Tag: abc studios

Bluegrass/Blood Red (ABC) pilot preview: Desperate Cop in soapy smalltown America

Written and produced by Marc Cherry (Desperate Housewives, Devious Maids, The Golden Girls). Also produced by Reba McEntre, Sabrina Wind (Desperate Housewives, Devious Maids, Reba), Mindy Schultheis & Michael Hanel (Malibu Country, Reba, Rita Rocks). Directed by Michael Offer (How to Get Away With Murder, Longmire). 54 Pages. 2nd revised network draft (01/05/17). For ABC Studios, Cherry-Wind Productions & Acme Productions.

Description: Ruby Adair, the sheriff of colorful small town Oxblood, Kentucky, finds her red state outlook challenged when Tag Fayad, a young FBI special agent of Middle Eastern descent is sent to help her solve a horrific crime that happened during the 4th of July parade. Together they form an uneasy alliance as Ruby takes Tag behind the lace curtains of this southern gothic community to meet an assortment of bizarre characters, each with a secret of their own…

With Reba McEntire (Reba, Malibu Country, Tremors), Jack Coleman (Heroes, Scandal, The Office, Dynasty), Amanda Detmer (What About Brian, Private Practice), Ryan McPartlin (Chuck, Devious Maids), Ben Esler (Hell On Weels), Emily Rose (Haven, ER, Graceland), Natalie Hall (Star-Crossed, All My Children), Saidah Ekulona (Impastor)…

   

You’ll like it if you already like: Desperate Housewives, Devious Maids, True Blood

Likely timeslot: Sunday at 9 (the old Desperate Housewives slot) or Monday at 10 (right after old-skewing Dancing With the Stars).

 

Desperate situations call for desperate measures. And in their drama department, ABC is in a desperate situation. They found no new hit this season, except Designated Survivor that is doing okay, while older dramas that are not Grey’s Anatomy are dying. So they asked Marc Cherry, one of their last hit maker, responsible for the rise and fall of the iconic Desperate Housewives, to give them something. Anything. And here we are.

I am thrilled to be coming back home to ABC. What makes it all the sweeter is Reba McEntire is coming with me. And we can’t wait to share with our fans this wonderful Southern Gothic soap opera we’ve been cooking up for them” Cherry said in an official statement. I find it amusing that he considers having fans of his own. Reba McEntire has fans. Of course, she’s a legendary country music star (who wants to be an actress too for some reason). But Marc Cherry? I’m not sure. I mean, there are fans of Desperate Housewives all over the world. There must have fans of Devious Maids too. I am one of them. Don’t judge me. But fans of him? Anyway. It’s just PR after all. So, will those said fans be happy with his new project? Possibly. But not as much as they would have anticipated I’m afraid.

The first question I ask myself when I’m finished reading a pilot script from a renowned writer is not was it good or not but would it have been picked-up if it was not written by this particular talent that has a value for obvious marketing reasons (“from the writer that brought you Desperate Housewives“)? In this case, Marc Cherry has such a special voice that there is no doubt it’s him and there is no doubt it would have been picked up even written by someone else or written by a young and unproven Marc Cherry. Even though it’s clearly not his best work, it’s exactly what ABC needs: something heavily serialized but with a crime and an investigation at the center since there’s still a craving for this kind of shows; something fun and soapy, but not too dark since ABC had too many of those the past few years; and finally something that has the potential to stay on the air for years to come since you know, it’s a business.

Plus, it is believed to be part of the network’s push for more programming that reflects Middle America. On this, I’m not really sold. Yes, it is set in the traditionally Republican state of Kentucky -as both Marc Cherry and Reba McEntire are proud Republicans- but those people living in Oxblood are way too quirky for real americans to recognize themselves in them, apart, maybe, in our heroine and her family. For example, there’s the character of Miss Bo. She will probably be the funniest part of the show. But she runs the local brothel with “the ugliest whores in Kentucky”. I don’t think my mother or yours will recognize themselves in her. Except if your mother is “a Madam”. And that’s okay. I’m also thinking about the Winemiller sisters, black and colorful church ladies. They run a Bed & Breakfast and they talk a lot. Often at the same time. Not your regular neighbours. But anyway, that’s where the fun is. That’s Marc Cherry at his best. Bitchy comments, dialogues to die for. He still got it, my friends. If they find the right cast, magic will happen.

