Author: Lulla

#PilotSeason By The Cities (2017 edition)

 

>>> Click here to enlarge the map <<<

(not your penis – this joke never gets old!)

 

As less broadcast pilots have been ordered overall this year, Los Angeles is the city that suffers the most with only 7 drama pilots shot over there compared to last year’s 11, though it’s still more than 2014 all-time low of dismal 5. But L.A. is compensating with 4 straight-to-series order: Marvel’s Inhumans, 10 Days In The Valley, Orville Law & Order True Crime, while most of comedy pilots, both singlecam & multicam, are shot there too (all but one: Zach Braff’s Start Up shooting in New York) as well as many cable and streaming series. The state of California also has 2 other pilots in the running: El Jefe (that has just been pushed off-cycle by CBS) and military drama Behind Enemy Lines, while Pitch may or may not get a second season on FOX.

New York & Atlanta are rebounding from 2016 with 7 pilots each, instead of 5 and 4 respectively. Plus, the Big Apple has a deal with Disney/Marvel for Netflix series (Daredevil, Jessica Jones, The Defenders…), which is the largest film or television production commitment in New York State! 5 of the 6 pilots ordered by The CW will be shot in Atlanta, while the city is losing The Vampire Diaries and Teen Wolf, which are coming to an end (The Originals may join them). It has a logic for a pilot like Dynasty, which is set there; less for Life Sentence, which is supposed to take place in… Portland! Remember Atlanta is also the home of The Walking Dead.

Canada is down overall. Vancouver is welcoming 6 pilots (4 of them are for ABC), one more than last year. Many movies and series are already shot there (especially the DC Comics shows) and as a consequence it has been hard to find crews and production facilities available for pilots. But it’s harder for Toronto, which has only 1 pilot against 5 in 2016.

Most of the other cities are getting one or two pilots, including Chicago, Austin, Dallas and Miami, while New Orleans is back in the game with the CBS Navy Seal project. Missing are Las Vegas, Boston, Salt Lake City and Wilmington, while Marvel’s Inhumans will partially shot in Hawaii.

Exotic locations are rare again this year, with no pilot shot entirely in Europe (only a few scenes for Behind Enemy Lines in Prague), but one in South Africa (The CW’s Searchers) and one (partially) in Morocco.

Of course, those which will be granted a series order in May could move to some place else. For example, How To Get Away With Murder pilot was shot in Phildalphia before moving to Los Angeles for the rest of the show.

 

MAP designed by @_Piair

 

THE FULL LOCATIONS LIST

ALBUQUERQUE
MISSION CONTROL

ATLANTA
BLACK LIGHTNING
BLUE GRASS BLOOD RED
DYNASTY
INSATIABLE
LIFE SENTENCE
THE RESIDENT
VALOR

AUSTIN
THE GOSPEL OF KEVIN

CHICAGO
CONTROVERSY

DALLAS
UNTITLED XMEN DRAMA

LOS ANGELES
THE BEAST
BLACK’S LAW
THE GET
GOOD GIRLS
LAW & ORDER TRUE CRIME: MENENDEZ
ORVILLE
SWAT
UNIT ZERO

MIAMI
LAS REINAS

NEW ORLEANS
NAVY SEAL PROJECT

NEW YORK
DECEPTION
DRAMA HIGH
HIGHER GROUND
KILLER INSTINCT
REDLINERS
SALAMANDER
SALVATION

PITTSBURGH
GONE

SAN DIEGO
EL JEFE

SOUTH AFRICA
SEARCHERS

TORONTO
PERFECT CITIZEN

VANCOUVER
THE CROSSING
DOOMSDAY
THE GOOD DOCTOR
REVERIE
THE TRUSTEE
WISDOM OF THE CROWD

LOS ANGELES / CHICAGO / HAWAII
MARVEL’S INHUMANS

LOS ANGELES / SAN DIEGO / PRAGUE
BEHIND ENEMY LINES

MAROCCO / ALBUQUERQUE
FOR GOD & COUNTRY

Wisdom of the Crowd (CBS) pilot preview: Wisdom would have been not picking it up!

Written and produced by Ted Humphrey (The Unit, The Good Wife, Incorporated). Executive produced by Alon Shtruzman (DIG), Peter Traugott (Samantha Who?), Rachel Kaplan (Manhattan Love Story, Do No Harm), Avi Nir (Homeland, Tyrant), Dror Mishani,  & Shira Hadad. Directed by Adam Davidson (Fear the Walking Dead, Hell On Wheels, Community). For CBS Television Studios, Universal Television & Keshet Studios. 63 pages. Network Draft. 01/23/17.

