Tag Archives: The Mindy Project

Networks and streamers look for laughs

The 2014 movie Dear White People
The 2014 movie Dear White People

This week there has been a lot of movement on the scripted comedy front. Netflix, for example, has given a series order to Dear White People, a 10-part adaptation of Justin Simien’s 2014 movie of the same name.

Due to air on the US streamer in 2017, it tells the story of a group of students of colour at a fictional Ivy League university dominated by white students. Like the film, the series will be produced for Netflix by Lionsgate.

Commenting on the deal, Chris Selak, executive VP of television at Lionsgate Television, said: “We’re proud to expand our partnership with our friends at Netflix on a comedy that tackles racial themes with a combination of intelligence, honesty, irreverence and wit. Our original film with Roadside Attractions catapulted Dear White People into the national conversation about race, and Justin and the rest of the creative team have an opportunity to expand this world and bring its timely and universal themes to a global television audience.”

Another comedy in the news this week is E4’s Foreign Bodies, which follows a motley gang of travellers on a three-month trip around Asia. The show, which is being produced by indie company Eleven and is backed by eOne, was first unveiled by E4 in January. But this week it was announced that US cable channel TNT is coming on board as a partner.

“Foreign Bodies is a terrific opportunity for TNT to work with eOne, Eleven and E4 on a series that will appeal to young adults not only in the US and the UK but also around the globe,” said Sarah Aubrey, exec VP of original programming for TNT. “It’s also a great chance to bring (the show’s creator) Tom Basden’s voice to our stateside viewers.”

The Mindy Project is getting a second season on Hulu, its fifth run overall
The Mindy Project is getting a second season on Hulu, its fifth run overall

Hulu, meanwhile, has announced that there will be a new season of The Mindy Project. The show aired on Fox in the US for three seasons before moving to Hulu for season four. The new run will take the total number of series to five (and the total number of episodes over 100).

A number of critics have been watching season four closely since it launched in September to see how the show has changed under new management. The general conclusion has been ‘not much’ – although the Hulu episodes are two to three minutes longer. This has led some observers to suggest that The Mindy Project has benefited as a result, because it can dwell a little longer on comic scenarios or character development.

Hulu’s announcement about Mindy was part of its Upfronts, which also included some news about its drama slate. It has, for example, ordered a pilot set in prehistoric times called Dawn. Created by Hank Steinberg (The Last Ship, Without a Trace) and Ken Nolan (Transformers 5, Black Hawk Down), the show centres on a tribe of Neanderthals and their battle for survival after meeting a group of Homo Sapiens.

The company also announced there will be a second season of The Path, which centres on a religious cult.

Michelle Monaghan and Aaron Paul in The Path
Michelle Monaghan and Aaron Paul in The Path

Among other major scripted stories this week is the news that FX in the US has ordered Feud – another anthology drama series from Ryan Murphy. The eight-episode show, which also involves Fox 21 Television Studios and Brad Pitt’s prodco Plan B Entertainment, will star Susan Sarandon and Jessica Lange. Based on a script by Jaff Coihen and Michael Zam, it explores the rivalry between iconic US actors Bette Davis and Joan Crawford.

This week also saw National Geographic in the US move forward with Killing Reagan, a TV adaptation of Bill O’Reilly and Martin Dugard’s book of the same name. Playing Reagan, the actor who became US president, will be Tim Matheson (The West Wing). His wife Nancy will be played by Cynthia Nixon (Sex in the City). The script for the adaptation is from Eric Simonson, a documentarian who is also a member of the Steppenwolf Theatre Company.

The Killing franchise has been a remarkable success for Nat Geo in recent years. Killing Lincoln, Killing Kennedy and Killing Jesus, which were also based on books by O’Reilly and Dugard, were the most watched shows in the channel’s history. Kennedy and Jesus were also Emmy-nominated. The new show is different from the other Killing productions in that it deals with an unsuccessful assassination attempt (by John Hinckley in 1981). The other three stories famously ended with the deaths of their protagonists.

The chaotic scene in the immediate aftermath of the attempted assassination of Ronal Reagan
The chaotic scene in the immediate aftermath of the attempted assassination of Ronald Reagan

There are also a couple of stories this week about planned book adaptations. Sonar Entertainment is developing a show about the contraceptive pill based on a book by Jonathan Eig. Called The Birth of the Pill, the show centres on the four people who were involved with the development of the birth control during a period of sweeping social change and rapid scientific advances. Eig has previously written three non-fiction books, two based around baseball players and one about the plot to capture gangster Al Capone. The TV adaptation is being written by Audrey Wells, who has penned a number of popular movies including The Game Plan, Shall We Dance and Under the Tuscan Sun.

In the UK, meanwhile, there are reports that production firm Rooks Nest is developing Joseph O’Neill’s acclaimed novel Netherland for TV. The project is Rooks Nest’s first move into TV drama after success with recent movies such as The Witch and Obvious Child. Netherland is set in post-9/11 New York and London and centres on Hans, a Dutch expat working on Wall Street who rediscovers his love of cricket when he joins the Staten Island cricket team. However, he soon falls under the spell of the team’s charismatic Trinidadian coach Chuck Ramkissoon.

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The fem factor

marvels-agent-carter-copy
ABC has confirmed the return of Agent Carter

The US is the centre of attention again this week, with scripted shows being launched, renewed or cancelled on a daily basis.

