Author: Lulla

Mrs Otis Regrets (FOX) pilot preview: The Good Scandal

Written and executive produced by Ilene Chaiken (Empire, The Handmaid’s Tale, Empire) & Melissa Scrivner Love (Rosewood, Person Of Interest, CSI Miami). Also produced by Judy Smith (Scandal, Braindead) & Oly Obst (The Resident, Ghosted, The Mick). Directed by Saana Hamri (Empire, Shameless US). For FOX, 20th Century FOX Television & 3 Arts. 60 pages. Network Draft. 1/21/18.

Description: FBI Special Agent Hazel Otis -wife, mother, patriot- is in the midst of investigating a domestic terrorism threat when a personal indiscretion – an affair with a prominent general – shatters her life and threatens her career at the FBI. Now labeled “the mistress,” Clementine Otis – wife, mother, patriot – begins to rebuild her personal life and professional reputation…

With Katie Holmes (Ray Donovan, The Kennedys, Dawson’s Creek, Batman Begins), James Tupper (Big Little Lies, Revenge, Men In TreesRose Rollins (The Catch, The L Word), Mark Moses (Desperate Housewives, Mad Men, Homeland), Christian Camargo (Penny Dreadful, Dexter), Ian Harding (Pretty Little Liars), Jose Pablo Cantillo (Taken, The Walking Dead, Sons of Anarchy), Paul Walter Hauser (I, Tonya, Kingdom)…


You’ll Like It If You Already Like: The Good Wife, Scandal, Homeland…

Likely Timeslot: it’s almost impossible to guess FOX schedule at this point


Katie Holmes is back, guys! Between her guest stint on Ray Donovan, Soderbergh’s Logan Lucky, upcoming Ocean’s 8, this pilot and her much talked-about romance with Jamie Foxx, our dear Joey Potter is doing great 20 years after Dawson’s Creek launched (I’m a die hard fan of Kevin Williamson’s teen drama). It makes me genuinely happy for her. Always thought she was worth better than movies nobody’s watching and unsatisfying TV roles. But let’s not forget she played Jackie Kennedy for christ’s sake! Too bad it was for a miniseries that was just okay. With Mrs Otis Regrets (or whatever name it ends up with), she’s playing a character like she’s never been offered before. We’ll see if she’s the right fit -and sometimes I felt like she wasn’t, I want her to prove me wrong- but it’s a great showcase for her talent. It’s demanding, she’s just not there to make her trademark pouty face. She starts the show undercover dressed as a sexy and trashy redneck southern gal, riding a mechanical bull! Later in the pilot, she’s drunk as fuck, performing Maniac in a karaoke bar, singing and doing sexy moves, and then pouring a bottle of water over her head, shaking her hair and spraying water like Jennifer Beals did in the movie. It’s gonna be legendary! And those scenes are reasons enough to pray for a series pickup!

With such an introduction, you probably think I will tell you this script is awesome. Not if you paid attention to the number of “stars” I gave it. Honestly, I went back and forth a lot. 3 stars or 4 stars? It was a really difficult decision to make. Overall, I enjoyed this script and I think it will make at the very least a decent pilot. It is great at introducing the central character, making us feel a diverse range of emotions regarding her actions, past and present; it’s a multi-dimensional, challenging heroine, that you don’t instantly fall in love with but that you know you want to spend more time with, to understand who she really is. She can be fun, badass -she has a military past that is very important in her backstory- and also very restrained and even cold at times. She’s all of this. And brilliant at her job. And a loving mom. And sexy as hell. It’s hard not to side with her, especially when her all world collapses. She’s definitely worth our attention. She’s a heroine of our times. The show is written, directed and produced by women. And that you can tell. It’s a fine portrait.