In case you’re wondering, Cherry isn’t offering here a celebration of Donald Trump and his digusting ideas, especially about immigration. But I had my doubts while I was reading the teaser. A brown-skinned woman that is supposed to be a terrorist after she plowed into crowd during a 4th of July parade, killing people (it reminded me of the Nice attack during Bastille Day last summer, which was probably his inspiration)… a detective who is described (in bold letters) as “Middle eastern decent”… but without revealing too much, it’s not what you think. It’s about looking beyond the appearrances for both the townspeople and the stranger coming to town. Like Cherry did with Desperate Housewives and even a bit with Devious Maids: there are no good or bad people in the end, there are only crazy people. It’s not life, it’s soap. And it’s not deep but it’s irreverent.

What I’m less fond of in the show is the investigation part. It’s not used as a distraction from time to time. It’s at the center of it all. And it’s Marc Cherry. The ones in Desperate Housewives were always kinda ridiculous. I’m afraid it’s still the case. It’s not yet, but it could become quickly. Especially if there are planning 22-episode seasons. Just don’t expect The Killing. Thankfully, the dynamic between Ruby and Tag looks different than what we’re used to. It’s not about them falling in love in the near future. She’s 55 (Reba is 61 but she has a “good” surgeon). He’s in his thirties. Well, it would be bold to make them fall in love but I don’t feel like it’s in the cards. It’s more of a mother/son relationship and I don’t recall such a duet in crime dramas. She’s a tough woman with a temper (who has every reason to be angry – her ex-husband Deke is now married to her ex-best friend, plus her junkie daughter left, leaving her 7 year-old son behind); he’s a sex-addict and rude and vegan FBI agent who doesn’t believe in love, monogamy or marriage. Definitely an interesting pair.

I don’t know if it’s because Twin Peaks is coming back or because networks suddenly remembered that America is not only made of big overcrowded cities, but quirky little towns are back in the game this year (Riverdale is another example) and the Marc Cherry Project is apparently ABC’s way of saying: “Middle America, we heard you. Let’s have some fun together!”. Fun, there is. It’s an exciting soap a little more grounded than usual mixed with a crime drama, that has enough potential to be considered as a frontrunner in this pilot season. It isn’t revolutionnary. It won’t be a game-changer show for the network but it could turn into a solid performer that will primarily resonate with older viewers (it lacks teenager/ young adult characters so far). 

Libby & Malcolm (ABC) pilot preview: Give it the “Best Comedy” Emmy Award already!

Written and produced by Kenya Barris (Blackish, The Game, Are we there yet?) & Vijal Patel (Blackish, The Middle). Also produced by Felicity Huffman & E. Brian Dobbins (The Sea of Trees). 37 pages. Network draft 11/28/16. For ABC Studios, Principato-Young Entertainment &  Khalabo Ink Society.

Description: Two opposing pundits also happen to be married. One’s black, one’s white; one’s left, one’s right. Bitter rivals at work on their own political talk show Black & Wright, Libby & Malcolm have to turn conflict into compromise at home when it comes to raising their kids…

With Felicity Huffman (Desperate Housewives, American Crime, Sports Night, Transamerica), Courtney B. Vance (American Crime Story, Law & Order Criminal Intent, Flashforward, 12 Angry Men), Gary Cole (The Good Wife, Veep, The West Wing), James Lesure (Las Vegas, Men at Work, Liptstick Jungle), Caitlin McGee, Monique Green, Sayeed Shahidi (Uncle Buck), Jahi Di’allo Winston

     

You’ll like it if you already like: Modern Family, Blackish, Veep

Likely timeslot: wednesday, 9.30 after Modern Family.


Libby & Malcolm
was the first official order for the 2017 broadcast pilot season, it is the first script review I’m writing this year and it is undoubtedly the best comedy script in years! No surprise there was a bidding war among the networks to get it, especially with Felicity Huffman attached to star. And there was no better place for it than ABC quite frankly. It is the perfect combination between your regular family comedy with smart and hilarious parents and kids in the same vein as Modern Family and other ABC hits, your workplace comedy set behind the scenes of a television show like 30 Rock and your spicy political comedy that takes a very real look at how today’s “politics of division” play out. It couldn’t be more topical after the election of Donald Trump. It is the right comedy in the right place at the right time. And it’s already an Emmy Award contender for best comedy, best actress in a comedy and best actor in a comedy!