If there’s one interesting trend emerging it’s the desire among US networks to find a kickass female lead – someone who can combine the allure of Xena: Warrior Princess with the moral rectitude of Wonder Woman and the brainpower of Borgen.

CBS, for example, has given the go-ahead for Supergirl, a new series from Warner Brothers TV to be executive produced by Greg Berlanti. Starring Melissa Benoist (Glee), it tells the story of Superman’s cousin and her decision to embrace her superpowers (which unfortunately don’t extend to enhanced fashion sense). Clearly intended to attract a female audience, it is also part of the network’s strategy to reach out to much younger viewers.

Over at ABC, meanwhile, the decision has just been taken to give a second season to Agent Carter, a spin-off from the Captain America movie franchise that centres on formidable female agent Peggy Carter. There were serious doubts about whether the show would be renewed due to its modest ratings, high cost (it’s a period drama) and the fact that sister series Agents of S.H.I.E.L.D. is coming back after a season’s break. However, the fact that Agent Carter has received a positive critical response, coupled with the fem factor, has proved decisive.

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The Mysteries of Laura has been renewed despite poor critical reception

ABC Family has another female-centred fantasy coming through in the shape of Shadowhunters, based on book series The Mortal Instruments by Cassandra Clare. Vaguely reminiscent of Buffy the Vampire Slayer, Shadowhunters follows 18-year-old Clary Fray, a human-angel hybrid who hunts down demons. This week, ABC announced that the lead will be played by Katherine McNamara (New Year’s Eve).

The emphasis on female-led shows isn’t only evident in the realm of fantasy. An NBC renewal attracting attention this year is The Mysteries of Laura, a police procedural comedy drama in which a female detective attempts to juggle her day job with single motherhood. The first series was panned by critics but rated well enough during 2014/2015 to secure a 13-episode renewal.

Leaving the female-led issue to one side, there are a number of interesting aspects to Laura’s renewal. Firstly, it is based on a Spanish show, proving that foreign formats can work on US network TV. Secondly, it was the only one of NBC’s 2014/2015 drama launches that got renewed, underlining what a ruthless market the US is (and how off the mark NBC was with its commissions last year).

It’s also interesting to note that two of the show’s executive producers are Greg Berlanti and Aaron Kaplan. Why does this matter? Because Berlanti will have six shows on TV next season and Kaplan seven. The clear message is that both know what it takes to make network drama tick.

The-Mindy-Project
The Mindy Project has been ditched by Fox but rumours suggest it could be revived on Hulu

After the recent revival of interest in sci-fi visionary Philip K Dick (The Man in the High Castle. Minority Report and much more), it’s the turn of Aldous Huxley’s iconic novel Brave New World to be dusted down and reimagined for the TV screen. Set in a world where mind-altering drugs, free sex and rampant consumerism are the order of the day (no, not 21st century LA), and people are genetically engineered in hatcheries, the TV version of the book will be produced by Syfy and Steven Spielberg’s Amblin Television.

Announcing the project, Dave Howe, president of Syfy & Chiller, said: “Brave New World is one of the most influential genre classics of all time. Its provocative vision of a future gone awry remains as powerful and as timeless as ever.” Les Bohem (Dante’s Peak) will write the screenplay and executive produce.

Sci-fi fans will also be delirious to learn that BBC America and Canadian network Space have renewed Orphan Black for a fourth season. Produced by Temple Street Productions, the show stars Tatiana Maslany as a woman with several cloned identities. The show has proved to be something of a cult hit, generating high levels of social engagement and time-shifted viewing. With a total of 40 episodes (including the new run), it’s also becoming a key property for BBC Worldwide’s international distribution efforts.

In terms of the new dynamics of the TV business, there’s a lot of interest this week in the fate of The Mindy Project, a romantic comedy that has aired for three seasons on Fox in the US. Fox cancelled the show on May 6, but there are reports that Hulu is interested in reviving it with a two-season order from coproducers Universal Television and 3 Arts Entertainment. Reminiscent of the Amazon deal that saved Ripper Street, it’s an indication of the growing significance of SVoD platforms.

orphan-black
Orphan Black will come back for a fourth season

There are also a few indications that channel chiefs are seeking to manage the cost of drama more carefully. A+E’s decision to simulcast Roots and War & Peace across three of its networks is an example of this. So is Discovery’s desire to spread the cost of drama across its global family of channels. We’re also seeing more mid-sized US cable channels jumping on board European dramas as partners, rather than taking a commissioning position.

Sundance, for example, picked up Deutschland 1983, while Pivot took a position in Fortitude. This week, building on this point, Esquire US acquired Tandem Productions’ thriller Spotless (an English-language series that has aired in France on Canal+).

Esquire is calling the Spotless acquisition an original series, adopting a form of language Netflix has been using to great effect. This is a model we’re likely to see more of as broadcasters try to make sense of the high cost of marquee scripted programming.

In a week dominated by the US, one international story stands out – the BBC’s decision to cancel Jimmy McGovern’s Banished. Commenting, the BBC said: “There are no current plans for Banished to return. We are very proud of the series and hugely grateful to all those who worked so hard on it. However, the BBC2 drama budget only allows for a limited number of returning dramas a year, which means we have to make hard choices.”

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