So what’s the problem exactly, you’re asking? Well. First, they didn’t do a great job at introducing the other characters. Her new partner in crime, Sam Gerard, is a 29 yerd-old preppy, privileged and unexperienced agent who’s mostly irritating. I have no doubt they will make him more likeable in the subsequent episodes but so far, they made it way too easy to hate him. And then there’s her husband, Larry, a handsome news reporter who’s like the perfect man any woman would want to marry, which makes him a bit bland. He’s modern but he’s too kind, even when he should be really angry at his wife. You want him to scream and go nuts, and he doesn’t. Again, with more episodes they will be able to flesh him out. There are a lot of family scenes by the way. We meet their daughters, Chelsea (13) and Catherine (8). They found the right balance between her professional life and her private one, but sometimes, I have to say I just wanted the show to be about that, and office politics, but not about her mission of the day. She has to save a known racist politician from an assassination attempt. It’s efficient, just not the best part. There’s a serialized story behind though, since the mastermind behind this is not caught in the end. He’ll be back. I remember I had the same feeling with The Good Wife when it started. As much as I liked the cases and Alicia’s relationships at the office, what I wanted the most was her scenes with her husdand and her children, at home. It’s not the only thing that made me think of The Good Wife, to be honest. And it’s both a compliment and a reproach.

From start to finish, I felt like this script was a clever mix between The Good Wife & Scandal, with a hint of Homeland since she’s doing the same job as Carrie Mathison. So, yeah, clever. But it doesn’t change the fact that you’re always under the impression that you’ve already seen it before. It makes it very much predictable. Like this scene when the press is outside her home after the scandal broke. So cliché. Unavoidable, maybe. Or the one when the scandal breaks for instance: she’s right in the middle of a school fundraiser with the other moms. Or the daughter who’s harassed at school and called names because of her mother. But honestly, the most worrying part here is not the comparisons drawn with The Good Wife and Homeland. It’s the one with Scandal. The show is just about to end and it won’t leave on a good note since it’s stupid for ages now. I’m very much afraid Mrs Otis Regrets falls into the same traps. I don’t want Hezel to become as annoying and murderous as Olivia Pope. I don’t want a tiring and never-ending love triangle between Hezel, her husband and NSA’s General Moses Fallon, who’s a lot like President Grant. Been there, done that! Coincidentally, it’s also produced by Judy Smith, like Scandal, which was based on her own life! And with an Empire producer/showrunner on the team, I wouldn’t want the show to become too soapy either. I do love soaps but when they take place at the FBI -look at Quantico!- they can quickly turn into a mess.

Even though Mrs Otis Regrets have a few problems, mostly a bit predictable and déjà vu premise, it definitely has potential for the long haul and it’s a great vehicle for Katie Holmes. At some point, one character says: “The timing is all wrong. All anyone cares about right now is the sexual assault stuff.” And that’s my main concern here: is the show’s timing wrong? I’d say its timing is perfect as long as they play their cards right: it has A LOT to say about sexism in the work place, about the glass-ceiling, about being in the public eye and how much the perception is different if you’re a man or a woman, and I hope they won’t shy away from all of this, that they will embrace it and make it an important show in the process. Women deserve this.

In Between Lives (NBC) pilot preview: In Between Naps

Written and executive produced by Moira Kirland (Medium, Dark Angel, Castle, Madam Secretary). Also produced by David Heyman (Fantastic Beats, Harry Potter, Gravity, Paddington) & Nancy Cotton (Young Americans, Complete Savages). Directed by Charlotte Sieling (The Killing, Bron, Borgen). For NBC, Universal Television, NBCUniversal International Studios  & Heyman Television. 61 pages. Third Network Draft. 12/21/2017.

Description: Cassie Gallagher, a mysterious young woman, reluctantly uses her gift of clairvoyance to help a veteran LAPD detective and a damaged ex-FBI outsider solve the most unnerving and challenging cases the city encounters. This eerie ability also opens the door for her to see and talk to the dead, who are seeking help for unresolved problems, whether she likes it or not…

With Harriet Dyer (Love Child, No Activity), Yusuf Gatewood (The Originals)…


You’ll like it if you already like: Medium, Ghost Whisperer, Unforgettable…

Likely timeslot: Dumping ground friday, midseason sunday…


I almost didn’t write this preview for two main reasons. First, nobody cares about this project. I’m wasting my time, you’re wasting yours by reading what I have to say about it (thanks anyway! Keep reading now you’re there!) and everybody involved in this, from NBC to the actors, are kinda wasting their time too. But at least they’re getting paid! Second, do I really have anything to say about it? I mean, the logline is quite telling. Also, it’s announced as a “clairvoyance crime drama”. Not sexy or promising. And sadly, there’s no hidden treasure between those lines. In Between Lives is a lazy project that looks exactly as it sounds: BO-RING. It will probably be watchable and NBC might feel like there’s an audience for it but nowadays, when you make a procedural, you need a hook. A hook that’s new. And if In Between lives has one -which is debatable- it is NOT new.