What’s brilliant with this show in the first place is how much it exists in the real world, the one we’re all living in, and in the now. At the beginning, there are images of glaciers collapsing, Syria, abandoned Detroit houses, cop shootings… Yeah yeah, it’s a comedy but it doesn’t shy away from the important topics and the real politics. It’s about the current and the future administration. Obama takes hits. Trump takes hits. Voters themselves take hits. And it’s not just about America. It’s about the whole world. It should resonate everywhere. What they experience over there is what we experience over here, and there and there. And it’s not boring. Fear not!

On the contrary. It’s funny all the time. It’s always sharp and clever. Tasteful. It can be ferocious too. Those two can get pretty nasty. You laugh and you think, and you think about why you’re laughing, maybe you even laugh about what you’re thinking. It creates debate. It places ideas at the center of it all. For example, during Libby & Malcolm talk show, there’s a led board of a light square hopping around various hot button issues, from very serious ones -LGBT rights, recycling- to lighter ones -sports team names- then they have to talk about the topic chosen with their guest, who’s Jon Hamm in the pilot (and yes, there’s a joke about his scrotch!). It’s very efficient and should be used as a gimmick in every episode. It will help the show stay relevant and close to reality. We also meet their producer, Randal Martin, a 60-year old complete narcissist, possibly racist, whose every line is hilarious; and Zev, their assistant, a techno journalist in her thirties who must be a lesbian according to Randal because she has a short hair cut. They’re all very promising. The pilot is filled with other guests (maybe a bit a too many?) like Tom Bergeron, Ryan Seacrest and Bill Maher, playing themselves.

The Black and Wright family is definitely a modern one. Malcolm, confident and cocky, had three children with his deceased wife: MJ, a sweet but neurotic 7 year-old boy, Cassius, 11, smart and cool, and Naya, 14, super-opiniated, “a pitbull” in a skirt, who hates Libby. Libby is their white step mom, a bright, beautiful, and bossy woman, who was already married once. Libby and Malcolm met not that long ago, they hated each other before falling in love and they decided to marry and live together very quickly. Now they are doing their best to be good parents while they are in the spotlight. Felicity Huffman & Courtney B. Vance will probably make a great couple. And Huffman has literally chemistry with everyone -that’s how good she is- so there is no doubt about it. They have plenty of top-notch dialogues to help them do so, and even some “walk and talk” scenes, made popular by The West Wing. And in case you’re wondering, there are also very sweet moments with the kids towards the end, the kind that can make you cry juste like that. Yes, there’s eveything we could hope for in this pilot. Everything!

In the end, Libby & Malcolm is about finding strength and answers through our differences, whether they are political or personal. It’s about unity. And unity is exactly what is missing in this sad sad world. It gives reflection, hope and fun. There are not so many comedies like that on television right now, let alone on a network. The next great comedy is here. And we’re ready for it.

“The Family” (ABC) pilot preview: the family soap you won’t even feel guilty about loving!

ORIGINALSIN

Previously entitled Flesh & Blood and Original Sin. Written & produced by Jenna Bans (Grey’s Anatomy, Desperate Housewives, Scandal, Private Practice, Off the Map). Co-produced by David Hoberman and Todd Lieberman (Monk, Fighter, Warm Bodies, The Proposal) & Laurie Zaks (Castle). Directed by Paul McGuigan (Sherlock, Monroe, Devious Maids). For ABC, ABC Studios & Mandeville Prods. 63 pages.

Description: It’s been ten years since 9-year-old Adam Warren disappeared from Red Pines, Maine and the world has changed a lot in his absence. His mother, Claire, who was then just starting her first City Council campaign, has been elected mayor. His father, John, is now the bestselling author of “Grieving with Grace” a book series on coping with loss. Adam’s siblings, Danny and Willa, who were supposed to be watching Adam at the time, have each dealt with their guilt in their own way. So, when a young man appears in Red Pines claiming to be Adam, it throws everyone into a tailspin. The man sitting in jail for Adam’s supposed death is released as Nina Meyer, the cop responsible of the investigation, is forced to reexamine what truly happened so many years ago….

