
At its upfront presentation in New York this evening, top-rated USA Network is set to unveil a development slate that underscores its commitment to get into the half-hour comedy business with five comedies in the works, including one starring Nathan Lane, one produced by Walter Parkes and Laurie Macdonald and one with former American Idol judge Kara DioGuardi on board as consulting producer. While launching original half-hour series has been something newly minted USA co-presidents Jeff Wachtel and Chris McCumber had been looking to do for a while, now the two are finally making the push with the goal to have half-hour series on the air by the 2013 launch of the network’s high-profile off-network acquisition Modern Family. As there is no rush, Wachtel said half-hour development will be a “slower process” as “we have to find the right show.” An area where the network is putting a lot of pressure is unscripted, especially after the successful recent launch of WWE Tough Enough. USA is looking to unspool its first follow-up reality series later this year. As for the half-hour comedy projects, while the network launched its hourlong series brand with projects in turnaround, including Monk and The Dead Zone, more than half of the half-hour shows on the slate are “purely original development,” Wachtel said. Exceptions include the Nathan Lane starrer On We Go, which was a spec, and Fox 21′s We the Jury, which was developed elsewhere. Meanwhile, the hourlong projects on USA’s development slate, which hail from such producers as Mark Gordon, Doug Liman and Dave Bartis, feature characters that are “more provocative” than the leads on the network’s current series, McCumber said.
Additionally, USA is returning to the limited series genre with The Enclave, a project from writers Andrea and Maria Jacquemetton (Mad Men), which Boys Don’t Cry helmer Kimberly Peirce is in negotiations to direct. USA had success with all three of its previous limited-series efforts — Traffic, The 4400 and The Starter Wife — the last two also spawning series. “It’s a way to broaden the feel and reach of the network,” McCumber said. USA also will announce a new hourlong Hollywood special with Vanity Fair West Coast editor Krista Smith interviewing three celebrities. While it has been ordered as a one-off, the network is open to doing more if the special is successful. USA has been looking to get into the daily talk show arena, and the Smith special is part of those efforts. Here is a list of USA’s scripted series now in development:
SILENT PARTNER (One hour drama)
An ambulance-chasing attorney and his idealistic young paralegal form a powerful team. Their unlikely partnership is a product of the new phenomenon of legal oursourcing: He’s in Florida and she’s in India. Writer/Producer is Chris Downey (creator of “Leverage”). Executive Producers are Doug Liman & Dave Bartis and producer Gene Klein (COVERT AFFAIRS, SUITS, “The Bourne Trilogy”) of Hypnotic. From Universal Cable Productions.
ON WE GO (1/2 hour comedy)
A single-camera comedy starring Nathan Lane as an unlucky actor whose career has been perpetually cursed by the fact that he resembles, but is in fact not, Nathan Lane. After his father’s health takes a turn for the worse, his Broadway aspirations have to be put on hold while he returns to his Texas hometown. Writer/Executive Producer is Douglas McGrath (“Emma,” “Infamous”). Executive Producer is Nathan Lane (“The Lion King,” “The Producers”). From Universal Cable Productions.
M. DEITY (One hour drama)
An unconventional medical drama about a good doctor who’s an even better meddler. In the aftermath of Katrina, he heroically saved numerous lives and now fights an intractable foe: hospital bureaucracy. Writer/Executive Producer is Billy Finnegan. Executive producers are Ann Blanchard, Sam Hansen and Jimmy Miller of Mosaic Media. From Universal Cable Productions.
THE SPECIAL (One hour drama)
In a stark contrast to the stereotypical TV cop, THE SPECIAL is about an energetic, optimistic homicide detective who suffers from hypomania. Despite his high clearance rate, he remains an enigma to his colleagues in a high-profile unit of the LAPD. Writer/Producer is Bill Wheeler (“Empire,” “the Cape”). Executive Produced by Mark Gordon (“Saving Private Ryan,” “Grey’s Anatomy,” “Criminal Minds”) along with the Mark Gordon Company. The studio is ABC Studios.
BIG IN JAPAN (1/2 hour comedy)
Twenty years after their last concert ended in disaster and they never played again, the members of a popular boy band decide to reunite. Writer/Executive Producer is Howard Morris (THE STARTER WIFE). Project is from Prospect Park. Executive Producers are Jeff Kwatinetz, Rich Frank, Paul Frank (ROYAL PAINS) plus Grammy Award-winning singer Kara DioGuardi (“American Idol”) as consulting producer with Steven Finfer. From Universal Cable Productions.