Description: Jeffrey Tanner, a successful tech innovator from Silicon Valley, creates a cutting edge crowd-sourcing hub named CrowdSolver to solve his own daughter’s murder, as well as revolutionizing crime solving in San Francisco. Tommy Cavanaugh, a tough cop for 16 years, reluctantly accepts to run the place…

With Jeremy Piven (Entourage, Mr Selfridge), Richard T. Jones (Judging Amy, Santa Clarita Diet, The Sarah Connor Chronicles), Blake Lee (Mixology), Monica Potter (Parenthood, Boston Legal)…

 

You’ll like if you already like: The Mentalist, Bull, APB, Pure Genius

Likely timeslot: Anywhere on CBS quite frankly.

 

I have a feeling you’re not interested in this script preview. Well guess what? Me neither. So I’m gonna keep it short and direct (and thank you for reading it anyway). It’s one of those CBS procedurals that give you so much of a “déjà vu” impression that even if it’s effective and moving at an appropriate pace, it still feels tired, unnecessary and boring. So I won’t bore you with too many details. How many more white handsome rich guys with exceptional skills and a deep dark wound -which is always a dead relative, here a daughter- will we have to endure? Now that the initial charm has worn off, isn’t it time to put it to rest for like… forever? Police procedurals need to reinvent themselves and as recent flops like CSI:CyberAPB (or Pure Genius in the medical area) suggest, using high-tech isn’t the solution. It certainly helps giving a modern feel to the projects, but it never make them special.

This season, CBS provided us with Bull. The legal drama is starring Michael Weatherly and is protected in the timeslot that immediately follows NCIS, where the actor spent 13 years of this career. Very smart scheduling obviously. So of course, it’s doing okay numbers. But not great numbers, not exactly what the network expected I guess. Same for MacGyver. It does a decent job for friday nights but it’s not a hit. To me, it proves this concept has been overused and is progressively dying. CBS only ordered two of these this pilot season, meaning they more or less took into account the rejection. The other one is Instinct with Alan Cumming that I already wrote about (HERE) and which is better. Funnier. And more distinctive.

The thing is Wisdom of the Crowd is an Israeli concept that has been sold to CBS and it shows. It doesn’t sound like a script that comes from the mind of its writer, it doesn’t sound like something personal or something that has been thoughtfully prepared for weeks or even months. It’s just a product he’s trying to sell us, carefully following what he has been asked. It’s just a job he’s paid for. There’s no life or passion between those lines. It leaves you unimpressed.

The main investigation checks the usual boxes meticulously, without surprising us a bit. Yes, it’s easy to read and probably comfortable to watch but it never challenges the viewer. I’d like to think we’re smarter than that. The main character also checks the usual boxes, except he’s not even fun. I have to admit I’m not a big Jeremy Piven fan. It doesn’t help imagining him in the role, but I guess he fits right in the part and he looks like the traditional CBS leading man. Secondary characters are non-existent and there’s a fuzzy political storyline regarding Jeffrey’s ex-wife that is unpromising.

Wisdom of the Crowd is yet another uninspired CBS police procedural script that’d be better left in a drawer or thrown in a trash can. It would have been a convincing option 5 or 6 years ago but we’ve been there too many times since then. 

Insatiable (The CW) pilot preview: Crazy, scary, creepy, campy… devious, scandalous!

Written and produced by Lauren Gussis (Dexter, Once Upon a Time). Executive produced by Nina Wass (Shades of Blue, Less Than Perfect), Andrea Shay (Benched), Todd Hoffman (APB), Dennis Kim (APB)  & Ryan Seacrest (Shades of Blue, Keeping Up with the Kardashians). For CBS Television Studios & Ryan Seacrest Productions. 60 pages. Network Draft. 01/16/17.

