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.
February 7th, 2011
In some ways, The Chicago Code seems like the only new series premiering this midseason.
Oh sure, there are a number of other shows making their debuts in the first two months of the year, but The Chicago Code has been one of the year’s most-buzzed about pilots since last Spring, when it was still in contention for the Fall lineup. Being bumped to midseason (for Lone Star, no less) may have been seen as a slight the first time around, but it turned into a real coup for Shawn Ryan and company. Their show went from one of the year’s most talked about pilots to the year’s last great hope, the one new network show that critics could actually endorse wholeheartedly which doesn’t get immediately canceled.
We all know what happened to Lone Star, however, and yet I feel fairly confident that the same fate is unlikely for this particular program. At its core, The Chicago Code is a police drama, but it stands out in the fact that it seems so committed to surface multidimensionality. There are no “cop shows” on television which are actually one-dimensional: they all have their quirks, and all engage in elements of character and basic seriality on a smaller scale. However, for the most part, they purposefully appear one-dimensional. One of the reasons that shows like CSI or NCIS have become a punchline is that they are sold as something blindly simple, capable of being reduced and often (although not always) reducing themselves as if to meet those lowered expectations.
At least evidenced by its pilot, The Chicago Code is not playing the same game. Not content to establish simply a premise or a setting in its opening episode, the show establishes a world: a story is told, a map is drawn, and ambiguities are left without feeling as though pointless mystery is being used to create gutless melodrama. It’s just a really smart hour of television, and one senses that the intelligence isn’t going to suddenly stop in the weeks ahead.
October 10th, 2010
“Not no; not now.”
As the penultimate episode of the season, “Blowing Smoke” has to do more than, well, blow smoke; while last season demonstrated the ability for a finale to offer an exciting climax without much direct plot momentum carried from the previous episode, the fate of Sterling Cooper Draper Pryce has been developing for a few weeks, and the worst thing that could happen is if its impact is lost.
What’s interesting in “Blowing Smoke” is that the show mirrors its characters: still somewhat in shock from the new of Lucky Strike’s departure, they find themselves sitting around with nothing to do. They can’t bring in accounts thanks to concerns over their longevity, they can’t make dramatic changes without seeming to be in crisis mode, which leaves almost no options to feel as if they’re really making a difference.
This episode is about that circumstance, what it drives Don Draper to do, and whether trading certain doom for an uncertain chaos is the right path to take – in other words, it’s about the danger of a situation where it’s not no, but it’s not now, and how a person like Don Draper lives within that liminal space.
The answer is different depending on who you ask.