Tag: peyton list

Glamorous (The CW) pilot preview: The gayest non-Ryan Murphy show EVER!

GENRE: Dramedy

LOGLINE: a gender non-conforming recent high school graduate lands the gig of a lifetime interning at a cosmetics company whose products he panned on YouTube, at the side of its founder and CEO, Madolyn. But not everyone is happy to have ab fab Marco Mejia there, and they are doing everything they can to take him down. On his own for the first time, this is Marco’s chance to live, love and grow to understand what it really means to be queer…

Pilot Cast: Ben J. Pierce (Fuller House, Guidance), Brooke Shields (Suddenly Susan, Lipstick Jungle, The Middle), Pierson Fodé (The Bold and the Beautiful, Jessie), Jade Payton (iZombie)
Series Creator: Jordon Nardino (Star Trek Discovery, Quantico, Smash, GCB). 
Pilot Director: Eva Longoria (Devious Maids, Blackish)
Producers: Jordon Nardino, Michael Rauch (Royal Pains, Instinct), Damon Wayans Jr. (Happy Together) & Kameron Tarlow (Hot In Cleveland).

Studios: CBS Television Studios & Two Shakes.

Ever wonder how TV executives wade through the dozens of pilot scripts they’re pitched each year? They have staff script readers, who provide what’s called “Script Coverage,” an executive summary and a recommendation for each script. Now you too can preview some of the season’s most buzzed about pilots and find out whether we’d recommend them for pickup. Note that all opinions are our own, and all plot, casting and other creative details described here are subject to change.



You’ll Like It If You Already Like: The Carrie Diaries, The Bold Type, Insatiable, Ugly Betty, Pose, Ru Paul’s Drag Race…

Likely Timeslot: Who cares, as long as Netflix gets the international rights and US first window rights? But pairing it with Dynasty on fridays would probably make sense.


WRITTEN BY: Jordon Nardino

PAGECOUNT: 60 pages

DRAFT: Network draft 1/10/19

BACKGROUND: The CW has ordered two very inclusive pilots this year: DC’s Batwoman, which would be the first superhero series led by an openly gay character (and actress, Ruby Rose), and Glamorous, which would be the first series led by a gender non-conforming character (and openly gay actor Ben J. Pierce).

The first sale from Damon Wayans Jr’s newly launched company Two Shakes, Glamorous would appear to be very much in line with Wayan’s stated goal of developing projects that focus on characters who aren’t usually at the center of series. It’s an admirable move for Wayans, who recently apologized for a series of anti-LGBT remarks made earlier in his career, pledging to dedicate himself personally and professionally to righting his past wrongs. Also attached to the project is Eva Longoria, who will be directing the pilot — a first for her, as well. Having a latinx woman doing it makes a lot of sense. 


SCRIPT SYNOPSIS:  MARCO MEJIA (18) is a gender-fluid aspiring beauty influencer and soontobe high school graduate. Born to stand out but lacking the following to make his mark on the beauty scene, Marco posts a scathing review online for a Glamorous Cosmetics product. When Marco’s review catches the eye of aging glamazon turned Glamorous Cosmetics CEO MADOLYN ADDISON (50), she arrives on graduation day with a proposition. She offers him an internship at Glamorous headquarters in Manhattan, and a chance to help improve the brand from the inside. His mother JULIA (40s) is not really happy with this but lets him seize this opportunity. On his first day at Glamorous, Marco realizes he isn’t the only one up for the job and finds himself competing against popular influencers like ALISSASAYS (19) and NOWHERE (16) in a cutthroat competition for the coveted internship. After impressing Madolyn and securing the internship, Marco finds himself caught between newfound friends like VENETIA (20), Madolyn’s assistant, and enemies like CHAD (25), Madolyn’s son, and on the path to selfdiscovery in the city where dreams are made of…

COMMENTS:First, for those not already in the know, a primer on just what gender nonconforming” means. It’s used to describe a person whose behavior or appearance does not conform to prevailing cultural and social expectations about what is appropriate for their gender. Here, Marco is an ambitious and creative latinx gender-nonconforming teenager who uses makeup and fashion to let his queer self bloom. He is a he, not a she, and that’s important. He’s gay but he’s not transgender. And he lives in a world where that’s not a problem. Not once in this script is there a moment when somebody mocks him for who he is, how he acts, or what he wears. That may not seem realistic and perhaps the writers will tackle homophobia later on, but that’s not what the pilot is about and quite frankly it’s refreshing.