WE THE JURY (1/2 hour comedy)
A single camera comedy that chronicles the lives of a group of jurors sequestered during a high profile celebrity murder trial. It’s the story of strangers, thrown together in a confined setting, under duress, for an indefinite amount of time. Written by comedy veterans Bryan Behair and Steve Baldikoski (“The New Adventures of Old Christine,” “8 Simple Rules”). Executive Produced by Marty Adelstein with studio Fox 21.
TGIM (1/2 hour comedy)
A look at the surburban cul-de-sac over a weekend, where parents’ lives are ruled by their children’s schedules and the idea of going back to work on Mondy sounds better each passing minute. Writer/Executive Producer is Brent Forrester (“The Office,” “King of the Hill”). Executive Producers are Walter Parkes, Laurie Macdonald and Ted Gold. Produced by Parkes/Macdonald Productions (“A Beautiful Mind, “American Beauty” and “Saving Private Ryan”). From Universal Cable Productions.
THE ENCLAVE (Limited series)
A job opportunity forces a family to move far from their hometown…and nothing is what it seems in their new community. A limited series from writers Andre and Maria Jacquemetton (“Mad Men”). Negotiations are ongoing to attach Kimberly Peirce (“Boys Don’t Cry”) to direct. Executive Producer is Dan Halsted. From Fox Television Studios.
THE EXCEPTIONS (One hour drama)
After serving time in jail on trumped up charges, the debutante daughter of the Mayor of NYC uses her resources to solve cases that have slipped through the cracks. Writer/Executive Producer is Megan Martin. Produced by Reveille. Project is from Carolyn Bernstein and Todd Cohen (“Kath & Kim”) of Reveille. From Universal Cable Productions.
HARD COVER (One hour drama)
The best undercover operative can blend in anywhere and be completely unassuming. Then who better to go on assignment than a middle-aged Mom working with a rogue FBI agent? Writer/Executive Producers are Peter Paige and Brad Bredeweg. Executive Producer is Laurie Zaks (“Castle”). From Universal Cable Productions.
WINSLOW (One hour drama)
Jimmy Winslow is a private detective who’s a recovering alcoholic with a load of debts, a father in prison, and an ex-girlfriend he’s trying to win back. He lacks a perfect record in anything except his ability to solve cases and tell the truth to those who don’t want to hear it – and for now, that’s enough. Writer/Executive Producer is Zak Schwartz (“Entourage“). Executive producers are Doug Liman & Dave Bartis and producer Gene Klein (COVERT AFFAIRS, SUITS, “The Bourne Trilogy”). From Universal Cable Productions.
HOUSE OF CARDS (1/2 hour drama)
A recent college graduate looks for love and a successful writing career at a greeting card company. Writer/Producer is Julien Nitzberg. Executive Producers are Gail Berman and Lloyd Braun along with Gene Stein and Andy Weil of BermanBraun. From Universal Cable Productions.
REGULAR EINSTEIN (One hour drama)
The Duncan’s are a family of geniuses with three siblings each at the top of their academic fields. They also have a younger sibling named Einstein who is not a genius but he is a good cop and with their help, he might become a great detective. Writer/executive producer is Nick Thiel (BURN NOTICE, “Army Wives”). From Fox Television Studios.
TV Editor Nellie Andreeva - tip her here.


Why can’t USA do FX or AMC style shows?
Why would they want to? They’ve worked pretty hard to establish a brand and they’re sticking to it. It’s not for everyone, but you know exactly what you’re getting with a USA Network show.
Because the Burn Notice Formula has not yet reached it peak. (basically it the fish out of water formula)
House of Cards – a 1/2 drama? That’s a bit unusual.
I long for the days when USA delivered good premise and character.
these days it just seems like a lot o’ neither.
perhaps one of the characters from these new crops of shows should be put on the case of the missing development team there?
Half hour drama?
The comedies sound like a bore and the dramas are so formulaic: Weird predicaments, quirky and odd.
All sound so generic.
And a talk show?
Is USA trying to be a second-rate broadcast network? Mainstream broadcast networks with double the audience of USA are taking more risks and being more creative.
