Behind the Scenes

Another Year

by Alex on June 28, 2011

in Announcements,Daily Business,Featured Posts,My Life 101

Today marks the third anniversary of this very website. Hard to believe it’s already been another year!
In 2010, we saw a huge design update. Although no such major shift happened in the past twelve months, I myself have gone through a big geographical change: a one-way trip all the way to H-Wood.

As expected, a lot has happened since my move (most notably getting a car, an apartment, a bed and a couch).
I won’t bore you with my personal details (that’s what Twitter is for after all), but I will mention that I have recently met some amazing and talented people from a couple other blogs and the LA TV Writers Group.

In November, #TheGreyBox was born.
It was somewhat of a success at first, but then went into a form of hiatus this past Spring.
Now is as good time as any to announce that I may resurrect this TV writing chatroom from its ashes this Summer. Well, depending on the interest.
It’s up to you to tell me if you’d welcome once more this place to discuss and exchange tips/ideas/stories/anecdotes in real-time with other aspiring writers and the like (plus no 140-character limit). Tweet, “like”, share, comment about this, and perhaps enough momentum will be created so #TheGreyBox can live once more!

And as for this very blog, in Square One I discussed how I would refocus it around television, writing, and specs. Hopefully, I held that promise through the multitude of articles that have been posted here, whether the annual spec list or more recently the big six television writing fellowships (a post which will undoubtedly be updated come August, when FOX announces its new format). I myself got to write these past few months primarily a Walking Dead spec for the fellowships (I guess that partially explains the scarcity of posts).

Like last year, I will do my best to continue this commitment and upward trend in informative writing-related content.
In the coming weeks, there is probably going to be as well some Comic-Con talk. This will be my first time over there and there’s no doubt that it’s going to be a great place.

It is now time for me to raise a glass to you, dear reader and fellow writer.
I hope you also enjoyed this past year, or at the very least felt it was fruitful.
Here’s to another one. Once more, with feelings.

Write on!

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Tips and stories from around the Web, Part 5

by Alex on May 31, 2011

in Daily Business,News,TV Analysis,Writing

With the fellowship deadlines in full swing, I sadly was not able to update the site as much as I’d wanted to. However, fear not gentle reader as others have in my absence update their own. And by that, I mean it is time again to take a gander at some great articles and insightful videos from around the Web.

Let’s start off with this great New York Times article by Frank Bruni which is actually a profile on J.J. Abrams.
I highly recommend watching Abrams’ famous TED talk beforehand if you haven’t already.

On the writing side, we’ve already seen (or rather heard) a couple of Jen Grisanti’s amazing one-on-one interviews/podcasts with writing producers of several big shows.
This month, she interviewed not one but two such people with Glen Mazzara (EP of The Walking Dead) and Aaron Zelman (CP on The Killing).
Needless to write, they are very informative about both their respective writing process, careers, and the politics of the writers room.
It was especially a fascinating take in regards to The Walking Dead, which had its fair share of (ultimately unfounded) writer-related controversies a few months back.
In any case, they’re well worth the listen.

Speaking of high-powered writers (yes, I need to work on these transitions), you might have heard a documentary coming out next year about showrunners. Well, the movie trailer is out and the lineup is quite interesting.

And since television is mainly about dialogue (well, besides characters), you might be highly interested in this amazing talk by Steven Pinker entitled Language as a Window into Human Nature on “how the mind turns the finite building blocks of language into infinite meanings.“
An eye-opener to say the least.

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How to get an agent

by Alex on April 30, 2011

in Daily Business,Featured Posts,Writing

The great Jacob Michael has written an excellent article on ways to get a literary agent (among other advice). I sadly cannot link to the original, but I can do you one better and repost some (most) of it:

Steps to representation:
1) Write a really, really, really, really, really good story that has all the stuff you’d expect a good story to have in the genre and mode in which you want to write.
2) Wash. Repeat.

Now, is it that simple? Yes and no. But until you have that, any advice on how to pursue an agent (actually “pursuing an agent” isn’t exactly accurate) or whether to pursue a manager (which is sort of accurate) will be a waste of space.