Heard of a show called Medium? Well, it’s more or less the same story, and the creator worked on it by the way. It’s impossible no to think of Ghost Whisperer also. And Unforgettable that we already all… have totally forgotten! But without Patricia Arquette, who was a huge draw and who improved the material by her talent and charisma. Or Jennifer Love Hewitt. Or Poppy Montgomery. Both are not incredible actresses frankly but people love them. And their names helped selling the shows overseas, where they thrived. I have no idea who this Harriet Dyer is -she’s australian and a newcomer- and she may be great, but it would need her to be greater than great to save the day. It’s not a heroine you want to spend time with. Not because she’s mean but because she’s bland and unfunny. Her official description is “a lovely young woman”. For sure, Cassie wouldn’t hurt a fly and she’s cute. But we definitely need more than this in 2018. The show is written by a woman and directed by a woman. You would think they’d offer us a character that’s different, multi-dimensional, but other than her “power”, she’s not. Yes, she’s haunted by hallucinations of vicious crimes, both past and present, and it makes her kinda dark. What else? I’m really sorry for you, girl. But I don’t think I care. Nor that I should.

The two cops from the LAPD that she “works” for have a cool dynamic. They’re buddies you know, though they don’t really know each other yet since it’s the first day of their partnership, but here again they have nothing special going for them. One has a secret : the woman he loves is in a coma. Well… The case of the week takes 90% of the script and it’s about the murder of a young woman that seems connected to another case from the 80s. It’s all about delving deeper into the psychology of the killer but it’s no MINDHUNTER. Truthfully, the investigation part is okay-ish, it doesn’t ask you to think, it gives you everything on a platter. And I’m sure you can enjoy it on a cold winter day, between two naps – if you get the chance not to fall asleep during the episode of course. It’s funny because I noticed that the characters are always having a cup of coffee in every scene. Starbucks is mentioned. Maybe it’s product placement or just an obsession from the writer, I don’t know. But I wanted a coffee badly in the end. So I guess it worked. And it’s quite clever when you think about it: you really need coffee to survive this if you’re not into procedural crime dramas. Maybe even if you are.

In Between Lives is yet another attempt from NBC to offer a procedural crime drama -with a supernatural twist- that could potentially work internationally and make money without costing too much. But with no original hook, no star, no ambition and no fun, it’s more of a snoozefest. They’d better bet on more original concepts that would at least make them look courageous and relevant. Making the same shows as in the 90s & 00s is not the solution. 

For Love (ABC) pilot preview: Cheesy Magic in New Orleans

Written and executive produced by Michael Cooney (Identity, 6 Souls). Also produced by Kim Moses (Gone, Conviction, Ghost Whisperer) & Ian Sander (Ghost Whisperer, Profiler, I’ll Fly Away). Directed by John Dahl (Kill Me Again, The Looming Tower, Ray Donovan, Justified). For ABCABC Studios & Sander Moses Productions. 59 pages. Revised Network Draft. 1/20/2018.

Description: Five years ago, Hope Castille, a journalist, lost the love of her life, Charlie, also a journalist, in a tragic car accident. Now she is finally ready to move on and has found a new love, Gabriel Dumaine, mayoral candidate and member or the Dumaine family, a historically important family in New Orleans. But when Hope gets a call from Charlie, her whole world is shaken as she is drawn into the underground world of magic in New Orleans…

With Lex Scott Davis (Training Day), Luke Arnold (Black Sails, Glitch), Ethan Peck (10 Things I Hate About You), Jon Ecker (Queen of the South, Narcos), Rachel Skarsten (Reign, Lost Girl), Wolé Parks (Devious Maids, The Vampire Diaries), Chloe Wepper (Liv & Maddie), Isabella Russo


You’ll Like It If You Already Like: Once Upon A Time, Witches of East End, Revenge…

Likely timeslot : Sundays at 8 (but nowhere to be found is even better)


This was a great read, people! A really great read. I devoured it like crazy… and laughed so really hard. It’s like the equivalent of a great page-turner, that you know is, in fact, very bad. You can’t help reading it but a voice in your head tells you “bad bad bad” in a loop. Great read, bad pilot. For Love is quite something. To be honest, it’s not like I expected much from it. Since the logline I knew. I knew they ordered it for bad reasons. Those reasons are still mysterious to me, though. Because I can’t even imagine there was not at least one better and more worthy pilot script than For Love in development. What’s with Michael Cooney exactly? It’s his third pilot pick-up at ABC after Runner in 2015 and Spark in 2016. And well, those two were not great either, but way better than For Love. I don’t want to make any assumptions but there is something really bizarre here… They probably saw it as a potential Once Upon A Time successor. But do they really need one for a show that is currently doing horrendous ratings on friday night? I don’t think so. Let it die and don’t even try to replicate its distant success.

