
Is Epix ready to commit to a scripted series order? That is what creative types have been pondering in the past few days, following the demise of the fledging premium cable channel/broadband service’s first scripted pilot Tough Trade. It was groomed to be Epix’s first original scripted series. But 20 months after originally greenlighting it, Epix, a partnership of Lionsgate, Viacom and MGM, has pulled the plug on the project. The show, created by Chris Offutt and produced by Lionsgate TV, revolved around three generations of a Nashvile music dynasty and starred Sam Shepard, Trace Adkins, Cary Elwes, Lucas Black and Joey Lauren Adams. The project, which was once set up at TNT, also boasted big names behind the camera: Weeds creator Jenji Kohan was executive producer/showrunner, Gavin Hood directed the pilot, T-Bone Burnett served as executive musical producer, and Sean and Bryan Furst also executive produced.
Originally, Epix brass had said that they expected Tough Trade to premiere as a series in 2010. The project, whose pilot was shot 9 months ago, appeared on track with an order for 4 more scripts and an extension of the actors’ options. The pilot, which was recut several times, was reportedly screened around the country and did well. But then last Thursday, Epix officially passed on it. According to Epix CEO Mark Greenberg, the network’s executives spent a long time trying to fix what they considered some flaws in the pilot, including possibly recasting some roles, and worked on the additional scripts but faced a number of challenges, including Kohan’s unavailability as she’s been busy with her long-running Showtime series Weeds. “It was a combination of running out of time and dealing with distractions, and at some point we had to make a decision whether it works or it doesn’t,” he said. “At the end of day, it just didn’t work.” FX’s recent pilot order to similarly-themed drama Outlaw Country had nothing to do with the decision to pull the plug on Tough Trade, Greenberg said, adding that the network and producer Lionsgate TV are considering retooling the Tough Trade pilot into a mini-series.
Whether or not Tough Trade makes it on the air in some shape or form, Epix’s decision to scrap the series is raising questions in the scripted circles. ”The overarching issue is that as a network, Epix is not ready to make series orders yet,” one person said. “This sends the wrong signal to the development community that they are not capable to pick things up.” Greenberg countered that Epix fully intends to pick up a scripted series though he admitted that there are no immediate plans for other pilot or series production orders. He also stressed that EVP of original programming and development Laverne McKinnon will continue to build a development slate or series and minis, which already includes a potential comedy series from Larry Charles and a drama from Oliver Stone. Epix, whose current original programming portfolio is comprised by documentaries, concert and comedy specials, is now available in 30 million homes through carriage deals with Verizon FiOS, Cox Communications, Dish Network, Charter Communications and Mediacom, as well as a groundbreaking but controversial distribution pact with Netflix. Epix is yet to strike pacts with the top two cable operators Comcast and Time Warner Cable as well as with satcaster DirecTV. Direct TV and TWC executives have expressed reservations about adding the new channel to their lineups, especially following its deal with Netflix that allows Epix movies to stream on Netflix 90 days after they debut on traditional premium TV. Speaking at MIPCOM today, Lionsgate CEO Jon Feltheimer suggested that the length of the window may be tweaked while also touting Epix as a success story. ”Epix is working,” he said. “It has achieved one of the fastest accelerations from startup to profitability of any channel in history — profitable after only 10 months of operation”.
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Easy to be profitable when you don’t spend any money. The development offices are in a strip mall in the Valley. The developers are extremely nice people without a clue what to do. Ten more months and they will be shut.
Laverene McKinnon wasn’t the right person to spearhead development for a fledgling cable channel. Most of the shows she announced look like the same fare she developed at CBS.
That’s ridiculous. Nothing that was announced in development sounds anything like something that she developed at CBS — no procedurals, etc. And several of the spec pilots she bought are among the best of the last 4 or 5 years.
Uh, the development offices are now on the Paramount lot, but thank you for playing — weren’t you the guy saying that AMC would never make an impact when they were just airing Smokey and the Bandit non-stop?
I wasn’t that guy, but hey thanks. AMC has two terrific shows that have no audience- this is impact?
The Wire had less of an audience, still the best show on TV the last decade.
their offices are now on the Paramount lot.