Description: when Bob Anderson, a disgraced, dissatisfied civil lawyer-turned-beauty pageant coach takes on a vengeful, bullied teenager, Patty, as his client, he has no idea what he’s about to unleash upon the world…

With Debby Ryan (Jessie, Sing It, The Suite Life on Deck), Dallas Roberts (The Good Wife, The Walking Dead), Erinn Westbrook (Awkward, Glee), Christopher Gorham (Covert Affairs, Popular, Ugly Betty), Michael Provost (Six), Sarah Colonna (Chelsea Lately), Irene Choi & Alyssa Milano (Charmed, Who’s the boss?, Melrose Place, Mistresses) as recurring …

  

You’ll like if you already like: Scream Queens, Glee, Pretty Little Liars, Jane the Virgin

Likely timeslot: None.

If you feel like Insatiable pitch is kinda weird, it’s perfectly normal. The script is weird, the tone of it is weird, the characters are weird and the promise is even weirder. Ryan Murphy is not involved in this project, none of the people who work on it worked with him before but there’s definitely a Murphy vibe all along. It’s funny, and over the top, and ridiculous, and dark… and yes, ultimately weird. I have to confess I have some sort of PTSD since I read Jane The Virgin script a few years ago, and then wrote on it. I really thought it was dumb, and stupid, and that it would never work. And as it turned out, I was almost wrong. Almost because let’s be real: it’s not a success and it will never be. But it’s way better than I thought initially, it has a specific voice, critics are raving about it. So now, every time I read a weird script, I’m like: “be careful, think twice, maybe you’re mistaking weirdness and ridiculousness with genius!”. With Insatiable though, I’m almost sure that I’m not wrong -see I’ being cautious- it’s not gonna work. And not only because it’s weird. But I have to say, it could be a fun guilty pleasure.

First things first: who cares about beauty pageant anymore? Very few scripted shows dealt with the subject before as a central theme. It can only mean two things: it’s not an interesting enough world for a TV show and it’s really hard to find the right angle to make it more interesting than it is. It’s so superficial and full of empty people… Here, you never really get why Bob Anderson is so obsessed with it. It’s even a bit creepy at some point. He’s supposed to be an intelligent guy. He’s a lawyer… He thinks that “beauty is power”, that “everybody can be beautiful” and that’s the only reason we’re given about his strange behaviour towards his “passion”. I really don’t understand the character honestly. He’s handsome, 40, has a “perfect” family -a wife made of plastic, a quaterback son, a tomboy daughter- and apparently, he’s not gay. I don’t want to fall into clichés but… man, just come out of the closet! He behaves like the teenage girls he coaches and their stupid mothers: he’s kind of a bitch. He thrives on jealousy and rivalry. At least, he’s a unique character! At some point, he’s accused of being abusive with one of his girls. That’s when his world falls apart. And that’s when we sorta feel empathy for the poor man.

And then there’s our heroine, Patty, a bullied teenage girl known as “Fatty Patty” at school, who lived all her life in the shadow of her stunning single mother who could have been a successful beauty queen if she didn’t have her at the worst time. After an incident -she punched an homeless guy in the face- she needs a lawyer to defend her in court and that’s when she meets Bob. But she’s not the same girl anymore: she lost around 70 pounds after a liquid diet. Now she’s just like her mother was: a beauty queen in the making. She just doesn’t have any sense of fashion. And she becomes mean and a little crazy in the process, especially when she discovers her life is still shitty. Oh and she has a creepy best friend, Nonnie, who may or may not be secretly in love with her. The relationship between Patty and Bob gets weirder and weirder. They become obsessed with each others. Bob because he sees her as the “project” of his life and Patty because she’s desperately falling in love with him, seeing him as her savior. Yeah, that’s totally fucked-up.

I won’t spoil you the end of the pilot, just in case it gets ordered. You deserve a surprise. But let’s just say it gets… even creepier than it already is. Patty may be a psychopath and it involves her losing her virginity and… fire. Ugh. It’s hard not to tell you. You remember Stephen King’s Carrie? We’re not that far. And by the way, Ryan Seacrest, who produces the show, has found a way to make an appearance at the very end, playing himself. He has something to offer to Bob. Now that I think about it, maybe Bob is inspired by Seacrest? Enough said. Last things you need to know about the script: some dialogues are just hilarious, some situations too -like when Bob has to raise money for a charity about… anal cancer- and there is a voice over throughout, from different point of views -Bob and Patty mostly, but Nonnie too- which might sound a bit irritating but it definitely adds something, like it does in Jane The Virgin but in a different way. It helps it being more profound, more realistic even. More human maybe. More relatable. This pilot works as a long exposition, it’s hard to guess what’s coming next, what’s beyond the initial hook. But in the end, the writer has created something special, with its own little world and codes. And that’s not an easy thing to do.

