![]() Halpern has an apt analogy for the current moment: “You’re comparing one restaurant that is in a tiny space versus this restaurant that has to serve hundreds of people every single day.” A full season order is a different beast and deserves its own accolade. Maybe there needs to be a category for shows that produce 18 or more episodes in the course of an eligibility window. Perhaps we’ve been looking at it the wrong way. “The West Wing,” “Law & Order,” “The Practice,” “ER” - all were signature shows of the 1990s and early 2000s that won the drama prize and are considered classics of their time.īroadcast still has strong shows. We remember that show’s conceit - every episode represented one hour in a day, which meant 24 episodes for 24 hours. The last broadcast series to win a drama Emmy was Fox’s “24,” in 2006. Those 10 episodes all have to be a part of a piece, and there’s no real wiggle room.” “And you can’t do that in a show that has 10 episodes. “The thing it allows you to do is you can do smaller stories that are very character based,” Halpern says. Viewers can develop a deeper bond with shows - that’s why so many of the library titles on streaming services are comedies and dramas with deep episodic counts, like “NCIS,” “The Office” and “Friends.” ![]() It allows stories and characters to breathe. Schumacker’s fellow exec producer, Justin Halpern, notes that the 22-episode season gives the audience a completely different experience. “It’s just gratifying to hear that despite the volume of episodes, I don’t think anyone thinks that the quality has gone down.” “It’s hard to make 10 episodes of good television, and to try and do it 22 times is pretty difficult,” “Abbott Elementary” exec producer Patrick Schumacker told me prior to the strike. And in comedy, only “ Abbott Elementary” even hit 13 episodes (because it was a midseason premiere this year, “Abbott” produced 22). Last year, in drama, no show produced a season with more than 10 episodes. The last full 22-or-more-episode show to win a series Emmy was “Modern Family” in 2014. No way.Īnd yet, that used to be the TV norm. I sometimes ask film auteurs who have moved to TV - and make a six-episode passion project - whether they could ever fulfill a massive 22-episode order. It honestly reminds me of the ongoing debate over whether it’s fair to lump broadcast shows with full 22-episode seasons in with shorter-order, more bespoke 8-episode seasons that are now found on streaming and premium cable.īroadcast is a different beast. But it wasn’t a sweeping, long piece of magazine journalism, and so it rightfully shouldn’t be compared to a 3,500-word opus. It was a fun piece to report, and I got to tell a quick, first-hand account of how things all went down. I bring all this up not just to boast, but also to note that one of the categories in which I was nominated was for “feature under 1,000 words,” for a piece I did giving a behind-the-scenes account of how Netflix revived the comedy “Girls5eva” after it was canceled by Peacock. ![]() Now it’s my turn to say, “For Your Consideration.” And humble brag alert, I received nine nominations myself this year. ![]() My colleagues earning top “journalist of the year” nods in various fields included Tim Gray, Clayton Davis, Owen Gleiberman, Chris Willman and Dan D’Addario. We write about every one else’s awards shows all the time, so I’d like to take a moment first and let Variety take a victory lap for its recent record 96 nominations for the Los Angeles Press Club’s SoCal Journalism awards. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |