First off, I can’t believe this is already my fourth Emmy review on this site.
I’d like to thank — Oh, who am I kidding. I made myself.

Anyways, on to business.

I’ve gotta admit, this was a pretty good year for the Emmys.
Jane Lynch was a great host, and it started off fairly well with her opening number.
It did drag on a bit but, overall, it was a nice time (I’m still a fan of last year’s Born To Run though).
One thing I did note about the stage was the huge FOX logo at the top of the gigantic video tower.
We get it, we’re on FOX. The Simon Cowell network.

The big awkward running gag of the night (you’ve gotta have one of those) was the Emmytones. Or, as I call it, the “why the fuck am I doing this” choir, composed of such talented actors as Joel McHale and Zach Levi.
Forced smiles coupled with bad timing meant one bad musical number after another.
LL Cool J’s surprise guest song towards the end of the night only reinforced the contrast between a “cool” number and…that.

As expected, we were treated with funny presenters mixed with more, shall we say, somber ones.
It started pretty well with the two Jimmys (Fallon and Kimmel) boxing it out.
The first part of the night was, as Jane Lynch called it, the Modern Family Awards.
Beyond the fact that it was a clean sweep for the show, I actually did not expect Julie Bowen and Ty Burrell to win. They did deserve the awards though.
Ricky Gervais’ pre-recorded message was way too tame to be funny. I know it was supposed to be the joke but, still, too on the nose. Here’s to hoping he’ll be back in some capacity live on another award show.
Another annoying thing about the night was the overbearing announcer/voice-over guy making pretty crappy jokes about each winner as they walked onto the stage. They definitely need to cut that gag out next time around.

I honestly thought there would be an upset in the comedy writing department with Louis C.K. winning. After all, the show is widely loved in LaLaLand.
And if not a Louie episode, then at least the final Steve Carell/The Office one.
So, yes, this was another Modern Family Emmy I didn’t really anticipate.
Same comment for ‘best actor’ where I really thought Steve Carell’s final year would be recognized.
Charlie Sheen’s speech was beyond awkward. Was he being serious or ironic? It all sounded so hollow and strange. I can understand Jim Parsons being creeped out.

At this point in the post I have to take a moment and acknowledge the great dramatic presentation that was the Outstanding Lead Actress in a Comedy Series category.
All the nominated actresses going up on stage ‘impromptu’-style was great.
Yay for McCarthy. I’m not a big Mike & Molly fan though I’m seeing this victory as a recognition of McCarthy’s past work (Gilmore Girls!). And Bridesmaids certainly didn’t hurt.

The best moment of the night was undoubtedly the great Office comedy bit with fellow characters/actors popping in and out of the short. The biggest laughs were had with Jesse Pinkman giving Creed some meth. Brilliant.

Moving on the the Reality/Variety category, I have to say that Top Chef: All-Stars was a shoe-in for the Emmy, not Amazing Race (for what feels like a decade of wins).
Speaking of gazillion victories, The Daily Show once again took the top prize. I can’t complain, although I’m still waiting on The Colbert Report to get the Emmy.

We then got blasted with a Lonely Island medley (sorta).
Look, I enjoy the occasional skit as much as the next guy, but doing a live remake of the Michael Bolton song was unoriginal to say the least.
It was a nice touch to have (I think) Ed Helms, Maya Rudolph and John Stamos in the set as well, but overall, a fairly weak (albeit crazy) skit.

And this brings me to the ‘best drama writer’ category.
Holy smokes.
Huge surprise (in my mind) with Jason Katims’ oh-so-deserved victory for the series finale of Friday Night Lights.
Finally some recognition!
Now, I’m still a season behind, but I’m super stoked about this win.
Ditto for Kyle Chandler’s Emmy prize.
Those are upsets I enjoy seeing.
Martin Scorsese winning best director was one of the most obvious awards of the night (save for the finale two).
On the other side of the coin, Peter Dinklage won!

Following last year’s debacle, the ‘In Memoriam’ segment was anticipated (for lack of a more politically-correct description).
What we got this time around was a music clip promoting a Canadian boys band singing a terrible version of Hallelujah.
Better luck next season, right?

And now about the final awards.
Clearly no surprise there for Downtown Abbey which holds the BS record for “most acclaimed series in the world”.
I haven’t got much else to add about Mad Men’s victory.
And as for Modern Family winning. Well. It’s the new 30 Rock.

Possible Related posts:

1. America needs a prune (Emmys 2008)
2. Born to Run (Emmys 2010)

[Since I’ll be talking about Six Feet Under as a whole (including the series finale), I highly recommend you watch all five seasons of series before reading this post — it’s worth it.]