Insatiable is not weird after all. It would be an understatement. It’s CRAZY. SCARY. CREEPY. CAMPY… DEVIOUS. SCANDALOUS. And that’s the beauty of it. It’s way edgier than anything The CW has ever done. Which makes it the odd man out. I’m impatient to know if they have the balls to pick it up to series anyway, to see the reactions. But on a less enthusiastic note: I’m not sure there’s a long-running TV series hidden behind the concept. It’s attractive somehow but for how long? And is The CW the best fit? It would have had a better chance on E! or MTV.

For God And Country (NBC) pilot preview: NBC’s National Anthem

Written and produced by Dean Georgaris (Paycheck, Lara Croft Tomb Raider: The Cradle of Life). Executive produced by Avi Nir (Homeland, Tyrant), Peter Traugott (Samantha Who?) and Rachel Kaplan (Manhattan Love Story, Do No Harm). Directed by Brad Anderson (Frequency, Forever, Fringe, The Call). For Universal Television & Keshet Studios. 64 pages. Revised Network Polish. 01/17/17.

Description: An heart pounding look into the complex world of our bravest military heroes who make personal sacrifices while executing the most challenging and dangerous missions behind enemy lines. The ISA-Special Operations Group, led by commander Michael Dalton, and a team of surveillance analysts who uncover and interpret threats, supervised by Deputy Director Patricia Campbell, will do whatever it takes to make sure no foreign nation gets away with harming Americans…

With Mike Vogel (Under the Dome, Pan Am, Bates Motel), Anne Heche (Dig, Men In Trees, Hung, Volcano, Six Days Seven Nights), Natacha Karam, Demetrius Grosse (Westworld, Banshee, Justified), Noah Mills, Hadi Tabbal, Sofia Pernas (Jane The Virgin, The Young and the Restless)

  

You’ll like if you already like: Homeland, The Unit, JAG…

Likely timeslot : Tuesday at 10, Midseason sundays…

For God And Country. No, it’s not a joke. That’s really the title of this NBC military drama pilot. It’s unsubtle, overly direct, the more on-the-nose title ever created. It doesn’t leave a room for any possible doubt: this is a patriotic show, specifically designed for a Post-Trump America and blue-collar audiences. But let’s be clear, it’s the huge success of Eastwood’s feature film American Sniper that triggered the ongoing push from the networks to get more programs featuring military heroes. Not the Agent Orange/Bratman/Cinnamon Hitler POTUS. While USA Network’s Shooter launched successfully and will come back next summer, 4 other pilots are sharing a military DNA this season: Behind Enemy Lines at FOX, an Untitled NAVY Seal Drama at CBS, Valor at The CW & comedy Charlie Foxtrot at ABC. Let’s just hope only 1 or 2 get a series pick-up during the upfronts. For God and Country -Man, I will never get used to it!- is already a clear favorite at NBC. And I can see why. And I’ll try to explain.

The truth is, this is an edge-of-your-seat pilot that could be compared to the most successful action-oriented episodes of Homeland. I wanted to hate this script but despite myself, I got hooked quickly and couldn’t take my eyes off of it. Unless the director screws things up, it’s gonna be epic. The 5 characters from the operations group are always in action: moving, hiding, shooting, fighting… They don’t talk a lot. And when they do, it’s not particularly impressive. It’s hard to tell who they really are deep inside. Consequently, it’ll take time to get to know them and possibly appreciate them. So far, they are just like machines. But they have potential. And SPOILER ALERT: you shouldn’t get too attached to them, because it is revealed in a flashforward at the beginning of the episode that one of them will die during one of the 23 missions they’ll complete on their nine months deployment. Smart way to help the viewers’ go through an entire season of the show, which is bound to be highly procedural by the way, with tiny serialized elements about their personal lives.

Michael Dalton (played by Mike Vogel) is your typical team leader, your perfect and stunningly beautiful war hero, meaning he’s a bit boring. Juice is the team’s computer and communications expert and all-around tech badass, “a lethal MacGyver”. I let you draw your own conclusion. Joseph J McGuire is the team’s medic who is the quickest to violence and fond of mixed martial arts and… J.K. Rowling. He’s a bit of an asshole honestly. I guess they needed one, to make it real. But he has a sense of humor. He made me think of Lost‘s Sawyer in a way. Then there’s Amir. Before joining Dalton’s team, he spent nearly six years as a lone wolf penetration agent in ISIS, which makes him the most interesting character so far an he goes through a lot during the pilot. And finally, there’s Jaz, one of the few women in the world to make it through the U.S. Army Ranger School. She’s a sniper now, which makes her the second most interesting character of the show. And as the only woman of the team, the most likely to survive the season.

