Fired Up (Thurs. (10), 9:30-10 p.m., NBC) Filmed by Grammnet Prods. in association with Paramount Pictures. Executive producers, Rudy Hornish, Kelsey Grammer, Victor Fresco; co-executive producers/creators, Arleen Sorkin, Paul Slansky; producer, Tim Berry; writers, Sorkin, Slansky, Fresco; story, Sorkin, Slansky; director, James Burrows; camera, Gregg Heschong; editor, Peter Chakos; art direction, Wendell Johnson; sound, Dana McClure; music, Mark Mothersbaugh; casting, Ellie Kanner. Cast: Sharon Lawrence, Leah Remini, Mark Feurerstein, Jonathan Banks, Robert Costanzo, Francesca P. Roberts. Good cast chemistry and top-notch behind-the-scenes talent can’t quite ignite “Fired Up,” a midseason replacement from Kelsey Grammer’s production company. Excellent timeslot means NBC has high hopes for the show, and if star Sharon Lawrence can settle into her egomaniacal promotions-exec character, and the writers can give “Up” a more wicked, edgier comic spin, show might attract and keep a hip aud. Lawrence is a high-powered, pampered and self-centered PR exec whose down-to-earth assistant, the dryly witty Leah Remini, is the power behind Lawrence’s throne. When both are fired, through a series of semi-believable contrivances the pair end up partnering in a promotions agency. Since only the pilot was available for review , it’s hard to see in which direction the show will go, although promos on NBC highlight some dubious broad comic moments. Flashes of sentiment appear, but those flashes drag down the imperious Lawrence and trip up any type of interesting — or wickedly fun — character development. And although the pilot offers efficient scripting and a couple of pretty good lines, TV vets Arleen Sorkin, Paul Slansky and Victor Fresco are too busy setting up the premise to get too funny. Show’s pace is oddly lethargic, as though director James Burrows had his mind elsewhere. Lawrence, a terrific dramatic actress, also shows that she can do comedy well, although she hasn’t quite settled into her character — a combination of any woman Holland Taylor plays, plus a dollop of “Ab Fab’s” Patsy and Edina — and substitutes strident line readings for imperious behavior. Remini, though, delivers her lines with dead-on timing, and seems comfortable in her second-banana role. Production values are pro, but this is another one of those shows that features a minimum-wage character in a huge, architecturally interesting loft in Manhattan. Thankfully, there’s no sign of a wacky red-headed best friend/ neighbor.