Tag Archives: BET

Bad girls

Sharing the screen together in action crime drama LA’s Finest, stars Gabrielle Union and Jessica Alba reveal the origins of the Bad Boys spin-off, their involvement in the creative process and why the show aims to showcase the titular city.

In the 16 years since Bad Boys II first hit cinemas, Gabrielle Union has gone on to become one of the biggest US actors and producers on screen. Roles in Friends, City of Angels, Ugly Betty, Flash Forward and Night Stalker cemented her screen presence, which had begun in the 1990s with roles in shows such as Moesha and Saved By The Bell: The New Class.

Gabrielle Union (left) returns as Syd Burnett to partner Jessica Alba’s Nancy McKenna

She is best known for playing a talkshow host in BET’s long-running series Being Mary Jane, which debuted in 2013 and concluded this year, while also starring in a host of feature films. Meanwhile, Union has also stepped into production, shepherding TV movie With This Ring and features Almost Christmas and 2018’s Breaking In, in which she also stars as a woman who fights to protect her family during a home invasion.

Yet it is the character of Syd Burnett, last seen alongside Detective Marcus Burnett (Martin Lawrence) and Detective Mike Lowery (Will Smith) in Bad Boys II, that inspired her latest television series, action-crime drama LA’s Finest.

Produced for US streaming platform Spectrum, the Bad Boys spin-off sees Union reprise her role of Syd, who leaves her complicated past behind to become an LAPD detective. Now partnered with Nancy McKenna (Jessica Alba), they take on the most dangerous criminals in the city while skirting the rules and confronting their equally complex personal lives. After debuting earlier this year, the series has been renewed for a second season. It is produced by Jerry Bruckheimer Television and 2.0 Entertainment in association with Sony Pictures Television.

Union and Alba (Sin City, Fantastic Four) both attended the Monte Carlo TV Festival, where LA’s Finest had its premiere screening, and DQ later heard from the stars how they teamed up on the series, their roles behind the scenes as executive producers and their love for the show’s location.

LA’s Finest was based on Union’s desire to find out what happens to Syd after Bad Boys II.
Gabrielle Union: I was in this very iconic movie that was globally loved and all the time I get, ‘Oh my God, you’re Bad Girl or whatever!’ But I was thinking, ‘You have no idea what happens to my character except she has this high-powered job as a DEA agent, she goes undercover and then gets in over her head and her brother and her lover have to save her.’ I was like, ‘Screw that, I’m sure Syd is very capable. Let’s create a show where Syd gets to be capable and save her damn self.’”

Union: “All the time I get, ‘Oh my God, you’re Bad Girl'”

Like the Bad Boys universe, her ambition was to create a whole new world full of mythology. She just needed a co-star and found one in Alba.
Union: I wanted to partner up with somebody who has an equally large life and an equally large platform and a woman of colour and who is an OG in the action space – she’s Dark Angel, dude! She’s a James Cameron kick-ass chick! If we can come together, we are so much stronger and I think people might want to see us.

Union’s experience producing was also proof that audiences want to see female-led stories.
Union: I did a movie last year called Breaking In. We literally shot it for a bag of Doritos. We did this one location on no money. The last I checked we were 12x budget [in revenue]. Just because you’re giving me a smaller budget and less screens, I’m still kicking ass, so if we actually give women a platform with a budget and empower them, holy shit, people are going to come, so let’s do it! Jerry Bruckheimer was like, ‘You are on to something.’ There was no way in hell I wasn’t going to make that show. It’s not only the right thing to do, creating a piece of art in the action genre that has been underserved, but we have the opportunity to empower not just us but so many people in front of and behind the camera. Don’t let me in the room and give me a seat at the table because I’m holding that door wide open and I’m letting in as many people as possible, and then I hope those people hold the door open and bring in more people. So we’re just trying to be the change we want to see and create the shows we want to binge.

As well as fronting the series, Alba and Union have been involved extensively behind the scenes alongside creators Brandon Margolis (The Blacklist) and Brandon Sonnier (The Blacklist).
Jessica Alba: We are always sitting with the guys who created the show and we all sit down and agree on the storylines, the characters and how you’ll see their storylines go throughout the season. We do a notes round on the scripts, usually during a lunchtime, two episodes before we shoot it. Then the day of, every time before we start our day, Gab and I will sit with whoever is the producing writer of that episode, the director and our other co-creators and we go through the day. We tweak things with them. We’re very involved.

Alba (pictured) and Union were closely involved in the creative process during the shoot

Union: I think earlier in our career, and generally speaking in Hollywood, we like talent to just be talent, like, ‘Shut up and just be pretty!’ We feel like not having talent as a part of the full creative process does a disservice to the process. The more seats at the table and the more eyeballs on a product, the quicker you catch bogeys and the quicker you are able to identify maybe some problematic areas. You have more voices on something to fix things, to shape things, in a way that’s going to be the most enjoyable for the audience. Sometimes when you create art in a vacuum, there are so many blindspots that you see episodes air and you see social media explode and you think, ‘How did you miss that?’ That’s because you’re alone in this process. But sometimes you’re not the best person to point out your own mistakes.