Anyway, yes, it’s as cheesy as the title suggests. That’s not the only problem, though a big one that makes most of the early dialogues completely ridiculous. Cheesy can be charming and comfy. Look at The Good Doctor, ABC’s new hit. It can be sometimes, but it’s okay. Because you care about the characters and because the writing is solid. Other example: long-running Once Upon A Time again. What saved it even when it became really bad? The Disney brand. The famous characters. The nostalgia. There is nothing that can save For Love. Most of the characters are bland, one-dimensional, even the heroine. She has nothing special going for her. Except she’s a journalist, and I can’t think of a lot of journalist characters on broadcast networks right now. Her best friend is, for now, just her best friend. And nothing else seems to be going on in her own life. Uninteresting. The men are love interests, not much more. The dead one is a perfectly annoying prince charming kind of guy, while the alive one is flavorless. Both come off as corny, silly. Maybe the actors can make them more charismatic but it’s not like they chose them for their acting skills… The bitch? It’s soapy so of course there’s a bitch! Not even her can do magic! She’s not a “good” bitch. She’s certainly not nice but her bitchiness is not funny in action.

There’s one character though that I’m in love with. For all the bad reasons. She’s named Marie Jojo. Which is already funny in itself. She’s a 90 year-old woman, trapped in the body of a 12 year-old. Well, it’s more complicated than that but I won’t bore you with the details. Let’s just say the Dumaines are actually immortal voodoo practitioners who transfer their souls from body to body so they can live forever. They adopted a poor child so Marie Jojo, the matriarch, can still make their lives a living hell every damn day! And I can’t wait to watch her scenes if the pilot gets picked-up. I mean, a 12 year-old talking like a mean grandma must be a precious thing to witness. It has every chance to look totally ridiculous! That’s where all the fun is. That’s how For Love must be watched, I guess. As a very guilty pleasure that even Lifetime or Freeform -and they know a thing or two about shitty shows- would even be ashamed to air. But really, that’s where it should end up just in case ABC Studios think that this jewel needs to exist for real. I know I’m very mean right now and I’m sorry for this. But when I get the chance to review something as bad as For Love, I do it with all my heart… and bile acid.

What else can I tell you? There’s a Russian psychic, a weird guy with a skull levitating by his sides, a whole fake circus coming alive with dragons, fire and eveything as part of a magic trick to scare the heroine. Can’t wait for the OUAT special effects team doing their magic! Rival families, a war which is brewing, our little Hope caught in the middle of all this, not knowing what to do and who to believe. But she keeps on moving “FOR LOVE” of course… I give you one thing, only one thing that I like about this script: its setting. New Orleans is not that much used for television shows. The Originals recently, season 3 of American Horror Story… And it’s too bad because there’s a rich history there to delve into. For Love doesn’t even try. There’s a great sense of the geography of the city, the old part of it, the more recent one. But does it say something about it? No. Not yet at least. One character is a candidate for mayor so there could be a political story to tell too. But honestly, will they ever make something out of it? Probably not. That’s not their subject. Their subject is magic. And their love triangle. And a TV show based on a love triangle can’t be good by the way. Love triangles are okay for a few episodes, maybe a few seasons if you’re inspired (Dawson’s Creek dit it, The Vampire Diaries too). But not an entire show.

I took a long hard look at this script. I read it from the first line to the last. I didn’t skip any. And I decided I didn’t want to be a part of it. AT ALL. Even though I shamelessly enjoyed it sometimes. For Love is ridiculous, simply ridiculous. And ABC isn’t that desperate. Nothing would justify a series order. Nothing! I sound very dramatic but I’m appalled by what I just read. If somehow they pick-it up, then it’s dark magic, voodoo dolls, I don’t know, but not the decision made by someone in his right mind. For the love of God, can someone cast a spell to erase it from ABC’s roster? 