The characters from the Defense Intelligence Agency are less mobile, stuck in their bureau, but they talk a lot instead. They are the ones who make difficult decisions, who strategize. Their leader Patricia Campbell has not much to do with Carrie Matheson sadly, and there’s no Saul Berenson either, but their scenes are intense nonetheless, and I’m convinced Anne Heche is capable of adding extra-life to her too calm and always in control role. There’s an overall lack of emotion, which is a shame for that kind of show who wants to go straight to the viewers’ hearts, but the rescue mission of the pilot is the most emotional thing in there. It’s about a surgeon kidnapped in Syria and her husband waiting for some reassuring news in DC. In fact, I think we get to know more about them than any other characters. And I don’t see it as a good thing. But we’re invested in their story at least.

So is it this patriotic? Yes. But it’s easy to go with the flow and enjoy the show for what it is first and foremost: a military thriller. If you’re not fond of arms, you might get irritated from time to time. They loooove their weapons. And the writer makes sure we get it. But different point of views about war are represented, especially through Juice, who’s a muslim, and McGuire, who’s clearly a Trump soldier. They talk about it. It’s furtive and not really deep, but at least it means the show tries to lauch a conversation. It doesn’t change the fact that I’m still laughing from the ridiculous opening sequence. Dalton yells to a bomb maker: “It doesn’t matter where you hide. If you hurt us, we will find you“. Cut to black and the title appears on the screen. TOO MUCH.

For God and Country is an intense military series that has every chance to resonate with americans right now by playing an ambiguous game that consists of pleasing the republicans without infuriating democrats. Unless people want something more radical. It seems to belong more to CBS than to NBC but there’s definitely an audience looking for this and they’ll find it wherever. There’s a real potential to make something powerful out of it. I wouldn’t be surprised if NBC puts it behind This Is Us next year, though they’re very different tonally. 

SCOOP: The CW mulling a series order for “The Lost Boys” TV remake

Contrary to recent reports, The CW won’t wait before next season to give a chance to its The Lost Boys TV series by Veronica Mars & iZombie‘s creator Rob Thomas. 

As The CW will bid farewell to The Vampire Diaries next friday, other vampires are almost ready to be unleashed. The Lost Boys’ ambitious new take on the 1987 Joel Schumacher movie won’t have to wait until next season to see the light of day, unlike the Charmed reboot that is not ready yet. The network is prepping a straigh-to-series order for the Rob Thomas show, without going to the traditional pilot stage. Shooting on the series could start as soon as this spring in Los Angeles, though nothing is set in stone. No word yet on the number of episodes and a potential air date.

Envisioned for a seven-season, anthology-style run, The Lost Boys series will tell a story spanning 70 years, each season chronicling a decade. Season 1 will be set in San Francisco during the Summer of Love, 1967. Each season, the humans, the setting, the antagonist and the story all change — only the vampires, our Lost Boys, who like the Peter Pan characters never grow up, remain the same.

Thomas will exec produce via his Spondoolie Productions banner alongside frequent collaborators Danielle Stokdyk and Dan Etheridge. Gulfstream Television’s Juliana Janes, Mike Karz and Bill Bindley are also on board after the production company came up with the idea to remake the feature film. Warner Bros. Television is the studio.

SEE OTHER THE CW PILOT ORDERS

The Gospel of Kevin (ABC) pilot preview: Oh Lord, that’s a weird show!

Written and produced by Michelle Fazekas & Tara Butters (Agent Carter, Resurrection, Dollhouse). Also executive produced by Robert Atwood. Directed by Paul McGuigan (Victor Frankenstein, Designated Survivor, The Family, Devious Maids). For ABC Studios and Fazekas & Butters Productions. 69 pages. Studio Draft. 01/12/17.