Lesson 5: Play with expectations
Looking at its structure objectively, you can’t deny that Six Feet Under was a formulaic show. Every episode started with a death, and the audience expected that.
All of this was subverted several times during the course of the series. You thought someone was dying a horrible death when, ultimately, it was someone else entirely. One episode opened with a man about to light his stove with a match and being distracted by a phone call. You expect him to die in a gas explosion, yet the death ends up being a mad-man gunning down the call center at the other end of the line. A season finale had a Kroehner employee playing golf with his boss. The audience arguably was rooting for the character’s death (given his antagonistic presence on the show), but an innocent bystander was the victim of the episode. The show also turned the whole concept on its head in its final episode, by opening with a birth instead of a death.
All of that is to say that, as formulaic as a show can be, it doesn’t necessarily mean you have to do the same thing over and over again. Formula isn’t a prison; it is merely a delimited playground.

Lesson 6: Have something to say
Six Feet Under was a very intense show dealing with a wide array of sensitive issues, most of the time in the rawest form possible. They didn’t sugarcoat the real world.
More importantly, each episode had its own theme that resonated with the various characters. Most of the times, this was launched by the opening death. No story was random; it had a reason to be on the show besides “stuff happens.” It always told something about the characters and the world. A young homosexual is murdered. David is forced to confront his own sexuality and relationship with his mother.
We talked earlier about different character point of views, but each episode also needs to say and show something different from the previous one. If your episodes are clones of each other by telling the same story over and over again, you might as well put on reruns.

Lesson 7: It’s okay to think ahead
Despite all the somewhat hackneyed “live in the moment” stuff I said in Part One, a show needs to have some kind of plan, or rather arc(s). And I’m not talking about a smoke monster.
Six Feet Under had under its hood multiple arcs layered and mixed into each other. The show was as much about the characters as what happened to them.
In season two, Brenda befriends a prostitute and starts having, let’s just say, a sexual awakening. Although at the time it may have seemed to be somewhat gratuitous, it was (and is) in fact a key part of the Brenda/Nate dynamic that unfolds in the given season. The prostitute storyline is set up early on, while Nate and Brenda are not yet married. Later on, when they do get hitched, all of this comes to bite Brenda in the ass, and the couple calls it quits. In this small example, Brenda had at the very least two arcs going on within her relationship with Nate beyond “the relationship.” I could enumerate many more arcs within it — Billy, her parents, etc. — however you get the point: nobody goes through one thing at a time.
This is not Inception, but, as you can see, shows (and life) tend to be “arcs within arcs”. All the more reasons not to get lost in your own world and actually think of the future a bit. Your stories themselves will likely improve (badly plotted arcs tend to stick out like sore thumbs by either going nowhere or ending in a tailspin).

Lesson 8: Stay with the emotions
Like we’ve seen before, there needs to be an emotional connection between the audience and the show. Six Feet Under pushed that to a new level by oftentimes “staying with the emotions.” It might seem contradictory from the famous advice of “quitting a scene at its height”, however sometimes it’s worth sticking with a central A story all the way through.
In one of the most intense episodes of the series, David is taken hostage by a psychopath. Although the episode starts like any other (A/B/C/D stories mixed), midway through, the focus shifts entirely towards David’s nightmarish situation. Not only is over half the episode devoted to that storyline, but, more importantly, once the situation heightens (i.e. when you understand midway through the episode that the other guy is a psycho), the episode grabs you and doesn’t let you go until its final seconds. Clearly the writer wanted the viewer to be put into David’s shoes. “Staying with the emotions” (in this case overwhelmingly negative ones), is one way to heighten both the tension and importance of the episode (anything can happen).
Viewers are now used to a fairly quick back-and-forth between scenes, so when you disrupt that dynamic and devote several pages back-to-back to a single storyline, you’re making a point.

What to take from the show (Part Two)
Stories need to be both relevant and interesting, but more than that they need to be engaging to the audience. Whether by intensifying its importance or managing expectations, the attention and structure given to a storyline is potentially as important as the plot itself.

Possible Related posts:

1. Screenwriting lessons from Six Feet Under — Part One
2. Screenwriting lessons from Coupling

Ten years ago, one of the greatest American series debuted on television: Six Feet Under.
Concluding in 2005 with one of the best finales in TV history, the show broke new ground with its emotional and riveting stories. The series dealt with many day-to-day issues, including family, sexuality, relationships, and of course life & death. These are some of the lessons learned from this amazing character drama.