With Joan Allen (The Killing US, Luck, Face/Off, Hatchi, The Bourne Identity), Rupert Graves (Sherlock Last Tango in Hallifax, The White Queen, V for Vendetta), Margot Bingham (Boarwalk Empire, Matador), Alison Pill (The Newsroom, In Treatment, The Pillars of the Earth, Harvey Milk), Zach Gilford (Friday Night Lights, Off the Map, The Mob Doctor, The Purge: Anarchy), Liam James (The Killing US, Psych), , Andrew McCarthy (St Elmo’s Fire, Lipstick Jungle), Florianna Lima (Allegiance, The Mob Doctor), Madeleine Arthur (Big Eyes), Alex Steele (Degrassi: the next generation), Rarmian Newton

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He’s not dead! The kid’s not dead! Just realize Original Sin (aka Flesh & Blood) is the first drama in at least 2 years that doesn’t start with a dead kid. Gracepoint, Secrets & Lies, American Crime, The Missing, Bloodline… Do you need more proofs of this morbid tendency that started with the great and acclaimed Broadchurch? What was once a taboo subject matter on television fascinated the whole world in the past few months as if suddenly writers were allowed to deal with such a dark, traumatic event and jumped on the opportunity all at once. Here, on the contrary, the kid is coming back from the dead -not as in The Returned or Resurrection- figuratively! Everybody thought he died 10 years ago. They were all wrong. Well, in fact, we’re not sure yet if it’s the real Adam who’s back in Red Pines or someone who’s trying to take its place in the Warren family. But that’s one of the many hooks and chills this well-crafted pilot gives you.

From a writer who worked on all Shondaland’s series -she even created one!- it doesn’t come as a surprise. She learned from the best! But this time, Shonda is not involved. Jenna Bans did it by herself. And Shonda can be proud. Last year, she wrote the Sea Of Fire pilot script, which was in my opinion really really good and was worth a try at ABC. They didn’t order it to series, because it was too dark and too sexually charged for network television, I suspect. I see Original Sin as their way of making amends and a proof they believe she is able to bring them their next hit. It was reported on Deadline it is “getting a strong buzz heading into the home stretch“, the same way as How to Get Away With Murder last year. Nothing’s ever a sure thing, but it looks good. To be totally honest with you, I think I liked Sea Of Fire better. I’d say it was more unpredictable. Original Sin possesses a lot of twists and most of them work but once or twice I said to myself: “this is going to happen“. And it happened. But people appreciate being right, so it won’t hurt if they guess one or two things in advance. They’ll feel smart and there are still plenty of surprises to get excited about anyway.

At its core, Original Sin is a family drama, a very human one, more than a mystery or a detective show, or even a soap. It’s the story of a family which was detroyed the day the youngest child disappeared and could never recover from the pain and anger they felt and still feels. Even if most of them had no choice but to get on with their lives. Even if the culprit was found. Or so they thought. It’s essentially character driven, from every point of view, not only the family’s but also the detective’s, a journalist’s and the man who was not guilty after all but may be guilty of something else soon… You can feel their pain and their guilt, even now. It’s devastating on the page. I hope the cast can live up to it. I’m not too worried. Joan Allen, Alison Pill, Rupert Graves and Zach Gilford are brilliant. As we follow Adam’s return -the scene when they see him for the first time is upsetting- we witness the day they lost him through numerous flashbacks. Where they were. What they could have done. And then what they did. ‘Cos they all did things they’re not proud of in the wake of the tragedy. One of them did something even the Lord himself can’t forgive, and he/she won’t be able to keep the secret any longer. And you want to be there the moment it’s gonna happen. Midway through the script, I already knew I wanted Original Sin to go to series badly. Add to that the feel of a small town, the pressure of a political campaign, an affair -‘cos there’s always an affair-, this weird and mysterious child, who was abused, lonely for so long, you want to hug and tell him it’s all gonna be okay except he creeps you out at the same time… Everything’s in place to make a great show out of the already great pilot.

Original Sin could totally take the actual spot of Secrets & Lies -and precedently Resurrection– on Sundays at 9 on ABC, and would mesh well with Nashville if the musical soap were on the move to Sundays at 10 as most predict, including me. I don’t know if the show has more than one or two seasons to give, but it definitely has what it takes to offer us one or two great seasons, of 13-15 episodes preferably. And if they find the right twist, I’m sure they can go on a few more years. People can relate to this family and its members, they can feel for the detective, they can get excited by the investigation and the secrets that will be found along the way… And it won’t even feel like a sin to love it. 

Photo courtesy of YVRShoots

“Code Black” Vs “LFE” (CBS) pilot previews: is one of them the next great medical drama we’re all waiting for?

