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Pilot Pick-Up Review (The CW) – 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 The CW, also known as the tween network.
No comedies in development this season, although drama-wise, they still know their perfect demographic to the T. The goal is to pick a known genre/format/story that works elsewhere and then put the magic “teen” touch to it.

Dramas (One-hour)
Awakening (Glenn Davis/William Laurin)
Logline: A dramatic series centering on two sisters on the verge of adulthood who find themselves on opposite sides of a zombie uprising. These zombies can hide their grotesque undead countenances behind beautiful, sexy exteriors.
With: Jewelle Blackman, Lucy Griffiths, Meredith Hagner, Brian Hallisay, McKean Rand, Titus Welliver
My thoughts:
I knew it was going to be about zombies before having read the first page, but the way they are portrayed in the show definitely took me aback. As in: “Really? They’re going that way?”
If you haven’t guessed it by now, Awakening pretty much humanizes zombies to the max. And although this might seem plausible for vampires and werewolves on True Blood (who are, in some way, still human), it doesn’t quite work the same when we’re talking about corpses who shouldn’t really be talking, let alone having family discussion around the dinner table.
Beyond that initial “wait, what?” factor, the story itself kind of gets confusing with the vague attempt at creating a mythology (words like pre-dead vs. alive get thrown around a lot without making a clear distinction as to who is what). Though the most mind-boggling thing about the show is the fact that the zombies can morph in and out of human morph by will. Wait, what?
Bonus negative points for a midnight zombie dance cued up to the music of, you guessed it, Thriller.
But the big question for me going in was: what about Titus Welliver? Well fortunately, his character (The Hunter) is probably the only saving grace of this show. (Doesn’t mean I like him being on The CW)
Going to series? Yes. Zombies are the new vampires, right?

Cooper & Stone (Laurie Arent)
Logline: A dramatic series centering on a smart young female team of police detectives and best friends in a North Side Chicago precinct, who are as good at discussing fashion, music, pop culture and guys as they are solving homicides.
With: Alexandra Breckenridge, Vanessa Ferlito, David Ramsey, Riley Smith, Jenna Stern
My thoughts:
Talk about a reach in a premise. Fortunately, Cooper & Stone totally embraces the ridiculousness of its story. Sadly, it’s not really entertaining.
Going to series? Maybe. The cop/procedural element might be a weird fit for The CW though.

Hart of Dixie (Leila Gerstein)
Logline: A dramatic series centering on a bright but quirky surgical resident with has a terrible bedside manner who winds up inheriting a general medical practice in a small Alabama town, after losing her best friend, her boyfriend, and her fellowship in one fell swoop. Now she must set aside her ambition to be a cardiothoracic surgeon to tend to the town’s eclectic and eccentric group of characters.
With: Wilson Bethel, Rachel Bilson, Jaime King, McKaley Miller, Scott Porter, Cress William, Nancy Travis
My thoughts:
I went in expecting to hate it, I went out…kind of enjoying it?
This is definitely a more “mature” show than the rest of this slate. Think more of a WB show (Everwood, Dawson’s Creek, etc.). It’s obviously still a rom-com, which still fits with the CW motto, but it’s angling towards an older demo.
Going to series? Probably. The only reason the CW might be on the fence about it is that Privileged didn’t work for the network back in 2008/2009.

Heavenly (Richard Hathem)
Logline: A dramatic series centering on a committed young female attorney who teams with a man who has recently transformed from angel to human on a legal aid clinic, she saving clients’ skins while he saves their souls. As an angel, he never experienced feelings or emotions, and he’s dealing with this “awakening” – but was he really an angel at all, or just psychologically damaged?
With: Ben Aldridge, Lauren Cohan, Ryan Eggold, Elizabeth Ho
My thoughts:
This is exactly what it sounds like. Touched by an Angel 2011. The corny dialogue does not help.
Will probably be universally panned once it goes out.
Going to series? Maybe. As a late April Fools prank.

The Secret Circle (Andrew Miller/Kevin Williamson)
Logline: A dramatic series based on the book trilogy by L.J. Smith, about a teenager, Cassie, who is forced to move from sunny California to gloomy New England following her mother’s violent death. Despite her homesickness, she feels a strange kinship to a terrifying group of teens who seem to rule her school. Initiated into the coven of witches that’s controlled New Salem for hundreds of years, she’s drawn into the Secret Circle, a thrill that’s both intoxicating and deadly. But when she falls for a mysterious and intriguing guy, she must choose whether to resist temptation or risk dark forces to get what she wants.
With: Ashley Crow, Thomas Dekker, Gale Harold, Shelley Hennig, Natasha Henstridge, Louis Hunter, Jessica Parker Kennedy, Brittany Robertson, Phoebe Tonkin
My thoughts:
If you’re thinking this show is really going to be a fantasy show, think again (it’s The CW after all). Secret Circle ends up being more of a high-school drama than anything else. It’s also less “powerful” than, say, Awakening, especially when you’re thinking of pairing it up with the Vampire Diaries.
Going to series? Yes. Kevin Williamson. Enough said.

