As a seasoned executive with decades of experience in the television industry, I find myself deeply intrigued by the strategic approach Future Shack is taking under David Wachtel’s leadership. His knack for navigating the complexities of this ever-evolving landscape is nothing short of impressive.
Following the debut of its latest Fox drama “Murder in a Small Town”, Jeff Wachtel’s production company, Future Shack Entertainment, is increasing its project lineup. This expansion will be facilitated by a first-look deal with Daily Beast’s top content executive, Joanna Coles. Together, Future Shack and Coles have several projects underway, including an adaptation of MSNBC anchor Katy Tur’s memoir “Rough Draft”.
Wachtel and Coles are also working on the drama titled “Base Camp,” which focuses on the congested and risky line of climbers trying to reach Mt. Everest’s summit. The script for this project has been penned by playwright and screenwriter Anchuli Felicia King, who is known for works such as “The Sympathizer” and “Mary & George.
Furthermore, 20th Television is developing two more projects with both Future Shack and Coles. Notably, Coles, who served as chief content officer at Conde Nast, was the creative force behind the Freeform drama “The Bold Type” and even executive produced it. Wachtel, in praising her abilities, said, “She’s an exceptional producer with a keen eye for trends and culture.” He went on to explain that he was drawn to make a producing deal with Coles because of her expertise in magazines and trend-setting. As evidence of this, Coles frequently appears on CNN to discuss topics like the royal family. Wachtel is always seeking out individuals who are forward-thinking or open to exploring new genres.
When collaborating with Coles, Wachtel draws a parallel to his past experiences mentoring producers at USA Network, Universal Content Prods., NBCUniversal International Studios. This group includes Matt Nix (“Burn Notice”), Sam Esmail (“Mr. Robot”) and Aaron Korsch (“Suits”).
Coles remarked, “I’ve never encountered anyone else quite like Jeff, as his exceptional skill set is truly unique. Not only does he make decisions based on his strong creative instincts, but he also possesses remarkable business acumen – his accomplishments clearly demonstrate this. On a more personal note, it’s an enjoyable experience to collaborate with him.
Regarding “Rough Draft,” Wachtel mentioned that he and Coles were captivated by Tur’s intimate life narrative. The book delves into Tur’s unique bond with her parent Zoey Tur, who essentially pioneered helicopter journalism in Los Angeles. Zoey Tur gained notoriety through aerial coverage of the 1992 L.A. civil unrest and live broadcasting of events such as the beating of Reginald Denny and the slow-speed Bronco chase involving O.J. Simpson. Katy and Zoey Tur, who underwent a transition in the 2000s, have had a complex relationship that Katy has shared in her book.
The series will delve into the narrative of Katy Tur’s family while also portraying the cityscape of Los Angeles during the 1990s, much like how “Winning Time” depicted the L.A. Lakers. As Wachtel explained, it’s akin to having a compelling personal tale, followed by a grander narrative, and the era serving as an intricate backdrop. This is essentially the ’90s of Los Angeles. It’s about how local news transformed into reality TV, all unfolding amidst the Malibu fires, the drama surrounding Sean and Madonna, the riots, and the O.J. Simpson trial.
In simpler terms, Wachtel refers to “Base Camp” as a blend between “White Lotus” and “Into Thin Air”. He explains that it portrays wealthy individuals acting poorly, some of whom meet their demise. The consequences are very real in this series. It’s also a luxury soap opera. Despite the perilous nature of the expedition, it has become a symbol for tech billionaires. There are frozen remains at the peak, adding an element of the macabre. The concept is to juxtapose the impossible journey with everyday life. It’s like waiting in line at Trader Joe’s, but instead, you’re climbing the mountain.
Apart from their agreement with Coles, Wachtel and Future Shack have other ventures in progress. One of these is “Cleat Cute,” a project previously mentioned. This production is a modern queer love story, produced by athletes Sue Bird and Megan Rapinoe, along with their production company, A Touch More. “Cleat Cute” chronicles the life of a young soccer player as she navigates her role as a newcomer, her ambition to join the national team, and a blossoming romance with her team captain.