So if you want to work in TV, at the bare minimum, you need:
1) An Original Pilot (2 is better)
2) A current spec of a current show

If you want to work in features, you need, at the bare minimum, 2 features in the genre you want to work in (if you want to be a horror writer, do not write a rom-com spec, write horror specs).

And then, if you have short stories or plays or some other fiction you’ve written, especially if it’s won awards of any kind, and most importantly if it’s in the same genre as your scripts, that can help your cause.

It is important to note this—managers and agents like to “define” writers. In other words, if you write in several different genres, they’re going to have a hard time “selling” you and they’ll pass on repping you. But if all your scripts are comedy, they can sell you as “an up and coming comedy writer” (and by-golly, you better be funny…both on the page and in person). Once you’re established as a writer, you can write that indie drama you’ve always wanted to write, or that big action flick…but not now. Or, you can begin your career in the indie film world where the rules are a bit more loose. But if you’re wanting to work in commercial film or in TV, write originals and specs in the genre you want to work in and do not deviate. Sorry. That’s just the way it is. (Yes, there are exceptions. There’re always exceptions. But they’re exceptions and not the standard…keep that in mind.)

[…]

Once you have the bare minimum in scripts, it’s time for real feedback. Not the feedback from your family and close friends who are going to rave about it, but the feedback from other writers who will piss and moan because you came up with a better idea than they had and executed it well…and where your script sucks, they’ll point it out.

After your scripts are in tip-top shape, the options are wide open, but the goal is the same: Get read. Your scripts may be better suited for a contest, so go that route. If not, maybe try query letters (they do work…see below). And, you can let people you know and have a relationship with who may know someone what your goal is. See if they’d be willing to read a script of yours and offer feedback. Or do the networking thing and when someone asks to read something of yours, give it to them.

NOTE: Do not go to a networking event and try to hand out your script. Bad idea. Go there to meet people. If they ask what you do, “I’m a writer and I’m looking for representation.” What do you write? “I’ve really been into unicorns and leprechauns ever since I was little because I was horrified by them, so I have some horror specs, one of which placed as a finalist in the Hobokon International Screenplay Competition called LEPRECHAUN ZOMBIES.” Oh, really? I know someone who might want to read that. Can I get a copy? “Of course.”

Now, those conversations won’t always go that quickly and sometimes they take time…but be patient. Be assertive and let people know what you do and your goals, but don’t assume they are the ones to help you. If you are pushy, they run. If they’re a writer, ask to read their stuff. Be more willing to help others than help yourself…it does come back around. Plus it makes you a better writer as you are now forced to critique another script…it’ll help you articulate what isn’t working in your own scripts.

Other options: TV writer programs, diversity programs, and even some internships. There are about a gazillion ways to get your script read…but back to above, if the script ain’t good, the method of your choosing won’t matter.

Also, re: TV—managers and agents are much more willing to read original pilots right now than specs. If they like your pilot, they’ll ask for a spec, but they’ve already read 14,932 specs of HOUSE, so don’t try to send that first.

A note about query letters—production and management companies are rarely going to say “no” to a query that expresses an idea that is interesting to them and fits within their production guidelines. Now, some will, but generally, these companies stay in business because they have the next, best, newest thing. Enter: You. The writer. They need you. They won’t come out and say it like that, but they do. So if you don’t know anyone, do some research on projects similar to your original ideas (TV or film) and send query letters to those companies. If you get all “no” responses, tweak your query. If you get “yes,” send your script. If they end up not liking it, invite them to offer why they didn’t (most won’t say, but a few will). If you need to fix your script. Do it. Then send out another batch of queries.

Re: Agents—They are there to make money. So if you don’t look like an ATM, you’re not going to get much traction with an agent. Typically, agents only sign with writers who have sold or who are about to sell something. There are exceptions, but they’re rare. You might win a contest, which could get their attention. You might know someone with clout who gives it to an agent, which could get their attention. But generally, you have to have “heat” on your script. So if you’re sending it to several production companies and they’re big names and want to read it, feel free to query an agency related to the production company. It does work. Does it work for everyone? No. Like I said, there’s about a bazillion ways in…you just have to find the right one, and honestly, the right way depends on your personality and on the type of script you’re trying to sell.

But it starts with a good script. If you don’t have that, you’re wasting your time.

