ITV Pays $30M For Controlling Stake In ‘Hatfields … 
Hot Trailer: ‘Anchorman 2′ 
2ND UPDATE: Charlie Sheen Fired Selma Blair From … 
Time Warner Cable Sued For Passing Lakers-Dodgers Costs On … 
Jonah Hill Signs For Management With LBI 
TOLDJA! ‘Dumb And Dumber To’ Proves No-Brainer … 
Salma Hayek’s Animated Passion Project ‘The … 
Relativity Moves Scott Cooper’s ‘Out Of The … 
Hot Trailer: ‘The Lego Movie’ 
Comedy ‘I Didn’t Do It’ Gets Series Order … 
Liv Tyler To Co-Star In Damon Lindelof’s HBO Pilot … 
DreamWorks Animation Launches Effort To Re-Position Itself … 
‘Pacific Rim’ Sequel In Planning Stages, … 
Legendary “Down To Handful” Of Studio Suitors: … 
UPDATE: Dan Harmon Apologizes For Comments Slamming … 
Deadline Expands: Hires Washington Post Journalist Lisa De … 
MGM & BermanBraun Sign TV Production Deal, First-Look … 
EMMYS: ‘Big Bang Theory’s Science 
‘Client List’ Season 3 Pickup In Limbo Over … 
Amazon Orders Cop Drama Pilot Based On Michael … 
Lionsgate Acquires Pulitzer Prize Winner ‘Devil In … 
In light of the departure of Fox’s EVP programming Matt Cherniss and the network’s decision to eliminate the EVP position, Fox is boosting its comedy and drama development ranks.
Suzanna Makkos and Marcus Wiley, who had been co-heading Fox’s comedy department as VPs, have both been promoted to SVP comedy development and will continue to jointly oversee the comedy department. 
VP Terence Carter, who had been co-heading the drama department with VP Lindsay Sloane, has been promoted to SVP drama development and the sole head of Fox’s drama department. Carter, Makkos and Wiley, whose contracts were up, used to report to Cherniss and will now report directly to Fox entertainment president Kevin Reilly. (Sloane, whose contract is up in the summer, will continue as VP drama development for the time being.) Additionally, Fox will hire a total four new development execs to more than double the comedy and drama departments’ current headcount of lower-level execs under Makkos, Wiley and Carter.
While Fox had a strong 2010-11 season, which launched hit dramedy Glee, this season’s scripted series have largely underperformed. Greg Garcia’s moderately rated comedy Raising Hope has shown the most potential and has already been renewed for next season. Fall entries Lone Star and Running Wilde have already been canceled, while midseason series The Chicago Code and Traffic Light are off to a slow start.
TV Editor Nellie Andreeva - tip her here.
Loading ...
I like both Makkos and Wiley but I just don’t understand FOX at all. As a network they can’t seem to develop a comedy to save their lives. Maybe they should focus on buying specs, because Raising Hope is a middling success at best.
This is the channel that brought you that 70′s Show, Martin, and the grand-daddy Married w/Children. I really hope that sometime in the near future they can bring a live-action comedy hit to the table.
FOX develops great comedies – they just only make a pilot or cancel them after a few airings: Andy Richter Controls the Universe, Heat Vision and Jack, Arrested Development, Awesometown, Method and Red, Phil Hendrie Show, etc.
I would agree with this, they have developed some great comedies. There is an odd disconnect with the marketing of the comedies once they go on the Fall or Midseason schedule, it “appears” comedies on Fox are always scheduled as an after-thought. Dramas “appear” to receive more thought on scheduling and placement – I think viewers nowadays are more savvy and can sense this so why sample or invest the time? However, on the flip side and to be fair, they have limited hours of programming slots – their Sunday animation block works – as does a lot of their schedule – and there really isn’t that many places comedies can be scheduled. I’d urge them to think more out of the box with the marketing of their comedies and, if possible, try and nuture them just a smidge longer? Great promotions – all work hard.
In defense of Fox re: Arrested Development, it did get 3 seasons; other networks probably would’ve canceled it after 6 episodes.
But there was a Phil Hendrie Show pilot? My God, how’d they let *that* one get away? That would’ve been amazing. And, jesus, Heat Vision & Jack. Best pilot never to make it to series, ever.
I’ve developed for Suzanna and Marcus a number of times and can honestly say they are smart, passionate development execs who are a pleasure to work with. Genuinely happy for them both and wish them continued success. Nice going guys!!
Makkos is one of the best comedy execs in tv – Fox was lucky to re-up her. smart move.
Terence Carter has respectfully risen to the cream of the crop at FOX while being admired by both industry peers and talent alike. What helps define a broadcast leader is the skill set to have the unique ability to trust one’s own gut instincts to be a creative risk-taker while casting a network’s net to grab a loyal public following. Carter seems to embody this while being simply “one of the good guys”.
Everything Fox has done this year has failed – Traffic Light, Running Wilde, Chicago Code, and Lone Star. (Raising Hope lost half its lead-in last night, so that’s a FAIL! too.) How can all these people get promotions? Shouldn’t there be some consequence for failure, even in this crazy town?
Smoove + Jimmy D – I’m glad you had a “pleasure” working with Suzanna and Marcus. But so far they have only proven themselves able to develop unwatchable TV. If that’s what they’re so “passionate” about, maybe they should find another line of work…
Completely agree. I love hearing about executives that are a “pleasure” as much as the next person, but when a network is producing one huge failure after another, shouldn’t there be some heads rolling instead of big promotions?
The one consolation for these ridiculous promotions is that Fox is not just promoting its failing white executives anymore.
So maybe there’s progress in that…
i thought we were past this, but…I guess we’re not.