CODE

CODE BLACK

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Written & produced by Michael Seitzman (Intelligence). Co-produced by Ryan McGarry, Marti Noxon (Buffy, Angel, Grey’s Anatomy, Glee) & Linda Goldstein Knowlton. Directed by David Semel (Madam Secretary, Dr House, Heroes, Person of Interest). For CBS, ABC Studios & CBS Television Studios. 66 pages.

Description: In the busiest and most notorious ER in the nation – LA County Hospital – the extraordinary staff confronts a broken system in order to protect their ideals and the patients who need them the most. Leanne Royer, a force of nature and a force to be reckoned with, is in charge of four residents who are getting their first taste of ER medicine. She’s here to mentor, teach and… terrify them, while the hospital is in code black almost every day…

With Marcia Gay Harden (Into the Wild, The Newsroom, Damages, How to Get Away With Murder, 50 Shades of Grey), Bonnie Somerville (The OC, Friends, NYPD Blue, Cashmere Mafia), Ben Hollingsworth (The Joneses, Cult), Raza Jaffrey (Smash, Homeland, Sex & The City 2), Luis Guzman (Oz, How to Make it In America), Melanie Kannokada (The Brink)…

LFE

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Written & produced by Paul Downs Colaizzo. Co-produced by David Marshall Grant (Nashville, Brothers & Sisters, Smash) & Dan Jinks (Pushing Daisies, Big Fish, American Beauty). Directed by David Slade (Twilight, Hannibal, Powers, 30 Days of Night). For CBS, CBS Television Studios & Dan Jinks Co.

Description: Joe, Ryan, Chelsi, Trevor Mae & Anj are New York City’s wildest, brilliant and most promising doctors. As they start their second year of residency in the city’s most prestigious hospital, they attempt to balance their god complexes with their humanity. Julie, their den mother, give them guidance in their lives and share with them the relationship she wishes she had with her own children…

With Melissa Leo (Fighter, Prisoners, Frozen River, Treme, Wayward Pines), Daniel Sharman (Teen Wolf, The Originals), Andy Mientus (Smash, The Flash), Luke Slattery, Ana Kayne (Another Earth), Reed Birney (House of Cards, The Blacklist), Annie Funk (A Most Violent Year)…

 

CBS President Nina Tassler made it clear a few months ago at the TCAs: she is determined to add a medical drama to her fall line-up, a genre she never had a success with since she got the job. Nobody can or want to remember her previous attempts, but let me refresh your memory: there were Three Rivers & Miami Medical in 2009, A Gifted Man in 2011 and countless pilots that didn’t make it to series, like Only Human last year. To be fair, they were not that bad. But they failed to resonate with an audience. To make sure they find the right one this time, she and her drama team developed a ton of them: two made it to pilot stage, Code Black & LFE, while other two -an untitled project by Parenthood‘s Sarah Watson & Jason Katims and Austen’s Razor– were close but ultimately didn’t make it. It’s safe to say one of them will be on the schedule, but it’s hard to predict which. They are both strong contenders, with their own strengths and weaknesses. I have my favorite, but I’m not sure it’s the perfect one for CBS…

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I’ll start with Code Black which, I predict, is the most likely to get the chance to shine. The ABC Studios co-produced drama comes from Michael Seitzman, a man who, over the years, wrote several pilots that never aired like Empire State, House Rules or Americana, all of them being very different – family soaps, political drama- and efficient but too close to home, too classical. Then came police procedural Intelligence, which was kind of original -for those haven’t seen Chuck– but painfully bad. With Code Black, he seems at ease. Honestly, the script is a page-turner, I was hooked! But it also felt a lot like an high-octane episode of Grey’s Anatomy. You know, one of those when there is a minor catastrophe that makes every doctor rushing around the hospital because there are too many patients to treat at the same time. And I looove Grey’s Anatomy from the bottom of my heart, for 10 years now. And the show is still good, but it’s another subject. The thing is, I totally understand why ABC didn’t keep it for themselves: they already have Grey’s Anatomy, they surely don’t need Code Black. And I’m not sure CBS needs it either because the audience doesn’t. Of course, the Shonda Rhimes drama will die, sooner or later, but the next great medical drama can’t be a copy of it, as Grey’s found success exactly because it was not a copy of ER. They took the best part of it to create something new and modern. Code Black is not new, and not particularly modern either.