Hopefully that helps. Happy writing.
– Jacob

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TV Writing Fellowships: The Big Six

by Alex on April 29, 2011

in Daily Business,Featured Posts,Writing

Post image for TV Writing Fellowships: The Big Six

We all know that staffing season is right around the corner, but a great way to learn more about the TV writing industry while simultaneously get a major push in “breaking into it” is by getting selected into one of the main TV writing fellowships out there.

Although several lists of them have been posted here and there, I didn’t find an exhaustive one listing both the current application requirements for 2011, as well as the correct submission period (plus other info like eligibility, number of fellows selected, etc.).
So here is one.

For future reference, I have also included the two fellowships whose deadlines have already past.
Note that the listed application requirements exclude the obvious signed agreements/application forms that must always be completed. In addition, I did not include the physical details of the submission process such as number of copies of scripts required, notarization of application, shipping address, etc. (all of it can be found on the official page of the programs).

CBS Writers Mentoring Program CBS Mentoring Program
Application Webpage
The focus of this six month program is on opening doors: providing opportunities to build relationships with network executives and show runners; to support new and emerging writers in their efforts to improve their craft; and to develop the interpersonal skills necessary to break in and succeed.
The Writers Mentoring Program is not employment and there is no monetary compensation. It is, instead, a structured program of career development, support, and personal access to executives and decision-making processes, with the goal of preparing aspiring writers for later employment opportunities in television.
Each participant will be teamed with two different mentors.
One is a show mentor who is a senior-level writer on a current CBS drama or comedy series. This relationship builds over the course of the Program and is focused on helping the participant with creative feedback on their writing as well as help and advice on career goals.
The other is a CBS network or studio executive with whom they will meet on a regular basis, to discuss their work, get creative feedback on their material and get advice and support in furthering their career.
Once a week, participants will be invited to attend a small workshop-style meeting with various CBS show runners and other industry professionals. Speakers include executive producers, agents, managers, development and current executives and others. The purpose of these gatherings is for participants to gain a better understanding of how the business works from many different perspectives as well as creating the opportunity to make critical networking connections.
It’s been found that in order to derive the greatest benefit from the Program, participants should be available to 1) attend a once a week (evening) workshop and 2) attend meetings or observe in various situations for a minimum of five full days (not necessarily in sequence) over the course of the six-month Program.
Number of applicants selected: Up to 10
Submission period: February 1, 2011 — April 1, 2011
Dates of program: Late September 2011 — April, 2 2012
Eligibility: The primary focus of The CBS Diversity Institute’s Writers Mentoring Program is to provide access and opportunities for talented and motivated diverse writers with a focus on writers of color. Aspiring diverse writers with a strong desire to write for CBS television series are encouraged to apply. You must be 21 or older to be eligible.
Application requirements:
– One half-hour or hour spec script based on a primetime network or cable series that aired new episodes during the 2010–2011 season
– One original work of writing (screenplay, stage play, short fiction story) except original pilots. The original sample should be similar in tone to the spec sample.
– Current resume or short biographical summary
– Letter of interest
Cost: Free

Disney/ABC TV Writing Program ABC Writing Program
Application Webpage
The program is designed to expose aspiring writers to key executives, producers and literary representatives – all essential in the pursuit of a writing career. Additionally, while in the program, writers have the opportunity to work one-on-one with a current programming or development executive to create spec scripts of series from the current broadcast season. The ultimate goal is to prepare and nurture the writers for a professional writing career.
Number of applicants selected: Up to 8
Submission period: May 1, 2011 — June 1, 2011
Dates of program: January 2012 — January 2013
Eligibility: Applicants must be at least 18 years old and have US employment eligibility. Prior professional work experience in the entertainment industry is recommended. Post college experience preferred. Although one completed script is required for consideration, the ideal candidates should have a body of work consisting of no less than two spec scripts and at least one original sample. If candidate advances to final stages of interview process, the review of additional scripts and referrals from working entertainment industry professionals will be required.
Application requirements:
– One half-hour or hour spec script based on a primetime network or cable series that aired new episodes during the 2010–2011 season
– Current resume
– An autobiographical summary
– A statement of interest capturing the applicant’s journey thus far in pursuing a career as a TV writer (500 words or less)
– Two letters of recommendation from entertainment industry professionals. The letters must be written on your behalf by working entertainment industry professionals who can discuss your potential as a professional television staff writer.
Cost: Free