It also feels like NBCU is slowly casting USA as a miniature version of NBC. All that’s missing is the moving of “Today” and the late-night talk block…
First of all, in terms of drama development: police procedurals are by definition “formulaic.” TV is a formulaic medium, and USA has proven to be the one cable network with consistently high ratings year after year. “Mainstream broadcast” networks SOMETIMES get higher ratings and that is usually only because CBS, ABC, NBC, and FOX have the potential to reach a much bigger audience than any cable network. USA for the most part is not like NBC, because it is killing NBC in terms of revenue/ratings. Even if the case could be made that USA is starting to look like a “miniature version of NBC”…that’s, because it IS owned by NBCUniversal…so looking a little like NBC means that USA is doing its job in terms of brand management.
Call Winslow, Winslow PI.
I read that as “Carl Winslow, PI” and thought “That would make a hilarious series!”
read HARDCOVER and it’s fantastic. WINSLOW is good too. My bets are on HARDCOVER for sure. with WINSLOW being a close second.
WINSLOW sounds great. Reminds me of FLETCH.
Doesn’t “Hard Cover” sound a lot like “The Scarecrow and Mrs. King”?
yes! i thought the same thing.
WE THE JURY sounds okay, only because I’m interested in the legal genre (particularly legal drama-comedy/comedy). That said, SILENT PARTNER sounds awful.
HARD COVER sounds like it might have potential, but it also just sounds like they’ve taken Maddie and Sam from Burn Notice and given them their own show…
WINSLOW is the only one that really sounds great. Definitely interested in it.
Winslow, Sgt. Eddie Winslow. Quick, someone call Darius McCrary. For better or worse, these projects sound pretty much on USA’s brand.
Obviously there’s at least one show about a lawyer, a cop and a doctor.
When will the networks learn there are more than 3 careers in the world that you can build interesting stories around?
I’d watch WE THE JURY , TGIM , THE ENCLAVE , HARD COVER , HOUSE OF CARDS
WINSLOW is one of the best scripts I’ve read in years.
Hard Cover sounds like the best of the bunch and sounds more like USA’s brand and what works best for them. I say that goes all the way. The other options sound like such a snoozefest!
blech! ”hard cover” is the only thing that pops for me. well, that and the limited series. usa definitely needs a strong kick-ass female with some major HEART at the center of one if it’s shows. like a female ”monk.”
Great that Nathan Lane may be coming back to TV, but why a single-camera comedy? If there’s a performer alive who can kill an audience with just an eyebrow raise, it’s him.
Wow. None of these sound interesting. I never thought I would say that about a USA Network lineup.
sorry, but House Of Cards is already taken as a title by one of the greatest UK TV dramas of all time. In fact, Kevin Spacey and David Fincher recently announced plans to make a USA version of it.
I hope no one else uses this title.
Just like we would expect UK shows not to use the title The Sopranos, Six Feet Under, etc.
They’re over-reaching. Every new show from this network is worse than the last. It’s all been a slow slide since Monk.
I think USA network should run a few talk shows. Someone has to take the place of oprah. I like the shows they have comming up, I like the half hour drama idea.
I like the sound of Hardcover and Winslow. Not really keen on any of the other shows in development, especially the half hour comedies. I know you want a companion for Modern Family but give it time, because they all sound generic as hell, though that said, some of the best comedies have sounded generic in the past (Happy Endings, Community, Parks & Recreation, anyone?). But the list oddly enough is missing that Kelsey Grammer produced sitcom the (Something Italian) Brothers…
Needless to say, it feels like USA is overextending themselves a bit, unless they already have plans to cap off the runs of Psych, Burn Notice, and In Plain Sight sooner rather then later. Because, don’t they already have to worry about the filmed/to be filmed pilots for Eden, Wild Card, Over/Under, and Common Law in the pipeline?
And that’s not even including Suits and Necessary Roughness which are set to premiere this June.
But honestly, I bet only three or four of these shows actually make it to pilot.
USA Network makes crap, and the cable carriers charge us five billion dollars in cable bills for this crap.
Anyone have more details on ENCLAVE? The synopsis is thin but I’m excited about the team. Kimberly Peirce would lend some real class and style to the network.
I haven’t watch USA since “The Dead Zone” went off the air. Anthony Michael Hall was so good on that show. Having said that, I think USA does a good job with its orginal series as long as you are happy to stay in the PG to PG13 arena. If you want edgier, then we all know where to go to find it.
Hard cover and The enclave are the ones that spark my interest. Not into the Nathan lane idea, he works on modern family, but don’t see him heading his own show. Haven’t they already tried that? Wonder who’s going to play the lead in Hard Cover…sounds like a new powerhouse femme role, which always works well. Other than that, USA needs to stick to what works on their cable netork and avoid rehashing what worked on the old network a few years ago.