Marco is an incredible, groundbreaking character whose struggles are universal. Like The CW’s critically-acclaimed Jane The Virgin and Crazy Ex-Girlfriend, the show has the potential to add something new to the television landscape and to our shared cultural conversation. Unlike Netflix’s Insatiable (which was also originally a CW pilot), Glamorous doesn’t try to be controversial for the sake of controversy, handling its subject matter instead with care and sensitivity.

While this isn’t a Ryan Murphy show, it’s hard not to think of him when reading this script. No other writer/producer/director has done as much for the positive representation of the queer community on television, and without Ryan Murphy, I don’t think there’d be a Glamorous. What’s exciting about this project is it’s not just Marco being gay and more traditional characters surrounding him. Most of the other characters (in fact, all of the male characters in the show) are gay. Truly, it’s like 50 shades of gay: Marco is the fabulous gay; Chad is the ambitious alpha gay, with a personality and wardrobe that would seem more at home on Wall Street than the beauty industry; BEN is the nerdy gay who has a crush on Marco but is too shy to act on it; LAWRENCE (50s) is the older gay, the head of Product Development who’s happily married; and Dizmal is like the younger version of Billy Porter’s Pray Tell in Pose. They come from different paths and generations, and together they tell a strong, diverse, story of what it’s like to be a gay man in 2019. And that’s a lot of things, believe me.

The pilot is reminiscent of The Carrie Diaries, which also aired on The CW a few years ago. It’s a coming-of-age story full of cultural references, both light-hearted and inspirational. And it’s full of possibilities from the get-go, especially in the romance department. Will Marco sleep with his enemy Chad, or will he fall into Ben’s arms? Can something happen with Dizmal? These are questions one can rarely ask when it comes to gay characters on other shows.

There are particularly nice moments between Marco and his mother Julia, who share a very close relationship. Madolyn is more of a mentor figure, a bit like Melora Hardin’s Jacqueline in The Bold Type though there’s a bit more ambiguity with her. She’s not a Devil Wears Prada-kind of boss, but her intentions are also not entirely pure: this canny businesswoman and entrepreneur intends to make Marco her eyes and ears in the company, using him to discover what’s going on behind her back. Yes, it’s soapy. And since I haven’t mentioned it yet: it’s also very funny — full of punchlines and bitchy comments. That’s what we are here for too! You’ll also get the chance to admire Marco shaking his booty on stage. But enough said!


FINAL RECOMMENDATION: Glamorous may have to fight with Riverdale‘s spin-off Katy Keene for a spot on The CW, since they’re both set in the fashion/beauty industry (andGlamorous is probably not the safer option of the two). But if the stars align, it could become a critically-acclaimed, award-winning show for The CW. I have a feeling that no matter what happens with the network, this show is too good to not to find its way to viewers, whether it’s on traditional TV or on streaming. And the LGBTQ+ community needs it more than ever!



[  ] PASS

Mission Control (CBS) pilot preview: Too big a challenge

Written and executive produced by Andy Weir (The Martian, The Egg). Executive produced by Simon Kinberg (X-Men, Legion, Designated Survivor, Mr & Mrs Smith), Charles H. Eglee (Hemlock Grove, Dexter, The Shield, The Walking Dead), Aditya Sood (Deadpool, The Martian, Designated Survivor), Brian Buckner (True Blood), Courtney Conte & Quan Phung (Whitney). Directed by Jeremy Podeswa (Game of Thrones, Boardwalk Empire, The Tudors). For CBS Television Studios, Genre Films & Slingshot Global Media. 63 pages. 10/18/16.

Description: The next generation of NASA astronauts and scientists juggle both their personal and professional lives during a critical mission with no margin for error…

With Poppy Montgomery (Unforgettable, Without a Trace, Glory Days), David Giuntoli (Grimm, Privileged), Peyton List (Frequency, The Tomorrow People, FlashForward, Mad Men), Levi Fiehler (The Fosters), Ricardo Chavira (Desperate Housewives, Santa Clarita Diet, Scandal), Wunmi Mosaku (Guerilla, Fearless, Jo, In The Flesh), Vinny Chhibber (No Tomorrow)…


You’ll like it if you already like: Quantico, Grey’s Anatomy, Extant The Martian

Likely timeslot: Summer-bound?