FOX Diversity Writer’s Initiative
Application Webpage
Writers selected will be invited to attend a six-week session at Writers Boot Camp and subsequent consultation with WBC mentors during which their scripts will be rewritten and improved. The goal is to execute scripts at a level of professional quality equal to those purchased by Fox in the course of its normal television development.
Submission period: TBD (Deadline is usually end of June)
Eligibility: The emphasis in the FOX Writer’s Initiative is to support the development of original television series ideas by diverse writers, or by non-diverse writers who are writing about inherently diverse themes and/or diverse lead characters. African-American, Latino, Native American, Middle Eastern, East and South Asian writers are particularly encouraged to apply. Candidates should also be recommended by either agency representation or an individual with considerable industry experience. Applicants must be at least 18 years old to submit.
Application requirements:
Writer without representation:
– One half-hour or hour original spec script pilot.
– The script must be read and evaluated by an individual with considerable industry experience (e.g. a writer that is currently working on a TV show [producer or above], a television or film creative executive, writing professor, a community entertainment group, a national media coalition group). The evaluator is to write a letter of recommendation on the letterhead of the company or school with which (s)/he is affiliated.
– A cover letter indicating writer’s desire to participate in the FOX Writer’s Initiative
– Current resume
Writer with representation, talent agent must submit:
– One half-hour or hour original spec script pilot.
– A cover letter indicating writer’s desire to participate in the FOX Writer’s Initiative
– Current resume of applicant writer
Cost: Free

NBC/Universal Writers on the Verge
Application Webpage
Writers on the Verge is a 12-week program focused on polishing writers and readying them for a staff writer position on a television series. The program will consist of two night classes, which will be held on Tuesdays and Thursdays (7-10pm), weekly at NBC in Universal City, CA. Once accepted, students must attend all classes and turn in all written assignments.
Classes concentrate on creating an exceptional spec script and understanding the dynamics of pitching oneself in the television industry. Writers are given the chance to interact with industry players ranging from network executives to showrunners to agents and receive valuable feedback on their work and pitch style.
Number of applicants selected: Up to 8
Submission period: May 30, 2011 — June 30, 2011 (3:00 PM PST deadline)
Dates of program: October 4th, 2011 — January 12th, 2012
Eligibility: Anybody can apply. The program is especially looking for writers who are “almost there” but need that final bit of preparation with their writing and personal presentation skills. They particularly encourage writers of diverse backgrounds to apply.
Application requirements:
– One half-hour or hour spec script based on a primetime network or cable series that aired new episodes during the 2010–2011 season
– Current resume
Cost: Free

Nickelodeon Writing Fellowship Nick Fellowship
Application Webpage
Operating in a three-phased structure, the Fellowship provides a salaried position for up to one year and offers hands-on experience writing spec scripts and pitching story ideas in both live action and animation television.
This three-phased structure allows fellows an opportunity to nurture relationships with creators, network executives, line producers, head writers, showrunners and story editors.
As part of their script writing, each fellow will be assigned to an Executive in Charge of Production and have an opportunity to write a spec script for an on-air Nickelodeon show.
In addition, all fellows are integrated into the activities of both the development and production departments. This allows the fellows an opportunity to attend storyboard pitches, notes meetings, records, table reads, show pitches and show tapings, all while being exposed to top creators and key production crews.
Number of applicants selected: Up to 4
Submission period: January 2, 2011 — February 28, 2011
Dates of program: October 2011 — October 2012
Eligibility: Applicants must be at least 18 years old and have US employment eligibility.
Application requirements:
– One half-hour comedic spec script based on a primetime network or cable live-action or animation series that aired new episodes during the 2010–2011 season
– Current resume
– Half-page biography
Cost: Free

