn't go anywhere in the country without finding people obsessed with the show. Where "Gossip Girl" ranked No. 100 on the Nielsen list, it was No. 13 when you looked at the power-content ratings -- a combination of Nielsen ratings, traffic online and buzz.Schwartz: Everyone told us these shows take time.Meester: When we first started filming, people would walk by and ask, "What are you filming?" Once we aired, the whole mania started.Crawford: We were shooting on the Upper East Side one afternoon and must have been outside three all-girl schools. Within an hour, 10 girls multiplied to 300. I mean, we weren't the Beatles. Ed and I were crossing Park Avenue and had a ring of girls around us. We got stuck on the median and our make-up people had to fight them off. They were getting their hair pulled and had to throw elbows to get us through.Ostroff: I'll never forget, I had someone come in from China to talk to us because the series was the No. 1 downloaded show in China -- obviously not legally, but it had created a huge phenomenon.Schwartz: Then the writers strike hit. It was devastating and scary. Initially, we wondered whether the show would ever come back.Meester: I thought every episode was going to be the last one.Schwartz: We ended up being one of the few shows that came back that year with new episodes, but because we had been off the air for so long, The CW had to relaunch the show.Haskins: We used an outside research company and went to different markets to sit in living rooms with viewers: Chicago, Atlanta, Denver, Dallas and NY. We began to see how viewers were talking about the show. They would text each other about it, even if they were sitting on the same couch. That really was our "Aha!" moment. We realized we could flip our marketing and talk about this show the way they talked about it.OMFG Haskins: When I saw the "OMFG" ads, I knew that was it, but then I had to sell it internally. A lot of people didn't know what "OMFG" meant, so I had them call in assistants to get their reaction. The assistants would either smile or gasp. Once that happened, I had 100 percent support.Ostroff: As controversial as it may have been, the campaign set the tone for the network and the brand.Haskins: That's when "Gossip Girl" went from 60 to 120 miles per hour. We planted a very strong flag in the marketplace, and to this day we're known as the "OMFG network."Savage: We loved it. It was using the language of the show to promote the show. It felt smart and had attitude.Haskins: A lot of companies would not put "OMFG" on billboards or [run it on] certain cable stations, so we created two alternatives: for some an emoticon and for others we changed "OMFG" to "OMG."Crawford: I remember Jay Leno doing a bit where he asked an old grandma what "OMFG" meant. (Laughs.) Oh, and being shirtless on a poster with some girl.Haskins: The message got out loud and clear. We had a lot of negative things said about it. For phase two, we took negatives and turned them around. We used the "Mind-blowingly inappropriate" and "Every parent's nightmare" quotes to sell the show. The Parents Television Council gave me the nickname the "snake in the grass at The CW."Lisa Gregorian, Warner Bros. TV Chief Marketing Officer: It was provocative, but we didn't want to do it just for the sake of getting attention. The show had to back it up.Haskins: The next year we did the "WTF" campaign. We'd show provocative scenes that were coming, and then we'd cut to a card that said, "WTF?" before panning out and seeing "Watch This Fall." We were in a groove; we really understood what the brand was and, more importantly, we understood how to talk to our viewers.Savage: Like the campaign, the show is edgy, but we have a great relationship with the network's standards-and-practices people. Whenever we do anything where we feel like we might be controversial, we have a lot of conversations. When we did our threesome episode in season three, we definitely caught some flack.Meester: We're not whitewashing on this show. We're talking about issues people hold back on: drinking, drug use, sex. We're not pretending it's glamorous; we're just portraying something teenagers do.Morgenstein: I live on the Upper East Side, and the reactions shifted from moms of young teen girls being upset about the show to those same moms being fans of the show and wanting set visits. BREAKING OUT Savage: All of a sudden, people wanted to do cameos. During Lily and Bart's wedding episode, I was working with [baker] Sylvia Weinstock on the cake and thought: "Sylvia is a NY celebrity. She should come to the wedding." [Socialite] Tinsley Mortimer came to our white party, then Michael Kors, Tim Gunn and Vera Wang.Ostroff: It started a fashion craze. During the second season, there was a front-page article in The NY Times about "Gossip Girl's" fashion and how stores like Bloomingdale's couldn't keep the show's clothes on shelves. People watch the show the way they read a magazine: They want to know where to get the clothes, where to get the music and where to go in NY.Schwartz: NY really embraced us. When you're first shooting, nobody wants you there. All of a sudden, bars and restaurants were opening their doors. Our NY magazine cover was a big deal because it was a larger NY cultural magazine. The pinnacle, though, was Rolling Stone. It's really very gratifying because you believe in these actors early, but there's no evidence to suggest you're correct yet.Meester: You always want to grow and change, and the show has allowed me time off to pursue other projects and parts of the business. The biggest highlight for me is the 100th episode. It was a dream because my character wears this gorgeous Vera Wang dress. And because it took eight days to film, I wore my wedding gown way more than a typical bride would.BIDDING FAREWELL Mark Pedowitz, CW President: This is the first CW show to hit 100 episodes, and we have great pride in it. We hope that it lasts for a long, long time. Time will tell how things go.Schwartz: We're very proud of the 100th episode, but my favorite scene has to be Chuck and Blair's first moment in the back of the limo [during season one]. There's also a shot of Dan kissing Serena on a cobblestone street in the Meatpacking District -- it's moments like that when you say, "This is the show."Roth: This was defining, much the same way CSI has been defining for CBS and Lost and Desperate Housewives were defining for ABC.Gregorian: And it's resonated worldwide. It's in 197 territories and No. 1 with young adults and women on the channels they are on in Australia, New Zealand, France, Germany, Finland, Greece, Romania, Sweden and the U.K.Schwartz: You hope that these shows can serve as time capsules. Hopefully this one will be remembered for the characters, how we were ruled by gossip and technology in a way that feels true. And hopefully we're remembered for capturing NY and what it was to be young there.Savage: We have no plans to wrap things up this season. The actors' contracts expire at the end of next season, so that feels like probably an organic ending point.Roth: I certainly hope we get at least one more season. We're contracted for another one. The show has had an extraordinary impact on all of us, and I'd be thrilled to be able to appropriately say farewell after six remarkable seasons.MEET THE PARENTS: On the eve of "Gossip Girl's" 100th episode, here are the key strategists behind the CW series that shaped and defined the 6-year-old, femme-focused network.Dawn Ostroff, Former CW Entertainment Chief: The "Gossip Girl" cheerleader greenlighted the series shortly after launching The CW network in 2006.Peter Roth, Warner Bros. Television President: As a top executive at The CW's co-parent, Roth has played an instrumental role in the series' success.Josh Schwartz, Co-Creator: After making his mark as one of TV's youngest showrunners on Fox's The O.C., he was the network's first choice to develop the young-skewing series.Stephanie Savage, Co-Creator: Together with Schwartz, Savage launched production company Fake Empire, which is developing The Carrie Diaries for The CW.Leslie Morgenstein, Executive Producer: The Alloy Entertainment chief executive has overseen the young adult books on which the series is based.Joshua Safran, Executive Producer: The onetime screenplay scribe has penned 18 episodes for the teen soap series, including the 100th episode: "Father and the Bride." The Hollywood Reporter