Tag Archives: Television

Cultural Interview: Quick Draw’s John Lehr on Being Renewed at Hulu

quickdraw-season-2-key-art-huluDuring Hulu’s presentations during this summer’s Television Critics Association press tour, there was something new for the streaming service: shows going into their second seasons. After their first original scripted series Battleground came and went without even an official cancellation, the Hulu development process was something of a mystery, with most of their multi-season exclusive content coming through international licensing deals. And so 2013 was a big year for the company, as they debuted and renewed their first three series: animated series The Awesomes, Latino-focused teen soap opera East Los High, and improv comedy western Quick Draw, created by John Lehr and Nancy Hower, which debuts its second season on Hulu today.


The rise in streaming services has complicated the traditional way we measure television success, requiring new logics for why a show earns a second season given that we’re dealing with new data sets and lack the traditional data set—Nielsen ratings—that we consider more heavily in such analysis. As a result, I spoke with Lehr regarding the experience of “getting renewed” at Hulu, and the way the experience both does and does not reflect the traditional process with a broadcast network or cable channel, in addition to his experience as the creator of a show that lives in this still-emergent televisual space online.

Cultural Learnings: So when did you know you were getting a second season?

John Lehr: It was crazy. It was unlike any pickup I’ve ever experienced. We literally turned in the final hard drive for the first season, and the next day got the pickup for season two, which was just like—psychologically—“Yay! We’re employed!” Because usually it’s nailbiting, and that’s just horrible when you’re waiting. But on the creative side too, we dove right in that day and started thinking about season two. So I think it really helps in terms of the quality as well, because it gives us more time, and more time is always a good thing—well, not always, but in our case it is.

Given that you aren’t seeing traditional ratings, and Hulu had never renewed a series until after you premiered, did you have any idea going into the process what it would take to get a season two?

[Laughs] You know, that is an intriguing question. We didn’t know. I mean, we knew that no matter what, it’s about viewers—whether you’re on network, cable, or broadband, it’s all the same. It’s just “Do people want to watch this show, and how many of them are watching, and who are they, and what is their age, and what kind of things do they buy?” That doesn’t change. You don’t have the Nielsens, but somewhere there’s a counter going on, or some sort of understanding of how many people are watching this thing. And from the get-go, we were shocked at the response we were getting from Hulu and from people online about how many people liked the show, so almost out of the gate our Facebook blew up, there were tumblr pages. The response from fans was really, really good.

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With FXX’s Simpsons World, A Clip Database Comes Closer to Non-Linear Reality

Photo by Michael Underwood / PictureGroup

Photo by Michael Underwood / PictureGroup

For FXX as a cable channel, the arrival of The Simpsons reruns—including a complete marathon of all 552 Simpsons episodes through season 25 starting on August 21—marks a key transition in its brand identity. But given that Simpsons reruns have been proliferate in syndication on local stations for years, and DVD box sets have allowed fans to revisit the most beloved episodes of the series whenever they’d like, the idea of being able to watch eight episodes of The Simpsons leading up to each new episode on Fox on Sunday nights is not necessarily a revelation for fans of the series.

For this reason, the bigger news out of last November’s cable syndication deal between FXX and The Simpsons was the non-linear rights. At the time, this was largely framed in terms of the most basic way we understand the meaning of “non-linear,” which is to say that the series will be available to stream at any time. If we take “linear” to mean a traditional programming schedule dictated by a network or channel, then we have historically understood “non-linear” to mean an environment where audiences can choose to watch a show on their own terms through either video on-demand (VOD) services through cable or satellite providers or streaming platforms like Netflix or Hulu. Accordingly, headlines at the time of the announcement focused on the fact “The Simpsons Will Finally Be Available To Stream” or that “Every ‘Simpsons’ Episode Will Be Available To Stream In August,” as The Simpsons finally became part of a new era of television distribution.

And yet as I wrote at the time, although not exactly in these terms, The Simpsons has always been non-linear as a cultural artifact.

How The Simpsons Should Exist On The Web – Slate

“We don’t think about The Simpsons in terms of episodes, not in our contemporary moment. While I will be happy to revisit various Simpsons episodes in their entirety on FXX or FXNow, and I will on occasion pull out my DVDs and watch a few episodes back-to-back, how we think of and use The Simpsons on a daily basis comes in the form of jokes, bits, and memorable sequences. The Simpsons travels in these bite-sized chunks, and the value of The Simpsons in the age of online streaming should ideally reflect this.”

This is why I specifically called for a Simpsons clip database that would embrace not simply non-linear forms of television distribution, but also non-linear patterns of cultural engagement with the text in question. FXX has been relatively tight-lipped regarding details of what their Simpsons app—which was originally planned to launch alongside the series’ debut on FXX, but will now begin rolling out in October—would look like, but in January FX president of program strategy Chuck Saftler expressed his excitement at what they had planned, but made no specific assurances when I pressed him on the potential for clips to be built into the system.

This lengthy preamble is my way of working through the fact that, as demoed for critics at FX’s day at the Television Critics Association press tour, the newly unveiled Simpsons World app has fully and wholly embraced the non-linear ways The Simpsons echoes in the lives of its fans. With multiple channels of pre-programmed episode streams, the ability to stream any episode, character pages featuring curated clips, and the capacity to read-along with the script while watching any episode, Simpsons World is everything a fan could want.

And with the proposed ability to create and share clips to a range of social networks, it is also the engine for the Simpsons Clip Database I dreamed of.

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Sharknado 2 at TCA: Legitimating the Sharknado

Sharknado2In the past few weeks, I’ve been highly skeptical regarding Sharknado 2: The Second One.