[Since I’ll be talking about Six Feet Under as a whole (including the series finale), I highly recommend you watch all five seasons of series before reading this post — it’s worth it.]

Lesson 1: Life is a prism
Never will your neighbor, your friend or even your brother think the same thing as you since each person has a different life experience. This translates directly into the way you, and your characters, view the world.
Different characters have different viewpoints, and the money in character relationships is where characters are trying to convince each other to change their mind.
When we meet them, Nate and David couldn’t be more different in their views of the family business. The former tried to escape this world as soon as he can, the latter abandoned his lawyer dream to be a mortician. During the life of the series, Nate is, despite himself, transforming into his father while David searches for his own identity. Both disagree on what death and the business is/should be, but they’re still brothers at the end of the day.
Beyond characters, the “prism” aspect of life also directly translates into the story. Each episode of the show centered on a different death, and more importantly how the funeral home dealt with it (and how it resonated through them).
When a grieving widow confides in Rico that she barely remembers her (now dead) ex-husband, Rico (and the audience with him) immediately think of his own fragile marriage on the brink of a divorce, slowly being erased from his family.
We’re all humans and therefore see the world in our version, our own “first-person POV.” It is vital that you represent that kind of polarizing diversity in your characters since no one is a clone of another person. Note that diversity and polarizing viewpoints do not mean a Manichean black/white division of your world.

Lesson 2: Less is more
If there is one thing Six Feet Under does better than any other show on television (besides Breaking Bad), it is to play up the silence. The “moments in between” are the moments of the show (arguably another big difference between film and TV in general). Continuous action is not needed to hold continuous interest from the audience (you don’t see a car explosion every episode, let alone every act).
It can be good to have an explosive monologue you build up to where a character pours out all of his/her emotions, but how often does that happen in real life? People rarely say more than a few words at a time, and most of life happens without words.
In one of the finest scene from the series finale, Ruth calls Maggie to get closure on her son’s death, asking her if he was happy in his last moments. The crux of the exchange doesn’t come with Maggie’s answer but by Ruth’s gasp for air, more indicative of her relief than anything else. Sure, a lot of it is due to the actor’s performance, but it also means the writer trusted his writing enough to write less. He knew it was the best option instead of doing a tedious/on-the-nose remark.
The old expression still holds true: Silence is golden.

Lesson 3: It’s about what is happening, not why
In other (canned) words: “it’s about the journey.“
Don’t get me wrong, you need to have reasons for putting X character in Z position, and you should be able to track your story’s progress plus ram up the tension at the end of your third act. Yet, a show isn’t a logical math problem with a solution. There should be some kind of reason for your madness, but all of this is for you, the writer, not the viewer. Your audience isn’t made up of robots analyzing and deconstructing beat by beat your show to determine why you put this and that there (at least not subconsciously). A show needs to not only live and breathe but more importantly be emotionally engaging.
So what does that have to do with “what is happening”?
Well, when you’re in the world, you (almost) never ask yourself “why is this happening?!” (unless you’re in Lost or a philosopher).
Your characters can question the “what” and do a spiritual search to get answers to “why” (after all, that’s the central question around life/religion itself), but unless you want to alienate your audience, it is never a good idea to remove any shred of mystery and actually answer the mysterious question.
Why do you think the Six Feet Under series finale is not only considered the pinnacle of the show but one of the best finales ever? The characters’ lives are (literally) concluded, but everything in between is left open-ended. We were only privileged to a slice of their lives, part of their journey. You cared about the characters and you lived with them. The show offered the perfect amount of closure.
Think of it this way: Life doesn’t have a point, it is the point.

Lesson 4: Unknown is better than known
Continuing on the “less is more” philosophy, no one is omniscient, which means you know next to nothing besides your limited point of view (no offense).
This directly translated on screen in the show with Lisa’s terrible, unknown, fate.
For the second half of the third season, Lisa, Nate’s wife, goes missing. Little by little, Nate worries and pretty much goes insane not knowing what happened to his wife. All of this builds up to somewhat of a closure to the arc that won’t happen until a season later. I say “somewhat of a closure” since even then, it isn’t really a closure. Just like in life, you don’t know what really happened to Lisa, simply the consequences (i.e. death).
Dread is a powerful emotion oftentimes ignored. Fear of the unknown is also a great motivator for people to take action (no one wants to see a hero wallow in self-pity).

What to take from the show (Part One):
Before mythology or adventures, a show needs to be about people true to life. No one is one-dimensional and no two people share the same exact limited point of views. Treat your characters as such.

Possible Related posts:

1. Screenwriting lessons from Coupling
2. Focus on Writing for Genre Television

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.