WB Writers’ Workshop WB Writers Workshop
Application Webpage
The Warner Bros. Television Writers’ Workshop consists of three components, all geared towards preparing the writer for a successful career in television writing.
Lectures: Weekly lectures feature guest speakers currently working in television and include a mix of showrunners, directors, actors and agents. Each seminar will teach a new skill essential for surviving and excelling in a writers’ room as a staff writer and beyond.
Simulated Writers’ Room: After the lectures, the Workshop participants are divided into smaller groups for an intensive writing experience. Each participant will be required to complete a new spec script under the same deadlines found on a show currently in production. How participants perform during this exercise will determine whether they will be chosen for a possible staffing position on a Warner Bros. show.
Staffing: Upon completion of the program, Studio executives will help participants, who pass the Writers’ Room, obtain a staff position on a Warner Bros. television show currently in production. We can’t guarantee you will get staffed, but we will get your material in front of the people who make the ultimate decisions – the showrunners.
Number of applicants selected: Up to 10
Submission period: May 2, 2011 — June 1, 2011
Dates of program: October 2011 — March 2012
Eligibility: Applicants must have US employment eligibility.
Application requirements:
– One half-hour or hour spec script based on a primetime network or cable series that aired new episodes during the 2010–2011 season
– Current resume
– A one-page composition telling “why you want to be a television writer and how your background will add a unique perspective to television.“
Cost: $30 application fee per script (multiple scripts can be entered through separate applications)

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Pilot Pick-Up Review (NBC) — 2011–2012 Season

by Alex on April 15, 2011

in Featured Posts,TV Analysis

Post image for Pilot Pick-Up Review (NBC) — 2011–2012 Season

Development season is right now, and with the scripts picked to pilot about to be shot, the next best thing besides watching the finished product is reading them. As well as reviewing them. I’ll also venture a guess as to whether I think they’ll go to series or not (all of which is announced as usual at the Upfronts). So here goes.

On we go with NBC, and a slate all over the place.
After another exec reshuffle, Greenblatt began heading last November the original programming development, and already some big changes are getting around the network. Bigger and better seems to be the drama motto while the comedies are staying in touch with classic themes (albeit a tad edgier than usual). Once again, the Peacock wants to redefine itself.

Dramas (One-hour)
17th Precinct (Ronald D. Moore)
Logline: A dramatic series set against a magical world where the ordinary laws of science don’t apply. The action takes place in a city called Excelsior, which is run by sophisticated yet elemental magic. The police solve crimes and bring the accused before judges that offer highly subjective verdicts. But there’s a threat brewing to this way of life — a group of terrorists called The Stoics, who want to eradicate magic and replace it with the tyranny of science.
With: Jamie Bamber, James Callis, Stockard Channing, Tricia Helfer, Kristin Kreuk, Matthew Long, Esai Morales, Eamonn Walker
My thoughts:
It’s no Battlestar Galactica, that’s for sure. The best way to describe it succinctly would be to say it’s CSI, with magic instead of tech.
17th Precinct wasn’t overtly bad, it was just…okay. I don’t really know why but the world felt much less dense than his previous shows. The casting is obviously amazing but that’s never the be-all end-all.
With all of that said, I honestly doubt there’s an audience for this on broadcast television, let alone NBC. It might have worked on, say, Syfy, but it’s doubtful it’ll play well on NBC.
People don’t watch procedurals for the escapism science-fiction or fantasy provides, they watch procedurals for the nitty-gritty aspect of it and realism it provides. At the end of the episode, the bad guy is caught, and that’s reassuring because he seems more real than some wizard somewhere. We know how Century City fared on CBS (in that people don’t even remember the show).
Going to series? Yes. Despite the fact that it clearly won’t work on broadcast, NBC wants a new original procedural hit badly.

A Mann’s World (Michael Patrick King)
Logline: A dramatic series with comedic elements centering on a heterosexual male hairdresser, Allan Mann, now in his fifties, who is now looking to stay au courant in Beverly Hills, where age and experience can’t hold a candle to looks and beauty. While others might take the comfortable and predictable path, he takes the ego-driven and more difficult one.
With: Ellen Barkin, JR Bourne, Mario Cantone, Chris Crocker, Caitlin Crosby, Kelly Hu, Don Johnson, Jesse Jones, Taylor Kinney, D.J. Pierce, Sandra Vergara, Amanda Mason Warren, Christian Dante White
My thoughts:
Oh God. I can’t describe how bad this pilot is.
Literally the worst script of this season.
Obviously Greenblatt picked it up because of the financial penalty attached to it. Right? Please?
Going to series? Kill me now.