Description: After a failed suicide attempt, Kevin, a cluelessly self-serving jerk on a dangerous path to despair, is going home to stay with his widowed twin sister and niece for a time, only to be met with a crisis that presents itself very real in the person of Yvette, a warrior for God, whose job is to guide Kevin back to the road of righteousness, and make him understand his mission in this life: saving the world…

With Jason Ritter (Girls, Parenthood, The Event, Grafity Falls, Joan of Arcadia), JoAnna Garcia (Once Upon A Time, Privileged, Reba), Cristela Alonzo (Cristela), J. August Richards (Agents of SHIELD, Raising the Bar, Angel), Dustin Ybarra

  

You’ll like it if you already like: The 4400, Eli Stone, Joan of Arcadia, The Event

Likely timeslot: Tuesday at 10, summer spot…

 

This year, ABC is all about DRAMEDIES. 7 pilots out of 11 are to various degrees. There’s the action one (Unit Zero), the medical one (The Good Doctor), the crime procedural one (Deception)… and there’s the fantasy one : The Gospel of Kevin. President Channing Dungey stated she wanted new shows that both reflect Middle America and entertain like Desperate Housewives, Ugly Betty or Brothers & Sisters did. Those were successes for the network and it makes sense wanting to go back to it, even more if you consider the fact that they have a really strong comedy brand right now and that it’s easier to mix comedies with dramedies than with heavy dark dramas. But I feel like with The Gospel of Kevin, we’re sadly more on the Men in Trees / Eli Stone territory : dramedies that showed up around the same time but didn’t get the same traction for some reason. Some would say that they were not as good. I don’t agree with that. I had a soft spot for them I confess. I’d say they were a little too original and quirky to be appreciated by a larger crowd. Especially Eli Stone, that was ahead of its time with its flashforwards and ambition.

Like Eli, Kevin, played by Jason Ritter -I have a soft spot for him too, let’s call it like that and move on- is a strange man who seems to be on the verge of getting crazy. On one hand, there was Eli, who had visions of George Michael -his “personal Jesus”- singing for him, as well as of his coworkers who burst into songs for no reason. It was about a divine mission he had to accomplish, which had something to with well… saving the world. It was supposed to be because of a brain tumor, though the show ended before we got to know the whole truth. On the other hand, here comes our Kevin, who has visions of a black woman who tells him she has been sent by God to help him accomplish his mission, which also is saving the world. She’s like a guardian angel to him but not in a preachy Touched by an Angel way, thank God. She’s a funny woman. He’s an awkard boyish man. They are both a little crazy and making a mess wherever they go. It’s a pleasure to spend time with this duet. The dynamics between Kevin and his difficult teenager niece Reese, who hates him initially, also works a lot. Plus it’s sweet to watch them getting closer. Those are the perks of the show and the parts that make me hopeful it can be good.

But there are the fantasy elements and the conspiracy behind that puzzle me and make me less hopeful. The pilot starts in Iceland, where a huge impact crater has been found, “the size of a foobtall field and as deep as a lake”. We never go back to it during the rest of the script, which leaves it as a mistery for now. And then there’s this night when Kevin is at his sister’s with Reese and a rock, that is supposed to be a meteor, fall from the sky on a field nearby. Insane as he is, he decides to touch the damn thing and take it back with him. That’s when his visions start. A whole part of the rest of the night has disappeared from his memory, though Reese and surveillance cameras have witnessed his disturbed behavior. The morning after, the meteor has disappeared too. Those scenes could turn out very silly if not executed well.

So what’s happening exactly? We don’t know yet. Is it aliens? Is it God? Is it the beginning of the apocalypse? We’re not left with many clues honestly, though we get some answers along the way thanks to Yvette. Are we supposed to care? I’d say yes, since the characters are pretty interesting. But do we feel like there’s an incredible plan and a fascinating story behind? Not really. Oh and you know what? Kevin’s sister Amy is a “civilian weapons analyst”, who worked with the Pentagon and the CIA before. OF COURSE. It brings the story towards another direction, more serious and real, that I’m not fond of. It’s like there are two different shows there. A funny one and an almost boring one. It seems impossible to make them match naturally. It probably wants to be too many things at the same time. It wants to be thrilling, and funny, and quirky, and touching, and it also wants to be taken seriously.

The Gospel of Kevin is a leap of faith for ABC. It’s exciting on paper but it will require a lot of work, and talent and creativity from all the parts involved to end up on the schedule; and a miracle and lots of prayers not to become a flop. It’s a perfect vehicle for Jason Ritter though, and I wish him all the best, but a heavy serialized fantasy dramedy? I’m not sure it’s even a thing. It’s weird and people don’t like weird.