Soon to come, FOX.

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.

It’s CBS’ turn, world of the procedural and classic comedies.
This season, they are keen to find a medical drama that will work for them, while slowly moving towards more character-driven shows. On the comedy front, multi-cameras are still more present than ever, especially the ones centering around a male lead.

Dramas (One-hour)
The Doctor (Rina Mimoun)
Logline: A dramatic series centering on a woman who abandoned her career as a doctor to be a stay at home mom. Thirty years on, she has no regrets. But when she’s widowed, she’s inspired to return to medicine to carry on her deceased husband’s practice. The catch is that she not only needs to complete her medical residency, but her adult kids (one of whom is a surgeon and the other of whom is a recovering addict) are ambivalent about her choice.
With: Eva Amurri, Michael Boatman, Scott Foley, Christine Lahti, Kyle MacLachlan
My thoughts:
I feel lukewarm about the script. A few elements seem downright weird. The deceased husband’s partner in the company gives away one of his patients’ charts to Lahti’s character just like that. Doctor/patient confidentiality anyone?
It’s interesting that CBS is going with a lead in her 60s (plus it’s Christine Lahti’s big return to television), but it makes the show even more realistic so good for them.
Going to series? Tough choice. The concept isn’t strong to pull in viewers, but Lahti’s big return to television might be enough for CBS to strongly consider the project.

Untitled Susannah Grant
Logline: A dramatic series centering on a doctor whose life changes when his colleague dies and gives him life lessons from beyond the grave.
With: Julie Benz, Jennifer Ehle, S. Epatha Merkerson, Afton Williamson, Patrick Wilson
My thoughts:
First, don’t be fooled by the terrible logline. I was expecting some boring Ghost Whisperer copy-cat, but this is not it (thankfully). Patrick Wilson is a great casting coup, although his character is downright unlikeable so he’ll need to work his charm.
My main gripe is with the longevity of the concept. He pretty much comes to term with Anna’s ghost by the end of the pilot, so what else is there to explore? It’s an interesting story as a closed oned, but as a show? Difficult to tell.
Going to series? Yes. Despite a somewhat lukewarm logline, the pilot is pretty good and Wilson as the lead seals the deal.

Hail Mary (Jeff Wadlow)
Logline: A dramatic series centering on a pair of detectives in Atlanta, comprised of a single mom from the suburbs who teams up with her murdered son’s best friend who is a small time con artist from the projects who solve the crimes that the cops don’t have time for.
With: Noureen DeWulf, Minnie Driver, Brandon T. Jackson, Enrique Murciano, Stephen Tobolowsky
My thoughts:
I’m assuming this is one show going for the Medium crowd.
It’s kind of weird premise (i.e. mom teams up with black kid to become P.I.), somewhat reminiscent of The Blind Side. The P.I. aspect especially takes a long time to get set up.
Plus, the murder mystery of Driver’s son is pretty much solved in the pilot. It probably should have been a longer arc.
Going to series? Not sure. Driver and Jackson are definitely strong casting bets, but the premise isn’t that noteworthy.

The Rememberer (Ed Redlich/John Bellucci)
Logline: A dramatic series loosely based on the short story The Rememberer by J. Robert Lennon, centering on a female detective for the New York Police Department who never forgets anything thanks to a special ability.
With: Michael Gaston, Poppy Montgomery, Kevin Rankin, Daya Vaidya, Dylan Walsh
My thoughts:
Besides getting the Emmy for worst title ever, this is in many regards a female version of The Mentalist, only less douchey. The introduction to the main character’s abilities is pretty interesting, and you’re not buried in exposition unlike other procedurals, but the case’s conclusion is unsatisfying.
Going to series? It’s CBS’ bread and butter: a cop procedural with a character twist and serialized elements.

Rookies (Richard Price)
Logline: A dramatic series centering on a group of rookie cops working in high crime areas of Manhattan. Their backgrounds are diverse – one is from a family of criminals, another from a family of cops. The others are a former reporter, an immigrant from Afganistan, a retired NBA player and a former Olympian/Marine with whose beauty belies her toughness.
With: Adam Goldberg, Terry Kinney, Judy Marte, Tom Reed, Stark Sands, Leelee Sobieski
My thoughts:
Pretty much the American version of Rookie Blue (and we know how that one fared).
The character archetypes are all over the place, which might be interesting but it’s as if they were all needed–which is not the case.
It’s not a bad show though. Closer to Southland than CBS’ usual cop show, which means…
Going to series? Possibly…as a mid-season show that will get buried in terrible programming and swiftly canceled.