In truth, I have no strong emotional investment in Sharknado 2. I watched the first Sharknado a good week or so after it first aired, and so I missed the social media fever and ended up finding the film itself…dull. Sharknado is not a particularly engaging film—even by B-Movie (or C-Movie or whatever we’re calling it) standards—when it is removed from the context of the Twitter commentary generated around it. And yet you wouldn’t know that given how Syfy has fully committed to Sharknado as an ongoing franchise, diving into licensing opportunities and treating this as a huge cultural phenomenon based entirely on social media fever despite a fundamental lack of evidence anyone other than people on Twitter care about Sharknado (which didn’t make it a failure, but does keep it from being a definitive mainstream hit).

It’s specifically reminded me of the release of Snakes on a Plane: the online fan base that emerged around the film convinced New Line to add new footage and push the film for an R rating, but then the film was a huge box office disappointment, and even failed to generate any significant cult following on DVD. It was a cult film in reverse: rather than struggling to find an audience then building a community of people unearthing a forgotten gem, the cult audience latched onto the film quickly but built a set of expectations that the film couldn’t live up to, and that killed that cult audience potential before it could develop into a long-term commodity. I’ve been convinced for weeks that all of the money Syfy is spending to push Sharknado as something more than a slightly more resonant movie-of-the-week has the risk of throwing good money after a bad movie that won’t sustain this level of franchise-building.

And yet when I arrived poolside at the Beverly Hilton hotel for Syfy’s Sharknado 2 screening event as part of NBC Universal’s TCA presentation, I began to feel somewhat differently. The notion of Syfy bringing one of its monster movies to a press tour was absurd before Sharknado, and yet it felt perfectly natural for the critics to be gathering together to laugh their way through Ian Ziering and Tara Reid’s latest encounter with shark-related weather events. Themed as a drive-in theater, complete with popcorn and car-themed couches and drive-in-style speakers, it was not just “Sharknado at Press Tour”: it was Sharknado as a marquee event, one that brings the channel the very legitimacy this type of movie kept them from achieving in the past.

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Event Series at TCA: Dig and Ascension add fuel to the “WTF is an Event Series?” fire

USASyfy

The label “event series” has always been a confounding one, more a branding exercise than an actual entity from a production perspective. One does not actually make an “event series”: you make a television series or a miniseries, the former of which is open-ended and could return for more seasons and the latter of which is close-ended and will not.

At today’s NBC Universal press tour day, both USA Network’s Dig and Syfy’s Ascension were labeled as event series, and they have a lot in common otherwise: they’re both six episodes, and they’re both so early in production that there was no episodes available to critics in advance. This created a vacuum of sorts, but out of that vacuum came the news that both Dig and Ascension are hedging their bets on their potential for subsequent seasons, neither willing to accept the notion of a close-ended miniseries end of the event series spectrum.

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NBC at TCA: Press Tour and Post-Pilot Changes

NBCPilots

When NBC launches its fall lineups, its shows have the potential to be very different from the shows that were originally sold to advertisers and sent to critics when they were picked up in May.

This is not uncommon. It also doesn’t mean that the shows in question were outright terrible to begin with. But the reality of creating a pilot and the reality of mapping out a season of television are often at odds with one another, and in other cases new producers are brought in to take over a series and have different perspectives on where the series should be heading. At the same time, though, the public nature of this retooling inevitably places those pilots in a different category than those pilots that go through no such “public” changes. When Alexi Hawley departs State of Affairs as a showrunner, or Liz Brixius steps in to take over Bad Judge, or Constantine trades out its female lead for another female character entirely, it creates a different conversation than for shows with more subtle post-pilot changes that would logically occur when a writer’s room is in place and the experience on the pilot has revealed spaces for subtle inflection.

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Lost – “White Rabbit”

losttitle3“White Rabbit”

Aired: October 20, 2004

[I’m going to be taking over The A.V. Club’s TV Club Classic reviews of Lost this Wednesday—in preparation, I’m offering some short thoughts on each of the episodes Todd VanDerWerff already covered at the site.]

“White Rabbit” is the first of what will be many Jack stories, all about a character that doesn’t come with any inherent mysteries. When we meet Jack, he’s centered, focused, and stepping into the role of a natural leader. Whereas other characters are begging to be explored in more detail, an investigation into Jack’s past is less designed to answer a question and more designed to pose one. You thought Jack was a well-balanced individual? Well, guess what: he’s got daddy issues.

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Heart-Shaped Hole: Game of Thrones Season 4 and the Death of Reader Certainty

GameOfThronesTitle2

Season 4 and the Death of Reader Certainty

June 15, 2014

Here at Cultural Learnings, I’ve been writing Game of Thrones reviews intended to be read by both those who have and haven’t read the books, but they’re unavoidably written from the perspective as someone who has. For the most part, this hasn’t been a big problem, as I’ve never been one to be too concerned with the series deviates from the books.

I remain mostly nonplussed by changes, but they’re tougher to avoid after a fourth season that has shot the books full of holes on numerous occasions. Although the season by and large ended without an outright cliffhanger in “The Children” (which I reviewed in full here), it nonetheless has left book readers in limbo when it comes to at least one major development. It’s an important turning point for the series as an adaptation, and one that will test whether or not those book readers are willing to embrace an environment where the books are no longer a reliable indicator for the story about to unfold, and where their position as arbiters of knowledge is in question.

[Warning: I’m speaking to Book Readers here, so unless you want to risk spoilers for future seasons, stay away if you haven’t read the books.]

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