
Another TV staffing season is coming to a close as, one by one, writers rooms of new and returning series are convening to work on the 2011-12 orders. Overall, “it was a healthy staffing season,” one industry insider said, while another was lamenting the system, in which prospective writers meet on 80+ pilots in the run-up to the upfronts, only a quarter of which would make it to series and actually hire scribes.
Of the new series, comedies New Girl on Fox, Two Broke Girls on CBS and Apartment 23 on ABC were sought after by writers this year. Joining New Girl creator Liz Meriwether are Joe Port and Joe Wiseman as co-executive producers as well as J.J. Philbin and Josh Malmuth. Three established comedy writer-producers will work alongside Two Broke Girls co-creator/executive producer Michael Patrick King — Greg Malins, Jhoni Marchinko and Michelle Nader, all as consulting producers. On ABC’s Apt. 23, joining EPs Nahnatchka Khan and Dave Hemingson are Casey Johnson & David Windsor (It Takes a Village) and Sally Bradford as co-executive producers.
Writers seemed split on the drama side this year. “Some gravitated toward the big-idea, big-swing shows like Once Upon a Time, The River and Pan Am, others wanted nothing to do with them, opting to go for more standard procedurals like Person of Interest, Prime Suspect and Unforgettable,” one source said. “A lot of writers are thinking about job security.” Also of note is that Josh Friedman’s Locke & Key script was a favorite among writers looking for staff jobs this season despite Fox passing on the pilot.
Of the existing shows, top comedy Modern Family was naturally a top draw. Sex and the City alumna Cindy Chupack is a high-level addition for next season as a co-executive producer, with former Daily Show EP Ben Karlin on board as consulting producer. Fellow sophomore series Glee also made news this staffing season as the high-school dramedy assembled its first writing staff under co-creators/executive producers Ryan Murphy, Brad Falchuk and Ian Brennan, with co-executive producer Allison Adler and consulting producer Marti Noxon among the additions. And NBC’s The Office, which is undergoing a creative transition following the departure of star Steve Carell, added several writers, Owen Ellickson as co-producer, Allison Silverman as supervising producer and Dan Greaney as consulting producer.
Several high-profile staffing hires were tied to overall deals. Port and Wiseman joined New Girl as part of a two-year overall deal with 20th Century Fox TV. Similarly, Friedman will serve as consulting producer on another new Fox series, drama The Finder, under a three-year overall pact with 20th TV. Reaper creators/executive producers Michele Fazekas and Tara Butters will be full-time consulting producers on Hawaii Five-0 as part of a two-year overall deal with CBS TV Studios. And Zack Estrin will serve as an exec producer on The River in a deal with ABC Studios, which also has an overall component.
There were a few in-demand writers this staffing season who landed multiple offers. Among them was Patricia Breen, who is coming off HBO’s Big Love. She opted to join the new ABC/Warner Bros comedy series Suburgatory. In a siminal situation, Amanda Segel (Nikita) went to CBS’ Person of Ineterest. Josh Bycel also had multiple suitors but ended up returning to ABC’s Happy Endings, which was picked up for a second season.
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Lament the system all you want. But speaking from the POV of someone who couldn’t get staffed, then created their own show and continues to work on it, the future is oddly (and cliche as it sounds) in your own hands. If you can’t get staffed, develop. Take your career into your own hands. ALSO, I take issue with the notion of ageism (strangely going the opposite way in this instance). There are plenty of young bucks in writers room. I’m one of them.
the plural of “staff” is “staves”
In Dungeons & Dragons, yes.
Well, I can tell you from firsthand knowledge that at least one person mentioned in this article has bounced from show to deal to show to deal — ask anyone who’s worked with them (myself included) and they’ll tell you he’s generally unfunny and unpleasant. So there’s at least one job some other deserving writer is being denied.
I don’t care if the script was written by shakespare himself. The show was a fucking disaster.
The comments about quotas and diversity are maddening. Even in one of the posts I liked most that suggested that seeking out women for Community was “great for the show”: “The semblance of Diversity is never a good thing”?
Check your egos, folks. (And your notion of what’s “illegal”.) As if all TV shows should employ as many white men as possible? How “reasonable” is that? As if Caucasian guys have the corner on creative talent. Clearly – even judging by these comments from (mostly) unemployed writers – the door is (theoretically) slammed shut in the face of diverse writers. Great way to make the case that “quotas” aren’t necessary. Get over yourselves.
All valid points above.
Most show go off the rails creatively because of the shallow talent pool. When you look at the good shows you will see a pattern of talent writers who were hired for talent and not looks, association, color, gender or fake “hotness.”
At any given time the Hollywood unemployment rate is about 50% or so. Only 1% of the Black artistic community is working by the last reported data. That’s a 99% unemployment rate.
Who are we trying to kid, people?
I want to say something in defense of hiring friends (and this is from someone who grew up knowing nobody in this business, who was hired off a spec pilot long ago, and who continues to look forward to meeting new, talented writers and helping them along). In this tiny TV community, you often make and keep some truly amazing friends because you worked on shows with them. Most of your co-workers who made the cut are wonderfully funny, talented, soulful people. You would be silly not to consider hiring those people again, because you know you will love seeing them every day, and you know they are talented and can do the job. You don’t hire them BECAUSE they are friends. This is not nepotism (showing favoritism to friends and family regardless of merit). This is just good business. You work hard to get a foot in the door (but it’s possible — every showrunner I know is thrilled to read great samples from a new writer.) But once you get in the door, if you’re lucky, you meet not just co-workers, but friends. Becoming friends with writers who might someday have a show on the air is not a tactic or an unfair advantage — it’s a perk of working with talented people. But the bigger perk is the friends you make. Real friends who are there through the ups and downs of this town. So don’t curse this practice — befriend it.
After reading all of you “writers” whine and bitch about the “TV game” (come on, we all know the rules), I realized I didn’t really feel for anyone. The drama wasn’t there, hardly a laugh, I wasn’t invested at all in any post. That says a lot about the state of “scripted TV” right now.
And it makes me very happy to say that I work in Reality TV. I’m turning down work left and right.