DOLLHOUSE and the Unconventional Pilot

Joss Whedon’s / Eliza Dushku’s Dollhouse had a lot going for and against it. Whedon had some blank checks to cash, Dushku had a deal with FOX, the premise was fascinating, and one actor playing multiple roles week to week is always a juicy prospect. Whether because of marketing, timing, direct competition in an era … Continue reading

Pilot Season: ATLANTA

Donald Glover’s Atlanta is unique in many ways: it plays with style, tone, and ancient mythology while still staying mostly grounded in reality; it evokes a hyper-specific place* but with characters you could imagine living in most US cities; it hits a dark notes most US half-hours won’t come near; it clearly utilises Glover’s experience … Continue reading

GLOW’s pilot mechanics

I’m writing STAY AT HOME HITMAN, a sometimes-raunchy half-hour comedy-drama involving suburban politics and scholastic espionage, mental health and struggles of new parenthood, relationships and drugs of all sorts, with a smattering of class struggles, internalised and external homophobia, infertility, familial expectations, meddling lollipop ladies, and body disposal. I revisited GLOW because despite its much … Continue reading

Stumptown pilot and the Economy of Storytelling

I’ve written before about the myriad of things which would go into Perfect TV Pilot Bingo, including shows like Glitch and The Night Of which set up mysteries, shows such as Doctor Who which have mini-pilots every few seasons, even TV shows which shoot a mid-season episode first to sell the show but still need to make … Continue reading