Multi-camera Comedies (Half-hour)
Herd Mentality (Bill Martin/Mike Schiff)
Logline: A multi-camera comedy series based on the life of sports journalist/commentator Colin Cowherd.
With: Danny Comden, Eliza Dushku, Damon Wayans
My thoughts:
Talk about a reach in pilot pick-up. CBS must be really in love with the NFL because, apart from retransmitting the league, this is a sports-driven show that would fit pretty much anywhere else but The Eye. FOX anyone?
I’ll give you the fact that it heavily centers on a couple and the sports talk somewhat takes a back-seat, but it still heavily feels in opposition to what CBS is trying to go for.
Going to series? Hard to imagine. For the reasons I just listed.

Home Grown (Jackie Filgo/Jeff Filgo)
Logline: A multi-camera comedy series centering on a large extended working-class family in the Midwest.
With: Shane McRae, Becki Newton
My thoughts:
Kind of the poor man’s Raising Hope (no pun intended) in multi-cam version. Not really funny and plain overall.
Going to series? Let’s hope not.

Home Game (Warren Bell/Chris Nowak)
Logline: A multi-camera comedy series which is loosely autobiographical for former NFL player Mark Schlereth, centering on an NFL football player who retires from the game and now is spending a lot of time with his all-female family. His testosterone-soaked years in the locker room have made his teen daughters seem like an alien species. But his ignorance of women doesn’t lessen his belief that father knows best, which drives his wife a little crazy.
With: Jenn Proske, Rob Riggle, Constance Zimmer
My thoughts:
Yup, another NFL show, although this one is definitely more family-oriented than the former.
Actually, it pretty much ends up being a classic multi-cam sitcom. Gold territory for CBS one might say.
I’m personally turned off by the show but I’m not middle-America so what do I know.
Going to series? Maybe. It’s obvious they’re trying to get some kind of NFL-related show on the air, and this one is closer to what CBS stands for than Herd Mentality. Whether that’s enough remains to be seen.

Untitled Peter Knight
Logline: A multi-camera comedy series centering on young people in their first jobs in a venture capital firm dealing with their personal and professional lives.
With: Tim Peper, Michelle Trachtenberg, Larry Wilmore
My thoughts:
Nothing groundbreaking there. It’s far from bad but it’s pretty much a typical workplace comedy, only this time with 20 year-olds at the center of it.
Going to series? Doubtful. Feels almost more like an NBC-type comedy than CBS.

Untitled Rob Schneider
Logline: A multi-camera comedy series about a guy who marries a Mexican-American woman with a huge family and has to adjust to never being alone.
With: Lupe Ontiveros, Tony Plana, Rob Schneider, Nadine Velazquez
My thoughts:
I’ll just say it: it’s bad.
Right now, I just feel sorry for Nadine Velazquez for having gone from My Name is Earl to…this.
Whatever you think this show is, it’s worse.
Going to series? *crickets*

Vince Uncensored
Logline: A multi-camera comedy series centering on a man who decides to approach his working and domestic lives more honestly after a life-altering experience.
With: Michael Chiklis, Elizabeth Perkins
My thoughts:
Surprisingly decent. I say surprisingly because we’re talking about a multi-camera (and I’m not a huge fan of those). Plus the premise wasn’t that interesting to begin with. But it works.
I’m still hoping they somehow come to their senses and make it a single-cam.
Going to series? Probably. Chicklis is somewhat of a casting coup considering this is a multi-cam and it certainly doesn’t hurt that Conan O’Brien’s prodco is behind the project (plus veteran writer!).

Single-camera Comedies (Half-hour)
The Assistants (Tucker Cawley)
Logline: A single-camera comedy series centering on a group of four assistants who work for two high-maintenance celebrities.
With: David Henrie, Heather Locklear, T.J. Miller, Lamorne Morris, Emily Rutherfurd
My thoughts:
You might not know this but The N had an extremely similar show back in 2009. Right down to the title.
Now the question is whether this version is good or not.
Well, for one, the script was way too dense. Think one-hour 60-page long.
Secondly, and perhaps more importantly, the bosses are really unlikeable. And I don’t mean Ari Gold-unlikeable where you love to hate them. No, no. I’m talking so unlikeable you might want to switch channels altogether.
There’s also the question of who they’re targeting with this project. It seems a little too…young for CBS.
Don’t get me wrong, I’m very happy that T.J. Miller is getting some much needed screen time,
Going to series? Possibly. This is one of the only clear-cut comedy concepts they have, but it’s hard to see what existing show can serve as lead-in.