Alba’s character, Nancy, is a stepmother, which provided the actor with a new relationship dynamic to dig into during the series.
Alba: You just haven’t really seen it before. The way you’ve typically seen that relationship is either it’s very competitive or really extra and weird, like the step-mum says, ‘I’m your mother now.’ I was really sensitive to it. Gab created it and was really inspired by her own life as a stepmother to kids and her navigating that relationship dynamic. It was actually really fun thing to play.

The explosion of streaming platforms like Charter Communications-owned Spectrum is providing actors with more opportunities to show what they can do on screen.
Union: There’s so much more demand for content that needs to be filled, which means there’s so many more opportunities for amazing actors who have been toiling away all over the world to have a chance to show what the hell they can do. It’s just more opportunity to enjoy content as a family or see actors that would never be called ‘stars’ in the previous system because they’re just able, but not a double-O or the previous generation’s idea of what a star was. But it’s great to actually see capable, dope, amazing talented artists on a global level. It’s amazing.

LA’s Finest made its debut on Spectrum this year and has been renewed

But at the heart of LA’s Finest is the city itself, to which both stars have a strong affinity.
Union: I love that you can get from the mountains, you can ski and get to the beach within two hours. I love the diversity that exists throughout LA County and the surrounding communities and that’s what we want to show. We wanted to bring tax dollars, opportunities and jobs to underserved communities in LA, which is why our sound stages are in Pacoima. It’s not a city most people recognise with filmmaking but it’s a rich, amazing, dope city with amazing, capable individuals. We wanted to spread the wealth.

Alba: I grew up in the suburbs of LA and I’ve been acting since I was 12 so I’ve been coming to LA my whole life; I live there and my family is there, so it’s home. What makes LA so cool is we have generations of minority communities that grew up in LA and have melded together, so you have a really interesting Mexican-Korean community where they both influence each other’s cultures. We have a really cool Japanese community that also has influence with the Latino community. There’s a huge South-East Asian community. It’s a really rich city and we really wanted LA to be a character as we are in the show. So as the series goes on you unfold and unpack all these really cool, interesting textures inside LA.

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Courting drama

Ahead of the finale of the fourth season of US drama Hit the Floor, showrunner James LaRosa discusses the show’s move from VH1 to BET, why sports are perfect for TV dramas and his unconventional journey to running a series.

For a series entering its fourth season, Hit the Floor should have been well into its stride. Yet when it returned, it was on a new network, with some cast members deciding not to return.

It could have been a bumpy ride for showrunner James LaRosa, but the writer, who also created the sports drama, is relaxed when he looks back at the changes that afforded him some elements of creative renewal.

First airing in 2013, Hit the Floor explores fame, money, power and sex in professional basketball through the eyes of the fictional LA Devils and its dance team, the Devil Girls. The show launched on VH1, where it aired for three seasons before moving during its most recent off-season to fellow Viacom-owned cable network BET, where the on- and off-court drama of the most recent eight-episode season culminates in tonight’s finale.

The hiatus between the end of season three and the start of season four – amounting to more than two years between March 2016 and July this year – meant some of the original cast members opted not to return, most notably Taylour Paige (who played Devil Girls star Ahsha Hayes) and Adam Senn (basketball player Zero). Returning actors included Kimberly Elise, Dean Cain, McKinley Freeman, Katherine Bailess, Jodi Lyn O’Keefe and Brent Antonello, alongside new signing Teyana Taylor.

James LaRosa with (L-R) writers Holly Henderson, Sarah Fahey, Carla Waddles and Kristen SaBerre

Despite the potential behind-the-scenes difficulties season four posed, LaRosa praises BET for allowing the show to continue as it was at its former home. “Every network has its own personality but, coming from VH1 to BET, the only thing they asked of us is that we didn’t try to be anything different,” he recalls. “Fans obviously love the show for what it is, so they just told us to keep the show the same. So in general, the show is the same in terms of the feel and the pace of story and the kind of dialogue and tone we have. But having new characters definitely gives it a creative jolt.”

While the influx of new characters presented Hit the Floor’s writers with plenty of new storylines to explore, arguably their biggest challenge was writing out those who failed to reappear at the start of season four – particularly as both Ahsha and Zero were in romantic relationships. “It has partially been about picking up the pieces with those characters who aren’t in those relationships anymore and why and what those new relationships look like,” LaRosa says. “It’s not like one of those Happy Days things when a character goes into the attic and then we never hear from them again.”

Hit the Floor first took shape in 2010 when former MTV and VH1 head of scripted Maggie Malina approached long-time friend LaRosa about a soap-like drama set in the world of professional basketball. “Being a soap, it would be through the eyes of the female characters, and that has always been my bread and butter,” he says. “So Maggie called me and that’s how the show came to be.”