Last year, CBS was heavily criticized on their lack of diversity in almost every every new series they picked up, all prominently featuring white males (Bull, MacGyver, Pure Genius, The Great Indoors, Kevin Can Wait, Man With a Plan) with only Doubt and to some extent Training Day going on another direction but considered as second thoughts on the schedule. They promised to do better next year. And here we are. We’ll have to wait for the orders to see if they improved but by the look of things right now, apart from SWAT starring Shemar Moore, Higher Ground which is a long shot and sitcom pilot Brothered Up, it’s once again very male and very white. Mission Control is the perfect example of what’s going wrong at the Eye: the two leads were supposed to be a bilingual Latina and an African-American man, they chose Poppy Montgomery and David Giuntoli. Mindfuck.

You think it’s a detail? It’s not. This pilot tries hard to be in the vein of the Shonda Rhimes bona fide hits -after they already failed with Doubt– and they’re not even capable of having a diverse cast for starters. Oh, there are Ricardo Chavira and Nigerian-born actress Wunmi Mosaku in secondary roles though. In October, CBS launched a Drama Diversity Casting Initiative to find African-American, Asian-American, Latino, Native American, Pacific Islander, LGBTQ actors and performers with disabilities to join current series and pilots. None were cast in any pilot. Just one of the participants, Alexa Adderly, has been cast in an episode of Bull… Seems like it’s just their way of saying “we care” but when decisions time come, they don’t anymore. Anyway, the characters in Mission Control are not properly fleshed out so the loss is not on the actors but on the network. The writer Andy Weir doesn’t seem like someone who watched a lot of Grey’s Anatomy or Scandal and it shows when he’s asked to mimic them. I’m even thinking he may not like them at all. The characters ARE the key in this type of projects. They can’t be one-dimensional. Especially when the world they live in is quite complicated to connect with for the audience. Sometimes, the show goes very technical and I was totally lost. The same way as a medical show can throw a lot of specific terms we don’t understand and we’re still fine because we care. Here, the problem is we don’t really care.

Honestly, I’m still trying to figure out what this show is about ultimately, what’s the story, what’s the purpose of it all. One thing I know, there’s a sex scandal -as in 2 or 3 other pilots this year- with public affairs officer Rayna trying to clean up a nude pics leak from one of their astronauts, Deke, a rich heiress. She’s not too bummed out about it by the way. It’s a little bit overwhelming to offer this particular story in a pilot. It sounds more like a plot B in episode 4. And it’s used to introduce two of the most important female characters of the show, which doesn’t sound very flattering to reduce them to this. Did I say sexist? I guess it’s their way to insist on “we’re light, we’re cool, we’re timely”. Anyway the case is resolved by the end of the episode so everyone at CBS is happy. As long as the women are sexy and the men are funny nerds… It’s a bummer because those people are supposed to be brilliant, amazing, but we’re stuck with a sex scandal instead of them doing incredible things.

There are two factions of people in Mission Control: the folks down in NASA’s control unit, lead by whip-smart Julie Towne as the flight director, and the people up on a next-generation space station called Durga, lead by Stevenson, a cocky astronaut. Those two have indeniable chemistry but right now it’s impossible for them to act on it for obvious reasons. Though cam sex should be on the table if you want my opinion. And so the critical mission is to move Durga from low-orbit to high-orbit, where it will eventually fly to Mars. And 14 months in the future, there is a giant explosion above earth. Is it Durga? Is it the Russians’ shuttle (‘cos of course the Russians are involved and they are not supposed to be the enemies this time)? That’s the only hook Andy Weir has found to give us a reason to stay a little bit longer since it’s not the characters obviously. Unless they reworked the damn thing extensively, there are too many problems here to warrant a series order and it’s a shame. It was a great pitch idea.

Mission Control is the waste of a good idea. CBS turned the once promising project into of one those half-baked summer fares they’re now renowned for like Extant, Under The Dome or Zoo. It’s a creative mess that wants to be both Grey’s Anatomy or Quantico but doesn’t know how to, and The Martian, banking on the author’s name. But those two genres -soap and science- just don’t mesh well, especially with an unexperienced writer who never worked for television before. It was too big a challenge.

