Good ideas are a dime a dozen, but it’s the execution that’s tricky. Dozens of new TV shows pop up every season, but only a few go on to become moderate successes, much less smash hits. Here are a few shows that I wanted to work.
Emerald City (NBC, 2017): Emerald City is a gritty reboot of The Wizard of Oz. It sounds crazy (and but was way too over the top for network television. In this version, Dorothy is a cop. She also has magical powers and becomes the unwitting heir to the Witch of the East. The Scarecrow is a tragic soldier. Glinda isn’t such a good witch after all. The Witch of the West basically runs a brothel and is usually high on poppy tea. The Tin Man is a teenage amputee and Ozma is his magical transgender BFF. Oz is, of course, a fraud–but he’s also a scientist who is scared to death of magic and tries to ban its use in order to preserve his own power.
The cinematography was excellent, but the show was ultimately brought down by trying too hard. It started really slow, and there were just too many plot points. It also dealt with some very adult themes that had to be glossed over in order to be fit for a prime time audience. A few edits and a move to SyFy or HBO could have made this show a success.
Constantine (NBC, 2014): Constantine sought to take advantage of the new wave of comic book adaptations. However, NBC was definitely the wrong network. The comics were created by Alan Moore, the same man behind The Watchmen. John Constantine is an occult practitioner and demon hunter haunted by his failure to protect innocents in the past. But the demons he fights are not of the wise cracking variety displayed on Supernatural (The CW)–they’re the baby eating, serial killing, apocalypse bringing kind. Moreover, in trying to add a female character they shoehorned in a reluctant sidekick who had escaped from a cult. The writers tried to split the difference between grim dark and comedic by making it sorta kinda dark, which killed all narrative momentum.
Almost Human (Fox, 2013): This science fiction drama shakes up the usual buddy cop dynamic by making the sidekick an android. Michael Ealy plays an AI who has seemingly developed sentience. It hit all the beats of a traditional procedural, but with an intelligent exploration of the tension between humans and robots. Karl Urban’s character also has a prosthetic leg, due to an injury he suffered in the line of duty. He hates it because he is staunchly anti-android, but as he starts to develop a true partnership with Michael Ealy, his feelings start to shift. However, the show was much too niche for Fox. SyFy would have been a natural fit, and they’ve kept worse on the air (Wynonna Earp, anyone?).