LaRosa then pitched the series – originally called Bounce – to VH1, with the show revolving around the basketball side’s dance team and filled with romance, intrigue, sex and murder. Notably, individual scenes rarely stray more than two pages of the script, giving the show a snappy pace.

While Friday Night Lights (2006-2011), which centres on a high-school American football team, is perhaps the undisputed champion of television sports dramas, basketball-based series aren’t without precedent, with One Tree Hill, Survivor’s Remorse and The White Shadow all centring on the game to varying degrees.

The show focuses on a fictional basketball team and its dancers

But why choose sport as a backdrop for drama in the first place? “Winning or losing is always great stakes,” La Rosa says. “The money that goes into professional sports is insane in terms of endorsement deals, contracts, salaries and all that stuff, so there’s always a lot on the line, and it’s great for our show because it’s a sport in which there are wealthy African Americans with power. And you really get to see ‘players’ in every sense of the word.

“They’re very active, their lives are very glossy and high-end and wonderful. When we first started, there was none of that. We came before Empire, Star and How to Get Away with Murder. There weren’t a lot of places where you could see affluent black characters, so that gave us an opportunity. Now there are more, it’s amazing.”

As well as featuring a diverse cast, Hit the Floor also tackles themes including race, gender and sexuality. LaRosa says he wants to make the kind of show he would want to watch, adding that any viewers who have yet to see a character in the show to which they can relate can expect one at some point.

“We have characters with many different types of faces, characters with different sexualities and economic situations. What I like to do is throw everybody in the soup but not point out that everyone is different,” he says. “This isn’t a political show. We’re not pitting people against each other in any other way except for real basic human stuff.

“The captain and star of the team is black, the owner of the team is gay, the sideline reporter is a gay man, the head of the sports network is female. I just don’t want to see the same shit on TV all the time. I want to mix it up and see what happens. So the kind of storylines we have as a result vary wildly.”

Hit the Floor came ahead of a wave of other shows depicting black characters with affluent lifestyles

Furthermore, the showrunner says sports setting allows him to tell stories in a slightly different way. “It’s not about, ‘Oh, the owner of the team is gay. Here’s a storyline about how crazy that is.’ It’s just normalised,” he explains. “One of my highlights is being able to tell stories about gay and lesbian characters or people who don’t label themselves, who are in these types of relationships, because then you can just focus on the relationships.”

LaRosa adds that the show puts its money into the whole cast, whether spending big on set pieces including a Malibu wedding for two black characters or bringing in the rain machines for a kiss scene between two men. “That’s the kind of stuff that we have on the show that I love. They’re not just supporting characters who are happy to be there, they are central lead characters who we get to see things play out for in a way that we would traditionally see played out for other types of people – white people or straight people,” he continues. “We had an episode with a whole kiss-cam storyline where every couple on the kiss cam, I made them all interracial couples because I could – and why not? Welcome to the world.”

LaRosa moved to Hollywood in 1997, landing his first job two years later on DC, a drama about young interns in the US capital that briefly aired on now-defunct US network The WB in 2000.

The writer had expected to rise up through the writers room hierarchy, from staff writer up to story editor and producer and eventually executive producer, but things didn’t quite work out that way.

“I found it difficult because I was impatient. I was doing TV movies and I was writing pilots; I was going from project to project. It wasn’t like I just hopped on Desperate Housewives and worked my way to the top. I knew the show I would be excited to write would be one I had created, so I focused on that and sold Hit the Floor,” LaRosa says.

The New Adventures of Superman star Dean Cain is among the cast

But despite lacking the “battle scars” earned by years working in writers rooms, he admits he is perfectly suited to the multi-faceted role. “If being a showrunner requires 37 skills, I seem to have them. I can’t do anything else. I might be terrible at every other thing in life but somehow being the mother, being the father, being the psychologist, having the energy, dealing with the political side, all that seems to add up to something.”

The unconventional way LaRosa came up the ranks is mirrored in the way he tackles the top job, with every episode written before production begins so he doesn’t have to split his time between the writers room and the set. Filming is also wrapped on a season before post-production begins.

“I don’t run a room in a way that is traditional. In my room, nobody’s higher than anybody else,” he notes. “If you have an idea and it’s a good idea, everybody listens to it. I’m very sensitive to how people are feeling, so I refuse to be in a situation where I see someone getting ganged up on or ignored or dismissed. You’re here to work hard but this isn’t going to be one of your traumatising jobs. I don’t have battle scars and I don’t take out those wounds on anyone who works for me.”

Though a fifth season of Hit the Floor has yet to be confirmed, LaRosa says he already knows where the show is heading – and he vows that viewers won’t have to wait another two years if the show is recommissioned. “We’re a show that is built by the fans and the fans are so patient and amazing with us,” he adds. “That is what keeps us coming back.”

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