As a long-time observer of the entertainment industry, I must say that the success story of Universal Studios is nothing short of impressive. With a rich history dating back to the golden age of television, it seems that comedy runs through their veins like the lifeblood of a seasoned jester.
Earlier this year, “Hacks” surprised many experts by winning the Emmy for outstanding comedy instead of “The Bear.” Even the team behind “Hacks” were taken aback, their mouths wide open as they accepted the award on stage. However, for those at Universal Television, who produce “Hacks” for Max, this unexpected victory brought a sense of validation.
Absolutely thrilling doesn’t even begin to describe it,” I find myself saying as Universal TV president, looking back on the success of our unconventional show. On a personal level, this achievement stands out as a pinnacle in my professional journey. Initially, industry buyers showed little interest in this unique project. In fact, everyone seemed to turn it down. But we believed in its potential and here we are today, celebrating its triumph.
The victory of “Hacks” wasn’t just a boost for the comedy genre, which is currently undergoing a revival this autumn, but also added another success to Universal’s comedy department, which has been producing more content recently.
As a film enthusiast, I can’t help but reflect on the fact that it’s been quite some time since our team here was last honored with an award – all the way back to “30 Rock” in 2009. It’s a heavy burden of pride and responsibility we carry, working at a place with such a rich history of success.
Apart from “30 Rock,” there’s also “The Office,” “Parks and Recreation,” “Will & Grace,” “Brooklyn Nine-Nine” and “The Good Place” in today’s collection of humorous shows. Donnelly points out, “We often measure ourselves against the past, but it’s crucial to establish a setting where creators feel comfortable taking chances.” He adds, “Our audience anticipates a bit of the unexpected from us, so we strive to understand their preferences and provide them with something unique that they can’t find elsewhere.
What is a Universal Comedy, according to Donnelly? It seems there’s an inherent optimism that can be detected in many studio half-hours. He explains, “Our comedies generally aren’t bitter or harsh.” Instead, they view comedy as something that leaves viewers feeling uplifted at the end of each episode or season. Donnelly believes that all their shows manage to achieve this sense of positivity quite effectively.
An example of that is the new Ted Danson series “A Man on the Inside,” from Michael Schur. The comedy about the friendships inside a retirement home recently rocketed to the top of Netflix’s viewership top 10, and has just been renewed for Season 2. “A Man on the Inside” landed on the AFI Awards’ 2024 list of programs of the year, along with “Hacks,” while Danson just scored a Golden Globe nomination in comedy actor (while “Hacks” picked up noms for best comedy, comedy actress for Jean Smart and comedy supporting actress for Hannah Einbinder).
The universal network is experiencing early triumphs this season with the fresh NBC sitcoms “St. Denis Medical,” produced by some of the team behind “Superstore,” and “Happy’s Place,” spearheaded by Reba McEntire.
Universal is currently working on eight fresh comedies for release, according to Underhill. She comments, “There’s been some adjustments in the market, but we’re still thriving as we promote our projects.” While NBC and Peacock are key focus areas for Universal TV, shows like “Hacks” (Max) and “A Man on the Inside” (Netflix) have been sold to competing streaming services; other comedies that have found a place beyond NBCUniversal include Apple TV+’s “Loot,” featuring Maya Rudolph.
Initially, Netflix’s popular comedy series was “Unbreakable Kimmy Schmidt,” produced by Tina Fey from Universal. Currently, Netflix’s humor team is managed by former NBCUniversal executives such as Andy Weil and comedy director Tracy Pakosta, along with Netflix content head Bela Bajaria.
Schur notes that most of the individuals he interacted with at Netflix were actually his superiors from Universal. Additionally, there was an unspoken understanding between them, something like, ‘we’ve created something together at another place before. I’m familiar to you now; let’s do it again here.’
Coming soon on Peacock: “Laid,” starring Stephanie Hsu and produced by Nahnatchka Khan and Sally Bradford McKenna from an Australian format, premieres December 19. This comedy has a unique premise: Each of Hsu’s love interests is inexplicably passing away, one after another.
Khan shares his joy about working with Universal on a project that embraced a mix of serious undertones and humor, as he found this approach refreshing.
2025 finds me excited about Universal’s adaptations! “The Four Seasons,” streaming on Netflix, brings together the comedic genius of Tina Fey and Steve Carell, along with a fresh new comedy series in the vein of “The Office,” masterminded by Greg Daniels and Michael Korman.
‘The Office’ spinoff may be taking its time, but we’ve already enjoyed sneak peeks of ‘Four Seasons,’ and Underhill assures us it won’t disappoint. He believes it will meet all expectations and it’s thrilling to see Tina Fey back on screen again.’
Excitingly enough, I’ve got some exclusive news to share: Universal is working on a show titled “Local Heroes,” which revolves around a team of regulars at a comic book store who join forces to crack cases in their town. This concept draws inspiration from director Kevin Smith’s real-life comic book store, and he’s not just involved – he’s co-executive producing and writing alongside “30 Rock” veterans Josh Siegal and Dylan Morgan. The series is under development for NBC, with contributions also coming from Hazy Mills’ Sean Hayes and Todd Milliner, as well as Jordan Cerf.
Donnelly emphasizes that we excel at fostering collaborations. Sean Hayes’ business has been around for quite some time. Josh and Dylan are known as overall deal writers who have experience in Mike Schur’s and Tina Fey’s teams. I admire Kevin Smith immensely, and he’s got a keen sense of the genre world. This murder mystery series set in a comic book store aligns perfectly with NBC’s single-camera workplace, multi-character shows.
Earlier announcements featured several projects:
With the wealth of talented individuals nurtured at Universal following their stint on “Saturday Night Live,” their contributions to NBC late-night programs, and their roles in the studio’s groundbreaking comedies, Schur likens this pool of artists to a “theater ensemble” or “repertory company.
Greg Daniels, Conan O’Brien, myself, Tina Fey, and Rob Carlock all began our careers in late-night television. Jen Stasky started at Fallon and now oversees ‘Hacks.’ It’s no accident that these paths intertwine. NBC’s dominance of late-night programming has created one of the most impressive research and development pipelines ever, whether it was planned or not. By hiring young writers, aged 23, to write jokes for their hosts, they provide us with valuable experience. Over time, many of these writers move to LA to create shows of their own.
In a market where the cost of producing a half-hour comedy has become challenging, Schur expresses hope that the financial commitment needed to keep building this genre will be sustained.
During the past ten years, the financial aspects of producing comedy have been quite challenging. However, to persist in this field, the company must be extremely dedicated,” he explains. “It’s crucial for the company’s identity to declare, ‘We produce these; we are committed to this. This is a part of our past, and it’s a part of our heritage.’ It’s beneficial when you work at a place that has been leading in the local comedy scene for nearly five decades. Though not every year or even every decade, but tracing back to ‘Must See TV,’ there’s an established connection — particularly for people my age — that this is an ideal setting to create comedies.
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2024-12-18 20:17