Charmed 2018 (The CW) pilot preview: Is the #STOPCHARMEDREBOOT movement worth the trouble?

Written and executive produced by Jennie Snyder Urman (Jane The Virgin, Emily Owens, MD, 90210, Gilmore Girls), Jessica O’Toole & Amy Rardin (Jane The Virgin, Selfie, The Carrie Diaries, Greek). Based on the 90’s hit series from Aaron Spelling. Also produced by Ben Silverman (Jane The Virgin, No Tomorrow, The Office, Ugly Betty). Directed by Brad Silberling (Jane The Virgin, Dynasty, Reign, Casper, A Series of Unfortunate Events). For The CW & CBS Television Studios. 61 pages. 2nd Revised Network Draft. 2/27/2018.

Description: Three sisters in a college town discover they are witches right after their mother died in mysterious circumstances. Between vanquishing supernatural demons, tearing down the patriarchy and maintaining familial bonds, a witch’s work is never done. Mel, Margarita & Macy will learn it the hard way…

With Melonie Diaz (Fruitvale Station, The Breaks, Nip/Tuck), Sarah Jaffery (Shades Of Blue, Disney’s The Descendants, Wayward Pines), Madeleine Mantock (Into The Badlands, The Tomorrow People), Rupert Evans (The Man In The High Castle), Ser’Darius Blain (Jane By Design, Jumanji), Charlie Gillepsie, Ellen Tamaki


Ever since The CW announced they were working on a Charmed reboot back in january 2017 -we were first to break the news and it was a prequel at the time, which is no longer the case- many outraged fans of the original show expressed their discontent -let’s call it like that- around the globe, while the actresses had some harsh words about it on their respective social media accounts. One year later, the network proceeded with a pilot pick-up anyway, that unleashed hell on earth. Original star Holly Marie Combs unloaded a magical amount of tweets to shade CBS -which owns the rights- like this one:

And she went on and on… In the meantime, a group of hardcore fans launched a Twitter campaign called #StopCharmedReboot, hoping it would discourage The CW but so far it didn’t work, as expected: new actresses were hired to play the three new incarnations of the story and a shooting date has been set (it starts march 19 in Vancouver). The movement is still going strong, with people airing their grievances every day but let’s be honest: unless the network is not happy with the finished product AT ALL, it’s gonna get picked-up to series, it’s gonna air next fall, it will get big streaming deals, it will be successfully sold internationally and even the most infuriated fans will take a look at it no matter what they say. The truth is: in the era of peak TV it’s getting harder and harder for your show to get some attention, that’s why there are so many reboots and sequels, and all this fuss about Charmed is helping it more than anything else; any press is still good press, right? If I had one advice to give to people who don’t want this show to work: STOP. TALKING. ABOUT. IT. Indifference is the strongest force in this universe! Right after The Power of Three, of course.

Without any further ado, I’m gonna tell you what I think of this pilot script. But first, just know I wasn’t a huge fan of the original show, I didn’t watch the entire thing, I never considered it as a must-see and I never understood why it was so popular and why it still is. But I have nothing but respect for a show that was able to please such a devoted and vibrant fanbase all around the world. It’s rare and precious. Also, what will follow is MY opinion only, from a business perspective more than anything else. Is it a promising script? Does it have the potential to become a hit for The CW? That’s what I’m interested in. Feel free to comment but please be respectful!

Back when the pilot was picked up in january, the network described it as “a fierce, funny, feminist reboot”, which was understood by many people as a provocation implying that the original show was not fierce, funny and feminist. Well, things have change, time has passed. What was feminist in the early 2000s -“girl power” and everything- looks a bit soft and cheesy nowadays. It was a first step. An important one. Charmed was a good example of female empowerment for little girls but it was no Buffy The Vampire Slayer. I don’t mean to belittle what was accomplished but let’s not rewrite history either. It was not groundbreaking. More than a decade later, in a world with the #MeToo movement -Rose McGowan is a huge part of it and it’s no coincidence- and shows like The Handmaid’s Tale, a straight follow-up wouldn’t have made a lot of sense. We can’t blame the new writers and producers for wanting to be timely. Their goal is to appeal to a new generation -with younger characters- and address the most pressing issues women face nowadays (the “case of the week” part is about a professor who’s a predator). So let me rephrase it: the Charmed reboot is fiercier, funnier and more feminist than the original show. I’m not sure it sounds better but you’ll have to deal with it! That being said, the script tries way too hard to look “woke”. More subtlety wouldn’t have hurt anyone. They’re clearly making a statement here, let’s just hope they relax a little after the pilot, not making it too heavy all the time.