Possible Related posts:

1. Tips and stories from around the Web, Part 4
2. Tips and stories from around the Web, Part 3

Development season is right now, and with the scripts picked to pilot about to be (or already) shot, the next best thing besides watching the finished product is reading them. As well as reviewing them.
Here is our final installment for the season, with some of the most anticipated cable pilots around.
(Given that most of these pilots have either already been picked up to series or will have their fate announced in several months, I thought it best to focus on the reviews.)


FX
Dramas (One-hour)
American Horror Story (Brad Falchuk/Ryan Murphy)
Logline: A dramatic series that explores a subversive modern horror tale.
With: Connie Britton, Jessica Lange, Dylan McDermott, Denis O’Hare
My thoughts:
I’m not the hugest Falchuk/Murphy fan (especially following that second season of Glee), but I have to admit they’ve got me hooked after reading this script.
Sure, the haunted house plot has been (virtually) done to death (yes it’s a haunted house story), and some people will continue to argue that they’ve “been there, done that”, but the pilot was not only very interesting but also not your classic “jump scare” horror flick. This is clearly angling to be a more psychological drama with supernatural elements rather than your run-of-the-mill spooky ghost story.
The biggest issue I’m having though is not with the pilot itself, rather the series as a whole. I’m having a hard time grasping how the concept of a haunted house psychologically torturing its inhabitants can last more than, well, a few episodes, let alone a full season. Longevity-wise, American Horror Story might be a gamble (depending on how serialized the show goes).
The cast however, is pretty much perfect.

Powers (Charles Eglee)
Logline: A dramatic series based on the series of graphic novels by Brian Michael Bendis. Heroes glide through the sky on lightning bolts and fire. Flamboyant villains attempt daring daylight robberies. God-like alien creatures clash in epic battle over the nighttime sky. And on the dirty city streets below, a homicide Detective Christian Walker does his job, solving murders involving superheroes, but he has secrets of his own.
My thoughts:
The closest show that comes to mind when reading the script is NBC’s own 17th Precinct, although Powers is clearly aiming to a much more, let’s say, grittier audience. Here again, you’ve got a serious cop show, and although 17th was the CSI of its genre, Powers is indeed closer to The Shield as some have described it. I would also compare it to a masculine version of Prime Suspect (albeit with superpowers involved). As any avid fan of the comic version will tell you, the world works and the story isn’t as ridiculous as it sounds. This is clearly not a lame The Cape–like series.
The disappointing side is that, since the show is so close to a cop show procedural, it ends up being not that compelling or original. Maybe future episodes will bring more interesting happenings.

HBO
Drama (One-hour)
More As This Story Develops (Aaron Sorkin)
Logline: A workplace dramedy with political elements set behind-the-scenes at a cable news network.
With: Jeff Daniels, Olivia Munn, Alison Pill, Marisa Tomei
My thoughts:
This one is without a doubt the most anticipated series of the bunch.
Cast-wise, you can guess I’m not the biggest fan of Olivia Munn (and I’m not really sure why she’s in there anyways). I’ll however be digging the Jeff Daniels/Marisa Tomei confrontation/omnipresent sexual tension.
What’s interesting is that no one has asked the most important question about the show: when does it take place.
Is it a period piece or is it set in an alternate world?
Well the answer is: neither (sorta). I have to issue a spoiler alert here (although if you’re reading this then chances are you don’t care).
The news show is set on, drumroll please…April 20, 2010. And if you know your (very) recent History, then you know that date corresponds to the Deepwater Horizon explosion. That’s right, the big reveal of the pilot (that pretty much comes halfway through it), is that the series goes on about a year before, well, right now. What a great way to comment on the media’s way of covering recent news without trespassing on The Daily Show/The Colbert Report.
Clearly Sorkin does not venture outside of his comfort zone with More As This Story Develops, and there’s nothing you won’t be able to find in his three previous shows. This is also not Network. Yet it’s still plenty interesting and compelling.
Clearly the man knows how to write–but who am I to state the obvious.

Comedies (Half-hour)
40 (Doug Ellin)
Logline: A single-camera ensemble comedy project that revolves around four lifelong friends who help each other navigate life at 40, which isn’t all they expected it to be. There’s the married milquetoast, the family man whose career’s been decimated by the financial collapse, a wealthy metrosexual and an impossibly toned trainer. Together, they face the terrors and joys of life past the fourth decade.
With: Edward J. Burns
My thoughts:
Four middle-aged guys living their lives. As you’d expect, it’s not that interesting. And although Entourage mainly worked thanks to the mystique and crazyness that is H-Wood, 40 doesn’t simply because of the mundane of it all. It’s never outrageous, it’s never laugh-out-loud hilarious, it just is.