For those who wonder what a “code black” is, here is the answer, explained during the first scene: “it’s in an emergency room an influx of patients so great that there aren’t enough personnel or resources to treat them all. The average urban ER is in code black 5 times per year. LA County Hospital is in code black 300 times per year“. It means there will be one in almost every episode, that’s the promise they implicitly make. And it’s one the writers will be able to keep but not without the same damages as in the pilot: every character gets a very short time to connect with the audience at a personnal level. We don’t know much about the residents at the end of the pilot and I’m afraid it will be hard to explore all of them equally with all the action going on (they can’t even find time to hook up somewhere). However, for now, Leanne (played by the GREAT Marcia Gay Harden) and Christa (Bonnie Somerville) are the one getting all the attention. They’re interesting, they are great characters in theory, but you cannot think about anyone else than Miranda Bailey for the first one and a mix of several female characters from Grey’s Anatomy for the latter. The interactions between Leanne and the residents work the same way as with Bailey and her residents in the ABC pilot (or Annalise Keating and her students in How To Get Away With Murder). It’s disturbing. And Code Black lacks a sense of humor. There are failed attempts then no attempts at all at some point. The medical cases are moving, but it feels like we’ve already seen them a thousand times.

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LFE also shares some DNA with Grey’s Anatomy but just the right amount. The resident characters are fresh and a lot of fun: they drink, they dance, they partyyy; they joke, they poke fun at each other; they seduce; they pee on the sidewalk at night and are sent to prison for that; and of course, they are very good job at their job. Most of them are cocky, something that can be upsetting sometimes, but they are flawed characters and we’re instantly and quite subtly exposed to their own personal demons. Joe has a family to take care of since his mom died: his father is seriously sick and his brother does a huge load of nothing. Honestly, he seems a little boring but he does something very disturbing at the end of the pilot that could change that. Anj is a party girl, sexually open minded, who hides who she really is to her very traditional Indian parents who are looking for a husband for her to marry. Chelsi is the baby of the group, she’s kind of genius, she’s only 24, and she’s socially awkward, obsessed by her cases and probably still a virgin. Ryan is the hot bad boy and Mae, the Jennifer Lawrence kind of girl, fun and messy. Finally, Trevor is the nice guy that tries to look cool but almost always fail. All of them already know each other since it’s their second year of residency, and some of them even met at medical school a few years ago. We could have felt excluded from these guys that are already friends but we don’t. That’s where the writer does a brilliant job: we quicky feel like part of the team!

What makes the show different from Code Black and closer to ER is the fact that we spend a lot of time outside of the hospital’s walls: especially in New York’s finest night clubs, in the streets -I already talked about the peeing scene- and in their apartments. With the pilot being shot in Big Apple, and probably the rest of the series if it’s picked up, it really makes a difference in terms of settings and atmosphere. It’s cooler and lighter but, at the same time, there is a lot of darkness coming out of the characters -I’m also thinking about Melissa Leo’s Julie, who looks depressed- and from the situations. Drugs and alcohol are involved in the opening scene. Then there’s an arm roberry that ends up in a bloodbath. The surgery scenes are graphic. Take a look at how the writer describes the show at the beginning: “this is a stylized series. It’s badass. It’s heightened“. And he goes far then saying, and I quote: “Imagine Quentin Tarantino’s name on the title page somewhere“. It’s a little too much, dear newcomer Paul Downs Colaizzo. But you already know how to sell your script! And apparently, it worked! Instead of Tarantino, he got David Slade as a director. And it’s not bad. This man’s behind Hannibal. “Stylized”, he knows to handle it. But can CBS handle it? That’s the real question here. It feels cable-y, not network-y. That’s why I don’t think CBS will go for it. And that’s sad, ‘cos it’s the best.

While Code Black can go anywhere in CBS’s schedule, after NCIS, Scorpion or Criminal MindsLFE seems to be bound to Sundays, the “prestige night” of the network, alongside soon-to-conclude The Good Wife and Madam Secretary. Anywhere else, it will probably bomb. That doesn’t mean Code Black WILL work, but it’s fast-paced, action-packed and sweet at times. Both of them can attract the young demo, but LFE has the edge over Code Black thanks to younger (and cuter) characters and a more modern feel, but its stylized look can also scare people and that makes it a dark horse for a pick-up to series. My heart is saying yes to LFE. But my crystal ball is all about Code Black. We’ll see in a few weeks how things turn out… And to answer loud and clear the question asked in the title of the article: none of them will be the next great medical drama in my opinion. But you never know…