The whole Mel character, the middle sister who’s a passionate feminist and an outspoken activist -with the ability to freeze time- sounds a little too cliché, especially when you add the fact that she’s a lesbian. Hear me out: it’s great there’s a lesbian sister in the show, that’s one of the reasons why this version is modern. BUT it might have been more interesting to give the feminist attribute to another character, so we don’t fall into the usual “feminists are homosexuals (who hate men)” trap. Still, she’s probably the most interesting character here; after the family tragedy, she becomes angry and violent, she loses her way, she loses her girlfriend too -Nico, who’s a detective in Hilltowne- so she adds darkness to a show that’s not light-hearted. Maybe that’s the biggest difference with the original Charmed: it can be funny because the dialogues are sometimes great and inspired -and we recognize the Jane The Virgin team here- but it’s pretty gloomy overall. The family manor is right in the middle of frightening woods, not in a sunny street of San Francisco. The opening sequence leans towards the horrific genre, with jump scares, fog, crows, murder of crows even… Same goes for the end with a Ouija board in the attic, and whisperings… A totally different atmosphere that is closer to Buffy, Riverdale or American Horror Story than good ol’ Charmed.

The younger sister, Margarita, is the complete opposite of Mel. She’s 18, your typical millenial girl who’s worried about her social identity -too bad for her, she can hear other people’s thoughts- and she’s not happy at all to discover that she’s a witch. She has a wry sense of humor and she’s part of a sorority that will probably play a major role in the subsequent episodes, between the mean girls she wants to be friends with and the weird guys that are lurking around her. She will probably become a fan favorite. Last but not least, the older sister who didn’t know she had sisters until recently: Macy, a “science nerd” in her late 20s with a Ph.D. in quantum physics. She’s moving with her boyfriend named Galvin to Hilltowne to do lab work. She possesses the power of telekinesis. Her love story is already totally boring and I’m not sure Gavin will stick around much longer. Finally, there’s Harry, the girls’ “devilishly handsome” advisor, refered to as a “whitelighter” like Leo was, who adds a lot of humor and eccentricity whenever he appears. Think Eliot in The Magicians. But he’s not exactly who he says he is…

You’re probably wondering if the Book of Shadows is still part of the story and the answer is yes. The Power of Three? Yes, of course. Are the Halliwell sisters part of the story or even refered to? Not at all. I don’t think they will ever exist in this version. It’s not a sequel. If the overall tone is darker, they kept most of the original show’s premice. They’re still the most powerful witches ever known, destined to protect both innocents and the world at large from demons and other devil creatures. They didn’t lie: it really is an update of the same concept with characters that are more diverse. It’s not just using the show’s name and popularity to do something totally different. It’s fast-paced, with transitions throughout that consist of three quick cuts which are in fact small slices of each women’s stories. Think How To Get Away Murder. They do something similar. I find it irritating on paper here and it doesn’t add much but why the hell not after all… We’re promised monsters of the week cases as well as ongoing stories about the witches’ love lives while the bigger picture is probably kept for later, once they will be familiar with their powers.

The Charmed fans will be pissed to read this but this pilot script is pretty decent. It’s not an insult to the original though they’re doing like The Halliwells never existed (and some might find that insulting, I get it). It’s modern and as feminist as they claimed, though subtlety is not their strong suit. The characters have things to say and stories to tell that should be heard in those troubled times. In other words, it’s not revolutionary in any way but it’s not the trainwreck haters would like it to be and there’s really nothing to rally against. Ignore it, don’t watch it, just let it be. There are more important battles worth fighting for. 

