As an admirer of Nahnatchka Khan’s work, I find myself continually impressed by her ability to navigate various genres while maintaining a unique and compelling voice. Her knack for blending humor with darker themes is truly captivating, and her recent projects, such as “Boy Next Door” and “Fuck This Place,” are no exception.
Nahnatchka Khan, renowned for creating hit sitcoms such as “Fresh Off the Boat,” “Don’t Trust the B—- In Apartment 23,” and “Young Rock” with Dwayne Johnson, is currently celebrating the debut of her newest comedic offering, “Laid,” starring Stephanie Hsu, which airs on Peacock. Furthermore, she has announced her upcoming projects – two more dark comedies: one featuring Tony Hale and another adapted from the LGBTQ graphic novel titled “Fuck This Place.
Titled “Neighborhood Kid,” the upcoming TV show is inspired by the events surrounding John Hinckley Jr’s release from prison and moving in with his overbearing mother, this dark comedy tells the story of a man seeking a typical, uneventful life after making a grave error in the past. He yearns for a regular job, a normal relationship, and even mastering the art of taking a selfie.
According to the project’s tagline, “Boy Next Door” explores whether we are shaped by our most unfortunate moments. Additionally, it shows you how to insert animated emojis within a text message.
The upcoming show, still without a home on a network or streaming service, is being developed by Corey Nickerson. This production is overseen by Khan’s film and TV company Fierce Baby Productions, which has a prior agreement with Universal Television, and CBS Productions. Hale is serving as executive producer for this project.
Fuck This Place,” derived from a graphic novel by Kyle Starks and Artyom Topilin, chronicles the journey of two lesbian couples who hail from the city, as they inherit a 500-acre dairy farm in a remote location. They envision this as the commencement of their idyllic future. However, the farm harbors mysteries far beyond the ordinary, and we’ll witness how their dream transforms into a horrific reality. The question remains: will their relationship endure? Will they?
The project, penned by David Smithyman, is being co-showrun by Khan. It originates from Fierce Baby in collaboration with Skybound Entertainment. At present, it’s being marketed to various streaming platforms.
Khan expressed to EbMaster that the shared element among Fierce Baby’s current projects is having someone who possesses a distinct perspective, a strong vision, and a unique voice for a particular world. This common thread ties all Fierce Baby productions together, and it so happens that many of these projects feature female characters at their core, although this is not always the case. Khan finds this diversity intriguing and appreciates the opportunity to work with creators who have a singular vision and are willing to bring their worlds to life.
Recently, Khan’s Fierce Baby has been producing a series of offbeat comedies with a twist, starting with Khan directing the time-travel slasher-comedy “Totally Killer” for Amazon under Blumhouse. This was followed by “Laid,” a new release on Peacock that revolves around a woman (portrayed by Hsu) trying to understand why her former lovers are mysteriously dying. The Netflix rom-com “Dial A for Aunties” focuses on a young wedding photographer who struggles to conceal the body of her blind date while managing the wedding day of a wealthy client. Lastly, there’s “Killer Potential,” a TV series based on an upcoming book, which follows two unexpected fugitives: a financially strapped and overeducated SAT tutor who stumbles upon her affluent employers brutally murdered in their backyard, and the mute woman she discovers hidden within the walls of their mansion.
Currently, Khan, along with Jennifer Carreras (TV development at Fierce Baby) and Chloe Yellin (film development chief), have been exploring various genres extensively, from family sitcoms to romantic comedies (Khan’s first directorial effort being Netflix’s “Always Be my Maybe”) and stand-up comedy (directing Ali Wong’s 2022 comedy special, “Ali Wong: Don Wong” for Netflix). However, they are noticeably focusing on horror, murder, and death-themed projects with a comedic undertone at the moment.
Khan commented, “Murder seems to have become an integral part of my vocabulary in a more common way than before, and there’s certainly a somber undertone associated with it.” He recalled that in the past, each medium had clear boundaries – movies, TV shows, dramas, comedies were distinct. However, as streaming platforms emerged, these distinctions started to fade. Now, movies are made for both cinemas and streaming, and a limited series could be considered just a long movie. A half-hour show might be classified as comedy, or simply storytelling. While there are still traditional genres like procedurals and multi-camera sitcoms, most lines have become blurred. In my work, I find myself drawn to projects where the boundaries are indistinct. These will always have a humorous aspect, but they could also encompass other elements.
Regarding the future direction of Fierce Baby, Carreras mentioned that they aim to broaden their scope by delving into subjects beyond death. Additionally, they wish to increase the number of projects they undertake and strive to create a lot more compelling dramas in the process.
Jennifer Carreras, head of TV development at Fierce Baby, expressed great enthusiasm about extending our comedy roots further into the one-hour format. This move aims to broaden and test our brand’s limits. As Natch pursues her ventures as a writer and director, it’s crucial for us to nurture other creators and utilize Natch’s production skills. We take immense pride in producing shows amidst a pandemic and post-strike period, but we’re eager to increase our output,” Carreras said.
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2024-12-20 01:16