How To Be a Gentleman (David Hornsby)
Logline: A single-camera comedy series loosely based on the book How To Be A Gentleman: A Contemporary Guide to Common Courtesy by John Bridges. The book answers questions of etiquette, such as “should you take a business call on your cellular phone during a dinner date?” The series centers on an uptight guy with an old-fashioned sensibility which makes him a bit of an outsider in today’s society. He’s forced to update his attitudes when the magazine that he writes his etiquette column for gets a new owner, which wants a fresher approach. He gets help from his male friend from high school who owns a gym.
With: Rhys Darby, Kevin Dillon, Dave Foley, David Hornsby, Nancy Lenehan
My thoughts:
Decently funny and definitely going for that young, male-skewing vibe How I Met Your Mother is already angling towards.
Going to series? Yes. Known property, strong casting, and perfect companion to already-existing shows.

Next up in the broadcast world is The CW.

Is Netflix’s original programming strategy a game-changer?

Is Netflix’s original programming strategy a game-changer?

By now you’ve probably heard the news: Netflix has decided to enter the original programming world. Not only that, but the king of online movie distribution is doing it through a $100-million deal, scoring House of Cards (one of the most sought-out cable pilots) with a 2-season/24-episode order.
Boom.

It’s certainly impressive, and pretty much unheard of, but why can this move be considered a game-changer?

First, the fact that Netflix is doing original programming is, by itself, a major decision, and dare I say a major shake-up in the peaceful realm of the television industry.
An outside entity getting on TV’s turf by pulling the rug out from their feet? They’re a distribution outlet, not a content developer. Surely this is tantamount to iTunes making shows of their own, right?
Well the truth is that we’ve now moved beyond all of that.
Do you remember The Outer Limits‘ opening credits? “We control the horizontal and the vertical.”
I could write a thousand pages describing how “the Internet” or “YouTube” or “the writers’ strike” changed the way “television” is “made,” but the bottom line is that the standard TV business model is slowly eroding away. We’re now angling towards an endless array of verticals and horizontals. The latest example being Comcast buying up NBC/Universal. The “input” and “output” tubes are starting to fuse themselves together into an endless loop.
Scary, huh?
So we have Netflix, which controls 61% of movie streaming and is literally getting a dedicated button on your remote control, who is now moving beyond its distribution model to become a content creator–nay, a premium content creator and provider.
I’d say that’s one major step towards the future of television.

Now there’s also the problem of the content itself. Netflix went with House of Cards; in other words, this is a very high-profile cable drama.
The message is clear: You don’t have to be HBO to provide epic premium content.
It’s not only about making original content, it’s about making original premium content that can rival cable.
Is cable really in competition with online distribution outlets?
That’s still up to debate, although Netflix clearly thinks so.
“But they don’t have development executive” you say. Well that may be true, but I’m still waiting to see Netflix’s exec pyramid to validate that statement. They’ll probably create a dedicated department in the next few weeks.
Regardless, seeing as this is their first original venture, and the way they acquired the project, I’m willing to bet that they’re more than willing to give some artistic freedom.
After all, we’re not talking about a project by unknowns here. House of Cards is a respected foreign property drama and has established auspices (Fincher/Spacey). Plus we have MRC, which has a decent track record, but more importantly everything to prove. It’s probable that they’ll be the ones more involved in the creative process.
And will House of Cards be eligible for an Emmy?

Finally, we have the deal itself. A two-season order is nowadays virtually unheard of.
As Nellie Andreeva pointed out in her article:

AMC went straight to series on The Walking Dead but with a modest six-episode order. Rome and Fox’s CGI extravaganza Terra Nova started off with 13-episode orders. Starz, which has been going straight-to-series with its dramas, ordered 10 episodes of Camelot and 8 of Boss.

Although still unknown, the distribution model of these 24 episodes will probably be by itself somewhat of a revolution (at least for that type of content).
Will it be VOD-only? Will DVDs be mailed out? How about the marketing campaign?
Everything needs to be defined. Or rather redefined, since this is after all a TV series we’re talking about.
Change is afoot.
The fact that Netflix spent $100 million to acquire the project is them basically thumbing their nose at cable.
Had AMC or HBO acquired the project, it certainly would have kept its appeal, but beyond its artistic value, the fact that Netflix is developing it is much more alluring.
House of Cards is now a big fish in a small pond–which is about to get enormous.

Of course, at the end of the day (or rather months to come), all of this might end up being a catastrophic failure. Nobody watches the show and millions have been spent for nothing.
I personally believe though that it’s going to work out on all fronts.
And if anything, this will at least usher in a new era; that of premium original content not originating from the standard black box, but from an entirely different mode of distribution.
Whether that’s a good or bad thing remains to be seen.

One final question remains: Will House of Cards be eligible for an Emmy?