#2018PilotSeason By the Calendar


February 27

Guess Who Died (NBC)


March 7

The Rookie (ABC) – Los Angeles

The Village (NBC) – New York


March 8

Dead Inside (The CW) – Vancouver

Manifest (NBC) – New York


March 12

A Million Little Things (ABC) – Vancouver

F.B.I. (CBS) – New York

For Love (ABC) – New Orleans

Get Christie Love (ABC) – New York

God Friended Me (CBS)

In Between Lives (NBC)

In The Dark (The CW) – Toronto

Staties (ABC) – Portland

The Finest (ABC) – New York

The Fix (ABC) – Los Angeles

Playing Dead (The CW) – Toronto

Murder (CBS) – New York

Roswell (The CW) – New Mexico


March 13

The Mission (ABC) – Vancouver

The Passage (FOX) – Atlanta

Untitled Bad Boys Spin-Off (NBC) – Los Angeles


March 14

Bellevue (NBC) – New York

Main Justice (CBS) – New York

Red Line (CBS) – Chicago

Salvage (ABC) – Charleston


March 15

Grand Hotel (ABC) – Miami

The Greatest American Hero (ABC) – Los Angeles


March 17

Single Parents (ABC) – Los Angeles

Whiskey Cavalier (ABC) – Prague


March 18

The End of the World As We Know It (The CW) – Vancouver


March 19

Charmed (The CW) – Vancouver

False Profits (ABC) – Dallas

Four Rivers (ABC) – Los Angeles

Gone Baby Gone (FOX) – Chicago

Infamy (FOX) – Chicago

L.A. Confidential (CBS) – Los Angeles

Mixtape (FOX) – Los Angeles

I Feel Bad (NBC) – Los Angeles

Suspicion (NBC) – Boston

The Code (CBS) – New York

The Enemy Within (NBC) – New York


March 20

Bright Futures (NBC) – Los Angeles

How May We Hate You (ABC) – Los Angeles

Magnum, P.I. (CBS) – Honolulu

Our People (FOX) – Los Angeles

Spencer (The CW) – Los Angeles

Untitled Bowman Comedy (ABC) – Los Angeles


March 21

Skinny Dip (The CW) – New Orleans

Steps (ABC) – Los Angeles

Untitled Tim Doyle Comedy (ABC) – Los Angeles


March 22

Mrs Otis Regrets (FOX) – Chicago


March 25

Chiefs (CBS) – Atlanta


March 26

Abby’s (NBC) – Los Angeles

Cagney & Lacey (CBS) – Los Angeles

Friends-In-Law (NBC) – Los Angeles


March 27

Like Family (NBC) – Los Angeles


March 28

Dan The Weatherman (FOX) – Los Angeles


April 2

So Close (NBC) – Los Angeles


April 4

Untitled McAuliffe Comedy (CBS) – Los Angeles


April 9

25 (CBS) – Los Angeles


April 11

Man of the House (ABC) – Los Angeles

Pandas in New York (CBS) – Los Angeles


April 19

Most Likely To… (ABC) – Los Angeles


April 24

Fam (CBS) – Los Angeles



Bless This Mess (FOX) – Los Angeles


Whiskey Cavalier (ABC) pilot preview: Sexy for the ride

Written and executive produced by Dave Hemingson (How I Met Your Mother, Don’t Trust the B****, The Catch). Also produced by Scott Foley, Bill Lawrence (Life SentenceCougar Town, Scrubs, Spin City) & Jeff Ingold (Rush Hour, Ground Floor, Undateable). Directed by Peter Atencio (Jean-Claude Van Johnson, Key & Peele). For ABC, Warner Bros. Television & Doozer Productions. 60 pages. 3rd Network Draft. 1/12/2018.

Description: the adventures of FBI agent Will Chase (codename: Whiskey Cavalier) who, following an emotional break-up, is assigned to work with CIA operative Francesca “Frankie” Trowbridge (codename: Fiery Tribune). Together, they lead an inter-agency team of spies who periodically save the world (and each other) while navigating the rocky roads of friendship, romance and office politics…

With Scott Foley (Scandal, Grey’s Anatomy, True Blood, The Unit, Scrubs, Felicity), Lauren Cohan (The Walking Dead, The Vampire Diaries, Chuck, Supernatural), Ana Ortiz (Devious Maids, Hung, Ugly Betty), Tyler James Williams (Criminal Minds, The Walking Dead, Everybody Hates Chris), Vir Das


You’ll like it if you already like: Mr & Mrs Smith, Castle

Likely timeslot: Monday at 10, Tuesday at 10, Wednesday at 10.


