From Issue 2:

Writers tend to work in relative isolation. Knowing what is happening in key markets can be of critical importance in deciding what to write. John Peek of TAPE takes us into the largest television market of all, America, to see what is going down well.

America is still by far the greatest exporter of programmes, even though in recent years it has seen the use of its shows in the longer-established commercial markets begin to change as more domestic programming is produced which takes its place in prime time (Germany being a classic case). Yet the standard of American scripted series remains extremely high, and networks like the UK’s Channel Four have benefited from shows as varied as E.R., The Sopranos, Friends, The West Wing and Frasier – shows that become appointment TV for many viewers and bring them back week after week (thanks to 22 episodes a season).

Moreover, industry executives all over the world continually look to the US because of the influence that Hollywood exerts on thematic trends in terms of programming, and they monitor the American season to see what shows are emerging as successes. This type of information is also interesting for scriptwriters but it is not easily available. So here’s an insight into what’s happening this season in terms of new scripted series in the US.

I mentioned in the first issue of ScriptWriter the odd disparity between the US and the UK in terms of lawyer dramas.  While a proven and successful genre in the US where series such as The Practice on ABC, Family Law on CBS and even Ally McBeal on FOX continue to deliver, attempts in the UK to launch legal dramas have generally met with audience disinterest. 

Another series can now be added to the ranks of US lawyer successes, namely CBS’ The Guardian from writer David Hollander which is being described in some circles as the surprise hit of the season.  In terms of premise, it doesn’t immediately sound too auspicious – a corporate lawyer who works for his father’s city law firm is busted for drug possession, and finds himself doing community service against his will as a child advocate where he often represents the child’s last hope.  This is a series that stands or falls on the broad acceptance of the lead character, Nick Fallon, who is not the most accessible individual at the outset. 

However, where this series scores is in its clever straddling of the twin and contrasting worlds of upmarket corporate and downmarket social law, plus the fact that it begins with a powerful and highly emotive murder case in which a traumatised young boy is revealed to have witnessed the killing of his own mother at the hands of his father.  Nick’s exclusive world is effectively turned upside down as he finds himself in a rather grim and alien environment, dealing with situations where his every move has very human consequences.  Fortunately from the point of view of identifiability, he quickly realises how important this job is and how crucial his actions are to the innocents under his jurisdiction. 

There is plenty of room for the lead to grow and develop and, as played by Australian Simon Baker, there is a balance of charm and charisma that helps to make him accessible (particularly for women). 

One of the biggest new comedies in the last few years has been the single camera comedy Malcolm In The Middle on FOX, which follows the exploits of a young, little guy lead in the centre of a bizarre and offbeat family. (It was shown on Sky One in the UK.)  The single camera technique is one that continues to be exploited, eschewing the traditional and heavily stylised set-based, in-studio sitcom. 

A new example this season is NBC’s Scrubs.  Created by Bill Lawrence (of Spin City fame) the series is set in a hospital and follows the comedic ups and downs of a group of young medical interns let loose on real patients and having to learn fast in order to survive.  It has a freshness and visual (film-like) quality that is hard to achieve in conventional studio-based shows and it seems to be attracting audiences. 

In comparison, some of the new studio-based comedies, like Ellen De Generes’ The Ellen Show, feel somewhat old-fashioned and conventional. This is not to say that all single camera approaches will work regardless of subject matter, as has been illustrated by the quick demise of the Daniel Stern starrer, DANNY, which is about the manager of a local community centre. 

However, in terms of projecting emerging trends for the future, the traditional sitcom looks to be bound for more varied and original approaches.

The range of drama experimentation on American television can provide useful pointers for this side of the Atlantic.  However, whatever shows get a second season, the one thing they have in common is that they are extremely well-crafted, with development costs exceeding those in the UK and Europe.

CONT. in Issue 2.

© John Peek 2002