This week’s Brooklyn Nine-Nine episode “Into the Woods” split the squad up into guys and girls, with Rosa and Holt in the middle. We got to explore the aforementioned and rarely seen character pairing, went out of town with the boys, and also got to experience some classic Amy/Gina. The most enjoyable aspect about this episode was the flawless way Amy and Gina’s story passed the Bechdel Test. It is happening more and more on my favorite shows lately — though it’s still not often enough — so it still deserves recognition when it happens.
Here are this week and last week’s Brooklyn Nine-Nine reviews over on Just About Write!
This week’s episode of Brooklyn Nine-Nine was not only hilarious and focused on the Jake/Holt dynamic, but also brought things back to the status quo for the characters.
This week’s Brooklyn Nine-Nine completed the trilogy of Halloween Heist episodes. The game is this: an object in the precinct must be stolen by the challenged before midnight, or they will not be crowned King of the Nine-Nine. As Jake recapped, he won the first year, Captain Holt won the second year, and this year they’d both try for the same object –– a crown. Whoever wins will be called an “Amazing Detective/Genius.”
Catch up on my Brooklyn Nine-Nine reviews over on Just About Write!
Wrote my first official review over at Just About Write! And it’s one of my favorite shows on TV, Brooklyn Nine-Nine!
It shouldn’t be a surprise that Brooklyn Nine-Nine is one of my favorite comedies on TV. Helmed by Parks and Recreation showrunner Mike Schur, the show has a similar level of upbeat, optimistic approach to the workplace, where your coworkers become your family. What has also carried over from Parks and Rec is Schur’s refusal to fall into the typical will-they, won’t-they spiral where the writers jerk our chains with our ship. Once a main couple is together on a show of his, there is typically no backwards movement. This is beautifully true of Leslie and Ben, and I believe Jake and Amy’s relationship will receive similar treatment. The season three premiere sold me on this and I am so happy Mike Schur is a showrunner I can trust. When we ended last season, Jake and Amy kissed, Captain Holt was shuffled off to the PR department by his nemesis Madeleine Wunch and a new captain was entering the precinct. Let’s open this review by discussing Jake/Amy first, because how can I talk about anything else?
Read more about my love of Jake/Amy and how the show will handle them: Brooklyn Nine-Nine 3×01 “New Captain” (The TV Form of the 100 Emoji) [Contributor: Connie] ~ Just About Write
I don’t really do New Years Resolutions, but I’d love to finish something I write this year. My first challenge? Finishing a spec script. Tis the season for TV writing fellowship submission deadlines and I think I am going to take a crack at actually submitting something. So, right now, I am working on a spec script for the show Brooklyn Nine-Nine.
I’ve worked on a few specs before. I wrote a Castle spec a few years ago that got completed, but wasn’t good story wise and was way too short. I wrote a Parks and Rec spec that, upon reread, felt authentic to the show and actually had some jokes (!) but was missing a third act resolution and pieces of a plot point were done by the show itself after I’d stopped working on it. And earlier last year, I tried my hand at a Scandal spec. It seemed to be going well while writing it during a show hiatus, but once the show returned, a lot of little points I’d thought of were used on the show and plots/relationships/etc were more and more invalidated each new episode. I’ve also written a few short teaser-type scenes for a sit-com pilot and the first few pages of a drama pilot. Again, nothing I’ve completed.
Even though each script has gone unfinished or left something to be desired, I’ve felt stronger and stronger about my writing after each attempt. But it is time to finally finish something. The point of writing fellowships is to hone your craft, so hopefully, should I finish something and submit it, it is more about the potential within my script rather than how brilliant it actually is, but as with most writers, you want it to be brilliant from the get go.
I mostly write this so I am putting it out there. Connie should be working on her spec script. I’ve got an A story (recently developed, but I finally feel good about the direction it’s going), a nemesis for the main character (though I’m still working out obstacles), an emotional trajectory, a B-story involving Terry, Rosa, and Gina, and a vague idea for a C-story that maybe should tie into the A-story?
What I’ve noticed is that I am paralyzed by choice when it comes to writing fiction. There are so many paths a character could take, so many ways a character could be, which determines where the story goes. What if I choose wrong? If I pick between two ideas and one isn’t working, does that mean the other is better? Or should I break my brain trying to make idea number one work? I spend a lot of time stuck at the fork in the road and when I pick one, I keep wondering what’s down the other path. It’s definitely a struggle. And that’s all in the outlining. Once I’ve started, the characters start speaking and want to do different things than what I’ve planned, which affects where the story goes and thus all the little pieces I’ve thought of start to fall apart. Hence why I never finish anything. Even if I stop thinking about the road to the other side of the last fork in the road, a new one comes and I become overwhelmed with choice and the fear of missed moments of awesome. Also, there’s the giving up and the getting distracted, and the chronic procrastination, and ooh books! –ooh, new TV shows! –ooh, other ideas I should write! Typical writer problems.
So my goal for early 2015 is to finish this spec script. I bought an iPad around Christmas and it’s actually been helping me to be really productive. I’ve written about 7 pages of notes in Pages solely on my iPad while rewatching the show and on my commutes to work. And I bought Final Draft for iPad, which I think will be a really good way to write while on the go. So here’s to finishing this spec script. Hopefully the abundance of choice won’t be so paralyzing — I can just use those ideas in a second script. This post is to get my feelings out and for you readers to hold me accountable via comments, or Twitter, or wherever you see me lurking on the internet. Because if I’m on Twitter, I’m not writing. (But don’t take away my internet, research spurns ideas!)
Are any of you working on some works-in-progress that you’d like completed this year?