Frequency (The CW) pilot preview: Some good movies should just stay movies


Created & executive produced by Jeremy Carver (Supernatural, Being Human US). Based on Toby Emmerich’s movie. Also executive produced by Toby Emmerich (The Hobbit, The Notebook, The Butterfly Effect), Dan Lin (Forever), Jennifer Gwartz (Veronica Mars, Forever) & John Rickhard (Horrible Bosses, How To Be Single). For The CW, Warner Bros. Television, New Line Cinema & Lin Pictures.

Description: Raimy Sullivana female police detective in 2016 discovers she is able to speak via a ham radio with her estranged father, Frank, also a detective, who died in 1996. They forge a new relationship while working together on an unresolved murder case, but unintended consequences of the ‘butterfly effect’ wreak havoc in the present day…

With Peyton List (The Tomorrow People, Flashfoward), Riley Smith (Nashville, 90210, True Blood), Mekhi Phifer (ER, Lie To Me, Torchwood) , Lenny Jacobson (Nurse Jackie), Devin Kelley (Resurrection, The Chicago Code), Anthony Ruivivar (Banshee, Third Watch), Sean Howard Roberts (Painkiller Jane)…

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A good movie doesn’t inevitably make a good series. And a good pilot doesn’t inevitably make a good series either. Frequency with Dennis Quaid & Jim Caviezel was a nice little movie. It was NOT necessary to transform into a weekly TV series. It doesn’t mean the pilot is not good. It’s quite okay, to tell the truth. And it doesn’t come such as a surprise since they just took the same story and simplified it as much as they could without losing the logic, the consistency of it all, so it can play over the course of 42 minutes. But as much as I enjoyed reading the script, I don’t like what the series is poised to become: just another police procedural with a sci-fi twist. And to be perfectly honest, I don’t even understand how they can play with the same idea -two cops in two different timelines investigating together- past a few episodes. Unless our heroin, Raimy, becomes a “cold cases” investigator for murders that happened in the 90s, when her father was still alive, which is pretty specific, hum. Even the serialized part of the show can’t sustain much longer. So: okay pilot, future boring TV show.

The project was first based at NBC last year, with the same writer, and it didn’t go to pilot. It was not a good fit and I guess they saw everything that goes wrong with a Frequency series. Smart decision from their part. Warner Bros. didn’t surrender and sold it to sister-network The CW this season. But it’s not a good fit either! Yes, The CW has changed and makes more adult shows now but I really don’t think their audience will embrace it, it’s simply not in their DNA. And the fact that it’s written by a Supernatural writer doesn’t change a thing. You know what it made me think of? Forever. I liked Forever and even if it wasn’t a success for ABC, the show got a solid fanbase. Would it work on The CW? Probably not. It was more of a FOX show, I’d say. Same here. The difference is, it’s not fun. It’s pretty serious all the time. No jokes. Raimy & Frank are too affected to crack jokes. It’s understandable, they’re not in a good place, but what about the secondary characters? They don’t really exist for now. I read the script three days ago and I don’t remember them much. All of this lacks electricity, sparkles. Dialogues are not sharp enough.

What they could make believable somehow in the movie is harder to swallow in the pilot. It goes too fast, more explanations are needed about the way the ham radio works, about why the father and the daughter can connect. They don’t even try. There’s just a thunderstorm and that’s it. So it comes out as a bit ridiculous at first. But then you get carried away by the investigation and the emotion that comes out of this daughter-dead father relationship, the same way as the Peter & Walter Bishop relationship worked in Fringe. If there’s one thing this pilot is, is emotional! It really is on paper, at least. The director and actors now have to do justice to it. I’m not a big Peyton List fan though, I’m afraid she can’t pull it off. And I haven’t seen much of Riley Smith but in Nashville he was not that bad…

With The CW recently renewing all of their shows, there are not many slots available for new series next season. They ordered six pilots. They’ll probably pick-up three of them to series. In this context, I don’t see Frequency getting a greenlight, even though it’s pretty decent when you just look at the pilot. It’d be hard making 80 episodes out of it -which is a problem for a procedural- and it’s just not on the same wavelength as other CW shows.