Here’s the deal: Tough Trade had been developed elsewhere, and bought by Epix before McKinnon came in and greenlit I think before she got there, too. It was a good script, but even with that amazing cast, a show about Nashville was never going to establish a brand the way that the Shield did for FX or Mad Men did for AMC — or the way Sex and the City and Sopranos did for the golden era of HBO (yes, Larry Sanders and Oz preceded it, but I mean to the whole new level that Sopranos took things). Epix doesn’t just have to put on a good show: they have to put on a good show that generates a huge amount of buzz and interest and an identity for this brand new network — it’s crucial. And I gotta think that in looking at Tough Trade, they thought, well, this would be a good second or third series, but for the first to establish an identity…. ah.
Very astute, Joe. But a shame – it’s been too long since we’ve seen Joey Lauren Adams.
Sadly, EPIX did not order any more episodes of TOUGH TRADE, after all. Unfortunately, Lionsgate Entertainment’s Kevin Beggs was not
selling the pilot to EPIX if Liongate and their EPIX partners MGM and Viacom International threaten to premiere this country-music drama series on pay television in the future.
That was NOT a saddening thought for Viacom sharholders, for Lionsgate shareholders and for Leo the Lion, MGM’s longtime roaring opening-logo mascot!
EPIX HD – TV ON ANY SCREEN
http://www.epixhd.com
The truth of the matter is they didn’t get the major carriage they needed to have the money to pay for original scripted. But more importantly, they didn’t commit to scripted. People talk about FX and AMC, but in both cases, more FX than AMC, the mothership committed to a slate of programming and went for it. If The Shield hadn’t been the seminal series it became, FX would have still been committed to original programming. It’s a mindset and it starts at the top and ripples from there. You have to condition the creative community and the advertising community of your intent to go all the way and Mark Greenberg’s profile for the network was always wishy washy and Laverne McKinnon’s hire meant nothing to anyone. My god, they’re in New York why not have poached Christina Wayne (who may have already left AMC) and tell the world you’re all in. This channel is dead dead dead and more because of its flawed initial concept. If I’m the new MGM with that beautiful HD channel and the seeming reinvigoration of the company, I’m jumping hoops of joy that I get to keep my movies for my own brand. You need vision and dough to launch a channel and Epix had none.
Joe is dead-on. Epix really needs to figure out their brand, I think but sometimes your brand finds you through your successes. Did AMC know for a fact that Mad Men would be brand-making? Nobody knows for sure. They should just focus on 3 strong series ideas that compliment one another.
Joe’s comments sound like that of a good company man.
The fact is, Epix is broke. They didn’t get the carriage deals they wanted. And they don’t really want people to know that they are developing shows they can’t finance.
A good company man, saying they wasted money making a pilot they didn’t end up wanting? No, I don’t think so. Joe is right on.
The fact is, you don’t know your facts. They got that gigantic deal from Netflix. You can’t expect it to be HBO in year one or even year two.
With all the talented people and big hitters involved in TT they won’t flush it completely will they?
It has to be picked up later on or by a different network. Right?
Really dying to see it.
so will it ever see the light of day?
With all of the talented people involved and the big names this can’t be flushed completely can it?
What are the chances of it being aired as a 2nd or 3′d series, or being picked up by another network.
There’s nothing on TV like this.
I’m really dying to see it.
After the mgmt. of Epix could not secure any meaningful carriage deals, they jumped to Netflix to fill the void left by the lacking Paramount, Lionsgate, and MGM pay deals. Forget brand, originals, etc.
Outlaw Country? Nice try. FX totally stole that idea from a good friend of mine Jim Hershleder and then acted as if it was theirs all along. Crossing Nashville I believe was the original title and much better than whatever they plan to air.
Jim worked as a video director in Nashville for years. Nobody knows it better than him. His stories are unbelievable and all true. If this is what Hollywood is really all about you can have it!
Once upon a time a network bought really unusual series one after the other, and they became hits. Huge hits. Why? Because someone named Chris Albrecht tossed out the rule book and made Sex and the City and The Sopranos and Six Feet Under, three cultural landmarks in a row. All someone has to do — someone like Epix, say — is buy something original and make stop making the same shows over and over again and they’ll get some hits, too. Okay, so Mad Men isn’t a blistering hit. Nor is Breaking Bad. But who can deny that if they were on HBO they’d have much higher numbers? If they had the marketing power of HBO behind them, they’d soar. And by the way, what about a little broadcast phenomenon called West Wing? Smart and unlike anything before or after, and it had the richest people in America locked to their TVs, which is why it stayed on the air. (It’s hard to get really rich people to watch TV. Mad Men has quite a few of them.) There are hits to be had, and Epix could have them and build a network and get carried on cable systems by making a little serious noise. All it takes is what Albrecht had. Which is, uh…I think it’s called courage. Or you could just call it balls.