How are your favorite PoC characters doing so far this season? Have they survived the midseason slaughter (as I am now calling it)?
It’s so very rare to find a show with more than one character of color. Some notable tokens off the top of my head include Angela from Boy Meets World, Lisa from Saved by the Bell, Martha Jones from Doctor Who, Charlie on The West Wing and Gunn on Angel. 30 Rock subverts the trend by having Tracy Jordan in the main cast, but also Twofer, who is both black and nerdy. Some of the disappointment behind Agents of SHIELD came from the team claiming diversity and internationality (yup, I made that up), but only having one character of color, Melinda May.
For the most part, the characters listed above were main cast members, but even when I Googled “Token Black Character,” a lot of the examples were recurring characters, if that. When we begin to include 1-episode black characters as “token” characters, it doesn’t look good for the diversity of television.
Some shows this season, however, are trying to buck that trend. Mostly they’re on FOX, who started and seems to be maintaining a diversity initiative this season. Brooklyn 99 has one of the most diverse casts out there, up there with Grey’s Anatomy in terms of variety, which makes sense due to its New York Police Department setting. FOX also airs Sleepy Hollow, which has 2 black main cast members and up to 4 black supporting characters. Then there’s John Cho’s recurring character and the sometimes seen Abbie ex-boyfriend Det. Morales.
And when they brought Damon Wayans Jr back to New Girl, I was pleasantly surprised that Lamorne Morris wasn’t going anywhere. (Though, just through a quick google, there don’t seem to be any new cast photos with Damian– I have to wonder how the conversation went down when they told Lamorne Damon was coming back. Was there a “don’t worry, we’re not replacing you with him like we did him with you” conversation, or was it just we’re adding him to the cast everyone, no one is leaving. With this trend so prevalent, I would have been a little nervous my time was up.)
This article, from Time a few weeks ago, discusses FOX and other networks beginning to break the 1 black friend trend, which we could hopefully include other nationalities of color too. Here are some of my favorite quotes from the article.
But it’s also a welcome change because it makes New Girl a rarity in TV today: a major-network sitcom with more than one African American character in its regular ensemble–a comedy about friends in which “a black friend” isn’t “the black friend.”
The big networks have had a notoriously sketchy track record on casting diversity–better some seasons, terrible other seasons. The reaction has tended to be adding minority characters to shows with largely white casts. That affects the overall math, of course, but it has the side effect of replicating a universe in which black–or Asian, Latino, &c.–characters are scattered, uniformly and singly.
The exceptions are scarce: Troy and Shirley on Community; Glee, if you count that as a comedy; Parks and Recreation, depending on your definition. (That is, Rashida Jones is biracial, but having seen every episode I can’t recall Ann Perkins’ ethnicity.)
Brooklyn 9-9, the diversity is very conscious, not for p.c. reasons but simple realism. As its co-creators have said, it’s a New York City police show, and New York’s police department is about half minority. So you’ll see two Latina detectives who are very different personalities, because why not? You’ll see Andre Braugher and Terry Crews (who had a fantastic episode this week), sharing a subplot about Crews’ character’s annoying brother-in-law–not because they’re bonded as the precinct’s black characters, but simply because they work together, and it’s life–and, you know, in-laws, amirite?
But there’s another reason: sometimes, a show should just have two black women on it, because sometimes in life, there just are two black women in the same place. (Again: or men, or Indian, or Middle Eastern, or…) TV should be diverse because of fairness, but above all because it should reflect the world.
I hope this upcoming pilot seasons shows a continued growth to this trend. It shouldn’t just be FOX and Shonda Rhimes’ shows on ABC that have more than one token character of color. But that’s if the shows feature a character of color at all, like I said, sometimes the token is a recurring character and not even a supporting character. All television shows don’t necessarily have to be a tossed salad of racial diversity, but more shows need it.
Read more: New Girl, Brooklyn 9-9, and Breaking the “One Black Friend” Pattern | TIME.com http://entertainment.time.com/2013/11/07/new-girl-brooklyn-9-9-and-breaking-the-one-black-friend-pattern/#ixzz2q49hWhew
Of course it may seem like a no-brainer, but execs told those in attendance that their shows must reflect today’s current and increasingly multi-racial and multi-cultural world in order to attract those coveted younger viewers.
Of course the success that Fox has enjoyed with their runaway hit Sleepy Hollow, which has already been renewed for a second season, and other current shows, like Almost Human and Brooklyn Nine-Nine, are just some signs of the network’s commitment to its new programming strategy.
Fox TV Says That Diversity Is Just Good Business Sense [Shadow and Act]
At least FOX is getting with the program. I love BK99 and Sleepy Hollow (and a bunch of other people are watching and talking about it) and I am looking forward to watching Almost Human. When you have a diverse cast, you basically double your expected audience, because while I watch plenty of “mainstream” (read: majority white cast) TV shows (and enjoy them), I have more pre-interest in a show that has a diverse cast. I look forward to it more. If Michael Ealy wasn’t in Almost Human (if the character was a white person), I’d perhaps be interested because it’s JJ Abrams, but I would be less interested, less invested, and less likely to watch it. Other people feel the same way. The same goes for Sleepy Hollow. I didn’t know anything about it before it premiered. If I’d heard about it (merely the title), I didn’t really care. I checked it out because I learned there was a black female star. I probably wouldn’t have if Nichole Beharie (or any other black female) hadn’t been the star. Networks really need to pay attention, the success of Sleepy Hollow and Scandal is not isolated to social media, their premises, or even the good writing (because both shows are great, but they’re not perfect). Those things are a factor, but their diversity is what has helped them skyrocket to the hit shows that they are.