Whiskey Cavalier is entering the pilot race with a big advantage: its cast. And these days, when most of the biggest names are more tempted to work for a streaming platform like Netflix or Amazon instead of a good ol’ broadcast network, it’s already a victory! And not a small one. Hottie and goodie Scott Foley became some sort of household name thanks to his roles on Grey’s Anatomy and then Scandal and he’s worth a shot as a leading man. The whole project was built around him by the way, he was attached to star from the get go. Lauren Cohan was one of the most sought-after actresses of this pilot season, being a fan favorite from the most watched TV show out there -you probably recognized The Walking Dead– and from the dozen of projects she received, that’s the one she chose. It’s quite telling. Together, they make an attractive pair. Let’s just hope they have chemistry. The cast also includes Tyler James Williams. Even though his appearance on The Walking Dead was shorter than Cohan’s, it’s still someone people can identify and he’s here for his comedic skills. Last but not least: Ana Ortiz, who’s a sweet addition; the kind of actress you’re always happy to have back on your screen, even in a small part. And not a small part it is here. Now, the question is: does the script live up to the cast?

I’d like to give you a simple answer but sorry, it will be a bit more complicated than that. The thing is, Whiskey Cavalier is far from inventing or even re-inventing the wheel. It could have been made 5, 10, 15 and even 30 years ago. But it will probably look better today. You won’t see there anything you haven’t already seen before, probably more on the big screen than on television though. It’s more movies that come to mind when you think about light action fare. But there’s also a dynamic that TV knows by heart, and its viewers too: the “will they? won’t they” situation created when two sexy people who hate each other at first sight are asked to work together against their will and slowly fall in love. I don’t see how Whiskey Cavalier could escape this trope and I don’t even think that’s something they’d want. They know it’s gonna happen sooner or later. We know it too. That’s part of the fun. But maybe there will be a love triangle to spice things up a little bit. Yes, another trope where two women are fighting for the same guy… I don’t want to to sound too cynical: ratings have proven time and time again that that’s what the audience want, as long as it’s well-made. And I have a feeling this one will be.

The pilot’s most obvious strength is that it never takes itself too seriously. The writer knows he’s not doing The Bourne Identity. He’s not trying to. He makes his own little thing that could become something big if lightning strikes. The script is as efficient as a script can be on a broadcast network. The action scenes are promising, it’s always going fast, constantly moving from one place to another. It starts in Paris, it goes to Moscow and New York, and it ends up in Reims (a little city in France). It’s constantly funny, playful, exciting. Maybe a little exhausting too. All the characters have a great sense of humor but not the same kind. I mean, it starts with Will Chase (Foley) singing Bonnie Tyler’s “Total Eclipse of the Heart” in his pajamas. It sets the tone. Will & Francesca tease each other all the time; and Tyler James Williams’ character Edgar Standish -who’s one of the bad guys when we meet him, or so we think- is simply hilarious as the jittery genius who has enough super-secret informations to get him bought off, imprisoned or killed by a dozen governments. While we’re here for the fun and we get plenty, the main plot stays interesting all along, with enough twists and turns -not too predictable or complicated- to keep us happy.

You probably got it now, Whiskey Cavalier is a procedural action dramedy and the pilot’s main goal is to assemble the inter-agency team. Will & Francesca will be helped permanently by Edgar, Ana Ortiz’ Susan Sampson, who’s the FBI’s top behavioral scientist and also Will’s best friend; and Rutger, CIA’s quartermaster and Francesca’s friend. They work from an apartment since their missions are top-secret, even for the others at the FBI & the CIA. Expect a bit of workplace comedy in there. Their missions can send them anywhere on the planet. I didn’t tell you much about our two heroes but all there is to know so far is in the logline. We’re not given a lot of details about their past, just a few hints. And that’s all we need for now. I have one concern about them: their cat and mouse game in the pilot works very well, since they’re enemies and they’re not exactly looking for the same thing, but will it be as fun when they’ll have to work side by side, not against each other but together? I really hope so! Towards the end, Rutger asks Susan: “You think it’ll always be like that?” and she answers: “I hope so!“. We all do!

Take Castle, change the “police” part by an “espionage” part, bet on the jokes, step on the gas, improve the budget, put on sexy clothes and you get Whiskey Cavalier! With a strong script, an attractive cast and an upbeat tone, this is a very serious contender at ABC, a damn fun ride. I don’t know if this is what people want but it certainly what the alphabet network thinks people want right now. They may be onto something…