Metro (Stephen Gaghan)
Logline: A dramatic series that explores Los Angeles from multiple points of view, from lawyers to law enforcement, politics to the haves and have nots. The main character is a detective working in the Mayor’s Special Investigations Unit, who has returned to Los Angeles to re-connect with his teenage daughter and try maintain a civil relationship with his ex-wife, who is a high powered attorney.
With: Daniella Alonso, Madchen Amick, Luis Chavez, Emma Dumont, Noah Emmerich, Matthew Levy, Danny Pino, Jimmy Smits
My thoughts:
It seems that every season, NBC wants another gritty LA-based show.
Will this one do?
Well, Metro is reminiscent of Traffic. And in this case it’s a good thing.
Add Smits and Emmerich and I’m in.
Going to series? Probably. It’s both a cop and legal show, NBC’s go-to genre.

Playboy (Chad Hodge)
Logline: A soapy dramatic series that looks at the social and political tumult of the 1960’s from the perspective of Playboy bunnies working at the Playboy Club in Chicago.
With: Laura Benanti, Eddie Cibrian, Jenna Dewan, Amber Heard, David Krumholtz, Naturi Naughton, Wes Ramsey, Leah Renee Cudmore, Sean Maher
My thoughts:
It’s been somewhat widely reported that people haven’t responded all that well to the pilot. Neither did I to be honest.
How can you do about sex and drugs without sex and drugs?
The challenge was accepted by Playboy and was almost immediately failed.
The (unnecessary) period aspect of the show sealed its fate.
Going to series? Very likely. Any publicity is good publicity at this point.

Prime Suspect (Alexandra Cunningham)
Logline: A dramatic series based on the UK ITV procedural series of television movies starring Helen Mirren. The U.S. version centers on a newly promoted homicide detective, Jane Timoney, who has to deal with skeptical male colleagues who erroneously believe that that she has slept her way to her present position. Constantly ostracized and undermined, she finally gets her shot at spearheading a homicide investigation. Once she has a chance to show her abilities her astute powers of observation and scrupulousness win over almost all of her prior enemies.
With: Kirk Acevedo, Maria Bello, Tim Griffin, Damon Gupton, Joe Nieves, Brian F. O’Byrne, Aidan Quinn, Toby Stephens
My thoughts:
To be blunt, it was a snoozefest.
I know everyone loves to remake “known” property but this is one foreign classic that should have been left untouched.
For one, there is no original take on the cop genre. Prime Suspect might have actually defined the genre 20 years ago, but now it’s not so groundbreaking, gritty, or even interesting.
More importantly though, the sexism is way too blatant. One of the keys to the original show’s success was how it dealt with this (at the time) rampant problem in a way that was both subtle and realistic. The American version of Prime Suspect makes Mad Men a utopia for women.
And let me say that Maria Bello is no Helen Mirren.
Going to series? Maybe. It’s been in development since forever and this season is as close as it’s going to get to getting a green-light.

Construction (Josh Brand)
Logline: A period drama centering on Jason Edding, a Union Civil War veteran who returns from the Civil War a changed and haunted man. He seeks refuge in the border state of Missouri in a town that, despite the end of the war, is being terrorized by a mysterious Southern colonel called the Grey Ghost. He extorts money from the townspeople, and his brutal henchman maim and murder anyone who doesn’t comply. When Jason rolls into town and defeats these thugs, the people in the town embrace him as their savior and beg him to be their sheriff. But Jason’s must chase away his own ghosts before he can accept that challenge.
With: Emma Bell, Billy Brown, Coburn Goss, Martin Henderson, Robert Knepper, Rachelle Lefevre, Bill Sage, Claire Wellin
My thoughts:
I can honestly say this was a surprise hit for me. I’m no western fan (heck, it’s my least favorite genre), but this one worked for me. Of course, it’s no Carnivale, but it’s getting close to that territory.
Only problem? This is clearly not an NBC show.
First, it’s a period piece set in the civil war era, and it’s a western. Second, subject-matter is more cable than anything else (would it surprise you to learn that it was originally developed at FX?). Finally, it’s gory and violent.
Going to series? Sadly doubtful.

