aw-un

aw-un t1_jdj8nyd wrote

This one drives me absolutely bonkers.

I just don’t unserstand why writers need to be based in LA.

I work crew in Atlanta and while, on average, most of the crew and about half of the cast are locals, the writers are always based in LA. My current show is even based in Atlanta and you can always tell the writers have never set foot here from the scripts. And it just doesn’t make sense.

Like, the showrunner is here running the show and they’re conducting the writers room in LA and they just join via zoom and then they fly the writers out and house them to produce their episodes. They could honestly expand the talent pool and save money if they would just hire just as talented writers that live here.

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aw-un t1_jcwv1ek wrote

I would highly recommend it.

It’s hard to explain because I know what I’m about to say is gonna anger some people and I don’t necessarily agree with it now, but while watching it, all I could think was “this is what Prestige tv should be” everything about it, from the production to the acting (except maybe Cuba) was superb.

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aw-un t1_j6lr9fd wrote

It took me a bit to get into, but I got to the point where I looked forward to getting home to watch it and got invested with the characters. The story structure is a lot like 911 where it’s them responding to various calls throughout rather than a single case with the occasional episode focusing on a single plot.

If you’ve watched Castle, it’s the same producer

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aw-un t1_j6lghm9 wrote

I find myself looking forward to Lone Star a lot more. I find a majority of the characters more enticing and the acting overall a smidge better.

OG 911 has been in a bit of a rut this season where it feels like all of the characters are rehashing past storylines and treading water. Angela Bassett is of course a powerhouse as always, but a lot of the actors (especially anybody associated with the 911 call center) feel like they’re reading cue cards.

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aw-un t1_j6lenk8 wrote

Can someone ELI5 the logic behind shelving all these shows/seasons that have already been produced?

The Batgirl and Scoob stuff (obligatory Fuck Zaslov) makes sense (kinda) because there was a tax benefit due to the merger. But now all these other networks are starting to do the same thing.

Why spend Millions of dollars making a season of television and not air it? Like, 95% of the cost has already happened.

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aw-un t1_j5pirt7 wrote

I know one episode where detective Fontana essentially waterboarded a guy to find where a kidnapped little girl was being held. Then the whole second half was the DAs dealing with the repercussions of that action and telling him how stupid and wrong what he did was.

Can’t remember which episode specifically, but Fontana had a short run, so should be easy enough to find

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aw-un t1_j5phm5o wrote

I don’t know man, the format might be the same, but Law and Order (original) was often one of if not the best written procedural around. Using that same format but still being able to tell different stories takes an insane amount of creativity.

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aw-un t1_j2e4e8s wrote

I mean, CW shows are/were some of the most popular shows on the service (Riverdale, All American, Supernatural).

There’s a reason Netflix had a billion dollar *(a year) deal with the CW for their content for a long time.

It makes sense that they would try to make shows for those viewers now that that deal is done.

And as a fan of CW shows, I welcome it. I just wish Netflix would adjust and make the jump to 22 episode seasons like the CW.

*i may be Mandela Effecting the a year part. Can’t remember and too lazy to look up

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