In addition, “The Long Fall,” penned by author Walter Mosley (known for works like “Devil in a Blue Dress” and “The Last Days of Ptolemey Grey”), is a mystery story revolving around a former boxer who now works as a private detective. On the other hand, “Grand Stand-In,” written by producer Gretchen Enders, is inspired by a short story by Kevin Wilson, following a woman who pretends to be a grandparent for a job. Lastly, there’s “Ender’s Game” with Gigi Pritzker’s Madison Wells and a limited series adaptation of Iuliia Mendel’s memoir “The Fight of Our Lives,” penned by the press secretary of Ukraine president Vlodymyr Zelenskyy.
The main focus of all the mentioned projects aligns with Future Shack’s ambition to generate premium content tailored for streamers and collaborate with skilled creators to develop valuable intellectual properties. However, an additional aspect of Wachtel’s business strategy involves exploring innovative production models that can create cost-effective productions suitable for specific platforms.
The lineup also features ‘Murder in a Small Town,’ a murder mystery where Kristin Kreuk portrays a librarian who develops feelings for a detective played by Rossif Sutherland. This series is manufactured and based in Canada, with both Global (Canada’s broadcaster) and Fox (U.S.) contributing financially to its production.
The crime drama ‘Murder in a Small Town’ has been doing well on Fox, and they’ve decided not to move it from its original 8 PM ET time slot on Tuesdays, despite initial plans to move it to 9 PM.
Initially, ‘Murder in a Small Town’ started as a two-hour film produced in Canada. However, Frances Manfredi from Future Shack, responsible for distribution and content strategy, pitched the concept to Fox, who showed interest in co-producing the project if it transformed into a series.
Similar to my approach at USA, ‘Columbo’ on the coast is a straightforward crime mystery case of the week, as described by Wachtel. Rossif Sutherland and Kristen Kreuk have developed an impressive chemistry that adds depth to the series. The scenery is stunning, with a dead body discovered in a picturesque location. However, what makes it even more intriguing is the mature storyline that unfolds unexpectedly within it.
Regarding this economic production model, Wachtel expressed his primary focus on creating English-language shows tailored for audiences in the UK, Canada, and Australia. He is particularly interested in developing innovative, high-quality programs that were successful for him during his time at USA Network. As he explained, these shows are “of exceptional quality, easy to understand, and capable of running for a long period, all at a price point that people often find surprising.” For instance, the first season of “Suits” cost around $2 million per episode, while the initial segments of “Mr. Robot” were under $3 million each.
He stated that if our company has a defining characteristic, it’s adapting to the evolving economic landscape, which emphasizes thriftiness among consumers.
Following this, the series “Future Shack” will air after “Good Cop/Bad Cop,” the midseason drama from The CW. This show was not only produced by The CW but also received funding from Roku, Australia’s Stan, and was distributed internationally by ITV. It was filmed in Australia.
In summary, CW, Roku, Stan, and later ITV were our stops. ITV offered us a guarantee if they could be part of the production process. We managed to produce each episode for less than $3 million. We were fortunate to secure Leighton Meester as our lead actress. She’s not only a wonderful person but also an exceptional talent and has a great sense of humor. This production is a comedy with a twist – it involves dead bodies. It was penned by John Quaintance, and it exudes lightheartedness and fun.
As a film enthusiast, I’m excited to share that I’ve been in discussions with Fox about potential projects following a cost-effective model. I’m optimistic about platforms like TNT, which are also exploring the return of original series under a more economical budget strategy. In today’s landscape, where networks must be financially prudent, this approach has become crucial to our business plan. These networks may not have the deep pockets of Netflix, but that doesn’t diminish the potential for success. By focusing on creative content that offers something unique and exceeds expectations, even at a lower cost, and by partnering with international partners… well, there’s some fantastic opportunities waiting to be tapped!
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2024-10-04 19:17