REM (Kyle Killen)
Logline: A dramatic series described as a procedural hybrid that centers on the simultaneous and parallel lives of a detective who cannot let go of any aspect of his fractured family after a horrible car accident.
With: Laura Allen, Steve Harris, Jason Isaacs, Cherry Jones, Michaela McManus, Dylan Minnette, Wilmer Valderrama, B.D. Wong
My thoughts:
I’ve been talking about this one for over three months for one simple reason: it’s my favorite script of the season, by far.
Amazing story, amazing writing, amazing show.
The world and the characters are very compelling but I’m afraid people are not going to tune in to watch the show, regardless of how well-crafted it is.
I have to voice my worry however about Howard Gordon show-running this thing. Why isn’t Killen staying behind? I can only guess this move shows NBC being afraid of a Lone Star redux.
Going to series? Probably. There’s no doubt that this is the most talked-about and praised original show of the season.

Smash (Theresa Rebeck)
Logline: A dramatic series based on an idea by Steven Spielberg. This one-hour musical series follows a cross section of characters who come together for the exhilarating ride of putting on a Broadway musical.
With: Christian Borle, Jaime Cepero, Jack Davenport, Megan Hilty, Anjelica Huston, Raza Jaffrey, Brian d’Arcy James, Katharine McPhee, Debra Messing
My thoughts:
Another cable-like show for NBC (this one originally developed at Showtime).
People are saying the network is riding on Glee’s coattails with this one.
Wrong.
If anything, it’s closer to HBO’s Miraculous Year than FOX’s tween show.
Smash wasn’t a mega hit for me, but it was definitely entertaining.
One thing I’m struggling with however is the longevity; it definitely seemed more like a mini-series than anything else. Once the musical is all set and done (probably in the first season finale), then what?
Going to series? Yes. Big cast, big producers, big show.

Wonder Woman (David E. Kelley)
Logline: A dramatic series based on the DC comic book series Wonder Woman, about Diana Prince, an Amazon who possesses superhuman strength, speed and stamina, flight, and super-agility. In this reinvention, Wonder Woman is a corporate executive and vigilante crime fighter in Los Angeles who works to balance all of the extraordinary parts of her life.
With: Justin Bruening, Cary Elwes, Adrianne Palicki, Pedro Pascal, Tracie Thoms, Brett Tucker, Elizabeth Hurley
My thoughts:
What more is there to add to this train-wreck? You can’t quite look away from the mess going on in front of you, although viewers won’t tune in beyond episode two.
I feel bad for Palicki who deserves better. Much better.
Going to series? Oh, my, yes.

Single-camera Comedies (Half-hour)
I Hate that I Love You (Jhoni Marchinko)
Logline: A single camera comedy series on a straight guy who lives with his best friend, who is a lesbian and a straight woman who lives with her best friend, who is a lesbian. When all four meet and the straight and gay couples get together, the ordinary issues of new relationships get a new twist. The straight guy and his gay best friend slept together in a fit of drunken despair a month before everyone met, which neither have discussed since it happened. But they all need to talk about it, because she now realizes she’s pregnant.
With: Danneel Ackles, Anna Camp, Jaime Lee Kirchner, Nick Thune
My thoughts:
Nothing new under the sun. Yet another standard dual couple comedy show, albeit with two lesbians.
Going to series? Possibly. This is another attempt at NBC trying to recapture a good “friends with benefits” comedy.

Untitled Lennon Parham & Jessica St. Clair Project
Logline: A single camera comedy series about an extremely awkward triangle — a woman and her new live-in boyfriend find themselves taking in her distraught (and pushy) best girlfriend who ends up on their doorstep after a divorce.
With: Lennon Parham, Stephen Schneider, Jessica St. Clair
My thoughts:
Not really my sensibility. I honestly don’t see the series appealing beyond the LA demographic (story isn’t really compelling). And the dialogue was too on-the-nose for me.
Going to series? I don’t see it.

Stay tuned as we conclude next time our pilot pick-up review with a cable medley.

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