Since you opened the flood gates, I can’t believe you didn’t mention Whoopie Goldberg when indirectly referring to people of color.
Terence and Lindsay are both fantastic people and deserve nothing but praise for what they have done at fox
love them
Lindsay Sloane rocks!
not to be a hater, but how does Marcus still have a job????
Any time you say not to be a hater… you are going to be.
Marcus has a job because he is a facilitator. He doesn’t do the job of comedy development well (oddly that is his title), but he can get you anything you need.
Are his prices/avail better than those on the 3rd floor? I’m hitting Vegas this weekend and need to make a decision.
Um, it’s obvious from this article that Lindsay is getting the ax soon.
You are obviously well versed in the art of negotiation, Hello. If you think they don’t want to re-up her you’re a deeper moron than your post suggests. Jackhole. Stick to clever sentence beginnings and leave out the analysis part. “Um,” That was brilliant.
I didn’t realize this was an English class! Just calling ‘em like I see em, dude. Sorry if you can’t handle that she’s gonna be gone come summertime.
Lindsay Sloane has an incredible talent as a developer. No one makes notes, story points, etc. more clear. Working with her was always positive. As for Lone Star- let’s not forget it was one of the most critically acclaimed new shows to come out last year. Lindsay and her development team kicked its ass. Were it not for the ineptitude of its marketing, and of the scheduling heads at FOX, we’d still be talking about it. In my view, FOX better pull its head out and lock up Sloane as well.
At the end of the day maybe it’s the marketing peoples faults and not the development executives. Raising Hope is probably the best received new comedy of the season. It’s the funniest show FOX has put on the air since Arrested Development. Yes it has one of the best time slots on TV, but people aren’t watching for some reason. Same with Traffic Light. I haven’t loved the first two episodes of Traffic Lights, but if you check meta critic its the best reviewed comedy that has premiered in 2011
I know reviews are meaningless, but it does seem like the comedy execs are producing quality shows. People just aren’t watching which is a big issue.
On a side note Breaking In was my favorite comedy pilot of all last season. Not sure if it has changed much in the last year, but i think that one might be a winner…
“Best reviewed?!” All that means is “kiss of death.” Reviewers are more out of touch than execs. They’re jaded pricks who sit and lob bombs at other peoples’ work. Best reviewed. America doesn’t give a shit what some overfed frustrated writer-dork in LA/NY thinks about anything.
Masked Scheduler — put on a tie for Christ’s sake. You dress like an IT guy.
100% agree with you. I think Fox’s marketing has been dreadful the last several years – sorry. These executives ARE buying and developing good product. People are not and HAVE NOT been aware of new Fox shows launching. I’d put money on it. I’ve talked to people not in the biz – they have no clue re Fox but are able to rattle off a new shows on the other nets – even the friggen CW.
They are all likeable people. Some more than others-Suzanna and Terence, but their track record is just not there. I’m happy for them personally, but not happy for the network. What happened to getting promoted because of successes?
Is it me or do these Execs get the lamest photos taken of themselves? Just because they are “suits” doesnt mean they have to look like a wax figure. z
I have zero personal interest in sticking up for TV execs, but c’mon, there are so many factors that need to come together to make a hit show. Or even a good one. Two and a Half Men should prove this. It is down right painful to watch, but people seem to like Charlie Sheen. People aren’t watching it for the witty storylines. I imagine most of the critics here either have never made a pilot of their own or are just North Hollywood haters working out of their studio apartments writing their Modern Family spec with no idea about the process. Is it a flawed process? Fuck yes. Different conversation. For those in the know, how many great scripts have been made and turned to shit? Or how many painfully bad scripts turned out to become decent shows in series. This is a good crop of execs. And no one wants to read a Modern Family spec so try Two and a Half Men.
Marcus developed The Sons of Tucson last year and that was a solid show for sure + i believe he probably ran circles around Matt Cherniss. That’s how he survives HATER.
he developed a spec? good call
No, seriously, Marcus and Suzanna have great senses of humor and have been instrumental in developing numerous hilarious and successful comedies…
What? Stop laughing, I’m serious!
No, really. They both deserve respect and credit for–
Come on, seriously, stop laughing.
It is extremely difficult to make a hit on any network these days, especially when you target a young demo, and a specific voice. At least you get to give it a shot with smart execs who make it fun, and that’s everyone over there (esp Wiley!).
That’s some witty banter Fox Vet. We could use a man or woman like you around here on Two and a Half Men.
Network execs don’t move up without passing muster — that is, delivering on time and on budget. Deep relationships, credible operations, harrowing deal negotiations = promotions.
Why do I get the impression these jealous, backbiting comments are coming from the entitled White boys these execs bypassed back in the mailroom somewhere?
Hurts to not have traction, huh?
Makes you limp to lose face to more successful peers. Your comments wouldn’t be any different if these execs were gay, obese, Latino, differently abled, etc.
Boo-fuckin’-hoo.
Welcome to the strategy & demographics of the new Millenium, y’all!
Okay,
To the previous poster, I am a minority myself, but I tend to agree with the majority of the posters. Executives, regardless of color or sex, tend to get promoted even when they’re failing. It’s like they’ve been accepted into some special fraternity. The fact of the matter is no one really ever gets fired; they just get moved over to a different network. Once you get accepted into the wolf pack your destiny is pretty much set. It’s only a matter of time before they become SVP at a network and then eventually EVP unless they decide to start their own production company. I’m sure all of these people are nice, but trust me if need be I’m sure that each of them has a Hollywood competitive side- otherwise they wouldn’t have made it this far in the industry. From what I’ve seen, most of them (not saying one person in particular) are nice to who they need to be, and nasty to the rest.
It’s why a lot of creative people don’t tend to gel with executives.