Veep (Simon Blackwell/Armando Iannucci)
Logline: A political comedy centering around a female senator who ascends to the office of vice president, only to realize it’s nothing like she expected and everything everyone ever warned her about.
With: Sufe Bradshaw, Anna Chlumsky, Tony Hale, Julia Louis-Dreyfus, Reid Scott, Timothy Simons, Matt Walsh
My thoughts:
I continue to find The Thick of It and In the Loop both amazing, so it is without hesitation that I jumped on the script of Veep as soon as I had it.
First the good news: Yes, it’s funny.
Plus you’ve also got Blackwell’s astonishingly brilliant insults flying around (although these ones won’t be uttered by Peter Capaldi).
With that said, the subject-matter of the show, as always with political series, brings back memories of The West Wing. And if you know Iannucci’s style, then you also know he’s not only a master of satirical dialogue, but also of quick back-and-forths, similar to Aaron Sorkin. Obviously, the storylines are not as dramatic as The West Wing, but you won’t be able to deny (at the very least) a spiritual connection between the two shows.
It’s not a strike against Veep though.

Showtime
Drama (One-hour)
Homeland (Alex Gansa/Howard Gordon/Gideon Raff)
Logline: An action-adventure drama based on the Israeli Keshet format “Prisoners of War.” In this iteration, an American soldier who was presumed killed in Iraq returns 10 years after he went missing. But after the joy of his homecoming dies down, suspicions arise as to whether he was really an American hero or if he was part of a sleeper cell planning a terrorist attack.
With: Claire Danes, Laura Fraser, David Harewood, Diego Klattenhoff, Damian Lewis, Jackson Pace, Mandy Patinkin, Morgan Saylor
My thoughts:
Sure there’s plenty to like with this pilot. It’s interesting and the story holds (for how long?). But you can’t shake the feeling that Sleeper Cell has already covered most of that terrain five years ago. And that was a mini-series–well, technically, two.
Not that I want to be that guy again, but I’m also having troubles finding a longevity in the concept beyond a single season. Sleeper Cell somewhat successfully achieved one with its second season by not only changing virtually the whole cast but going into a very different direction. I’m curious to see how Homeland will game the system.
The story of the girl that cried terrorist can only work for so long.

Comedy (Half-hour)
Seek and Destroy (Neal Brennan/Dov Davidoff)
Logline: A mixed sitcom that will combine elements of single-camera comedy, sketches and man-on-the-street interviews. Each episode begins with stars Neal Brennan and Dov Davidoff discussing life over coffee.
With: Neal Brennan, Dov Davidoff
My thoughts:
This show doesn’t really belong on Showtime–or anywhere else for that matter. The dialogue felt edgy enough, but overall it wasn’t really hilarious. Plus it seemed more like a multi-camera comedy than anything else.

Syfy
Drama (One-hour)
Battlestar Galactica: Blood & Chrome (Michael Taylor)
Logline: The story begins during the 10th year of the Cylon War, and follows recent Academy graduate William Adama. The pilot focuses on an important mission Adama undertakes with a rookie pilot. During this critical mission, which could turn the tide of the war, Adama meets a potential love interest. The series would address a young man’s initiation into war: both the realities of war as fought by soldiers on the ground (and in Battlestars and Vipers), and the somewhat less real version portrayed in the media.
With: Ben Cotton, Luke Pasqualino
My thoughts:
It’s exactly what you’re expecting. An(other) action/military-driven series.
Gone are the philosophical, reflexive, and dare I say smart, plotlines of the mother-ship (no pun intended).
Say hello to combat in space, on planets and on ships, with monsters, aliens, odd creatures, and robots.
And it’s sadly not that interesting.
Obviously, and as always with any BSG–related stories post-season two, you’ve got some retcon thrown into the mix and (very) loose pseudo-mythological components (especially with the introduction of yet another wave of new Cylon designs coming out of Gods know where).
If you’re missing some fresh Human v. Cylon fighting action, then Blood & Chrome will be for you. Otherwise, pop-in any previous Battlestar episode and chances are you’ll be more satisfied. Heck, even Razor will do the trick.

Possible Related posts:

1. Pilot Pick-Up Review (NBC) — 2011–2012 Season
2. Pilot Pick-Up Review (CBS) — 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.

Possible Related posts:

1. Pilot Pick-Up Review (Cable) — 2011–2012 Season
2. Pilot Pick-Up Review (FOX) — 2011–2012 Season