Tag Archives: Showrunner

Why would Dan Harmon return to Community?

HarmonImageAs news broke of Dan Harmon’s potential return to Community, it felt like an Internet rumor that Deadline would start in order to drum up potential hits. That’s because that’s what it was, of course, another one of the myriad of “scoops” that Nellie Andreeva gets from her sources at Sony TV who use her as a pipeline to the Internet rumor mill. This doesn’t mean the story is untrue, of course, but rather that there’s a good chance it’s an idea being floated as opposed to an actual, factual thing that’s happening. And so I admittedly didn’t give it a second thought, at least until it became clear that it was—at the very least—something that Sony and Harmon were negotiating about following the confirmed departure of season four showrunners David Guarascio and Moses Port.

My immediate reaction to this was confusion. Why would Sony want Harmon to return to a show that he publicly admitted to mismanaging? And why would Harmon want to return to the show after making a show of moving on with his career? After asking variations on these questions on Twitter, I got some interesting responses, and I think I’ve got a clearer sense on the circumstances that would lead to both parties reconciling their differences to work together again on a fifth season; I also think we need to disassociate this development from any sort of idealistic notion that either party is in this for the fans’ best interest.

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Cultural Interview: Awkward. Creator/Showrunner Lauren Iungerich [Part One]

When Awkward.which I cover for The A.V. Club, and which returns on Thursday at 10:30/9:30c on MTV—made its debut on MTV last year, creator Lauren Iungerich was transformed from a television writer into a television showrunner. While recent events have led many publications to shine a light on the rise of female showrunners and/or creators within television, Iungerich has unfairly flown under the radar in those conversations. Working outside of the network system with a cable channel still searching for its identity in original scripted programming, Iungerich was given something that some other creators aren’t given: the opportunity, and the challenge, of playing the role of showrunner for her first series.

I had a chance to chat with Iungerich last week, and I’ll be sharing that interview in two parts. The first part, found below, details her experience as a first-time showrunner, her approach to Awkward.’s development, and her plans for its evolution—accordingly, it may be of interest even to those who haven’t watched the MTV series. Meanwhile, part two of the conversation—which is now up—will focus more specifically on the series itself as it heads into its second season, with topics including the show’s central love triangle and its Palos Verdes setting in California.

Given that this was your first time as a “showrunner,” how did it compare to your expectations?

Lauren Iungerich: It was way harder. [Laughs] What’s hard about being a showrunner—to break it down, there are two things that are really tough. First, you can’t just be the artist: you also have to be the producer, so it’s like art and commerce get mixed together so you have to be fiscally responsible; you have to really work with your network to make sure you can really produce the show and yet at the same time maintain the artistic integrity of your vision. And those are two things that sometimes don’t work in concert with each other.

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Cultural Flashback: Tim Kring and the Fall of ‘Heroes’

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Cultural Flashback:

Tim Kring and the Fall of ‘Heroes’

My brother asked me this week why I hadn’t yet commented (like Mo Ryan at the Chicago Tribune or James Poniewozik at Time) on the emerging story wherein Tim Kring, creator of NBC’s former-hit Heroes, referred to people who watch his show live weekly “dipsh**s” while discussing the show moving away from serialization in a recent appearance.

Now, clearly, this is hideously uncool and condescending coming from someone who runs a show that is only surviving due to these kinds of devoted fans, and who is being forced to dial back serialization as opposed to it happening naturally. But to be honest, my emotional attachment to Heroes is so low right now (five episodes behind and counting, I think) that it didn’t really affect me: I just shook my head, wondering whether the man seriously even understands his own show.

There was another element to my detachment, though, and that is an element of “I told you so.” Last March, only two months into the life of Cultural Learnings (aka when likely very few of you were reading), myself and Matt Elliott (formerly of BE Something, a TV-focused blog, and now writing very intelligent pieces on generational workplace scenarios at Y Working) got into a lengthy discussion about the state of the two big serial shows of the time, Lost and Heroes. Remember, this was at the point before Lost’s tremendous third season really hit its stride (and before the amazing twist of Through the Looking Glass, which led Matt to renew his faith in Lindelof/Cuse), so Matt’s original article discussing what Heroes could do to avoid “becoming like Lost” was not as crazy as it might sound today (in other words, don’t hate on his article, he meant well).

Matt made a tremendous number of fantastic suggestions for Heroes’ future that would have done some good, but in writing my response my point was simple: with Tim Kring at the helm and with an already overbloated cast, I did not foresee a scenario where they would, or even could, implement the things that could save the show. I was not, in fact, a believer.

I don’t repost this to toot my own horn, though, so much as I repost it to remind us of a time when Heroes could have been saved, where the man at the helm could have made decisions that would keep him from having to degrade his own audience in an attempt to make his show seem…I don’t even know what he was trying to do. And, as they again attempt to reboot the series to become more relevant, maybe some reminders of Matt’s suggestions could prove beneficial to Kring or, ideally, whoever they get to replace him.

What you’ll find below the fold is my original article with some inserted commentary (consider it to the Director’s Cut) – enjoy!

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The Search for a Showsaver: Heroes, Bryan Fuller and NBC’s Big Little Problems

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The Search for a Showsaver

November 4th, 2008

In case you didn’t hear (I’ve been out of commission in terms of blogging due to a major presentation, so my Twitter feed has been the best source of information/reaction), NBC over the weekend let go Jesse Alexander and Jeph Loeb, the two head writers at their highest rated scripted series, Heroes. Note how I make the distinction: no longer a hit, the show has been relegated to simply being the highest rated amongst NBC’s anemic fall lineup.

This is a fact that NBC wants to fix, a purpose I find admirable if a tad bit idealistic. At this point, Heroes’ problems are that awful mix of inevitable (that some viewers would tire of the serialized narrative), creative (an admitted lack of quality and consistency ever since the first season finale), and logistical (budget overruns, an overabundance of cast members, etc.). Taken individually, the problems might be easy to handle: you offer more social networking integration to hook in what hardcore viewers you have, you bring in a new showrunner who is capable of bringing some quality writing the show’s solid foundation, and you cut some cast members and focus more on character than action or setpieces.

But, solving all three at once can’t be done: any creative or logistical changes could alienate the existing fanbase, and there is no guarantee that a showrunner will be able to balance the creative side of the series with the budget cuts that NBC is forcing on the series. Plus, at the same time, Tim Kring is still in charge of the series, and while Loeb and Alexander may be the scapegoats I’d tend to think the problem goes beyond them to the man truly in charge.

So while names like Bryan Fuller are bandied about, it begs the question: can NBC save Heroes?

Keep reading to find out.

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