Emmy winner Lena Waithe‘s “The Chi” has been renewed for a second season at Showtime, the premium cabler announced Tuesday.
The renewal comes after the series has aired just four episodes of its 10 episode first season. In addition, Ayanna Floyd Davis has signed on for Season 2 as executive producer and showrunner. Davis, who wrote the third episode of the series, has written for and produced shows such as “Empire,” “Hannibal,” and “Private Practice.”
Produced entirely in Chicago, “The Chi” is a coming-of-age story centering on a group of residents who become linked by coincidence but bonded by the need for connection and redemption on the city’s South Side. The series was created and executive produced by actor/writer Waithe.
The ensemble cast for Season 1 includes Jason Mitchel, Jacob Latimore, Ntare Guma Mbaho Mwine, Alex Hibbert, Yolonda Ross, Armando Riesco, and Tiffany Boone.
When comedian Tiffany Haddish was 9, her stepfather tampered with the brakes on her mother’s car, hoping to kill his partner and her four children. Rather than going out with her mom that day, Haddish asked to stay home and look after her younger siblings—sparing her from the horrific accident that left her mother mentally impaired. As the oldest child, Haddish did what she could to help for three years, from tying her mother’s shoes to paying bills, but eventually Haddish and her siblings were placed in foster care.
Haddish used the trauma and tragedy of her upbringing to ignite what is now a blazing comedy career. As a child, the Girls Trip star was teased for being a foster kid, but Haddish has also talked about maintaining a strong sense of self worth in her recent Showtime standup special, She Ready!: From the Hood to Hollywood. “The state of California paid so much money to make sure I don’t die ‘cause they knew I was gonna be special,” Haddish tells her audience. “They knew it. They was like, ‘This one right here, she gonna be a unicorn.’ And they was right. I’m the last black unicorn, bitch!”
Haddish’s ascent in recent years—debuting on NBC’s The Carmichael Show in 2015 and appearing in the 2016 action comedy Keanu and the summer hit Girls Trip—is a testament to her talent and resilience. But her story also offers insight into what it takes for a black woman in comedy to become successful today. Haddish’s rise points to where systemic roadblocks still lie for performers of color, particularly women, when they first enter the business—and how some barriers to entry may be falling as comedy enters a new golden age, with fewer gatekeepers and more platforms for artists to reach their fans.
Even though Girls Trip has a black director and writers, Haddish faced questions about her low profile. Her agent initially told her that studio executives were looking for someone with a bigger name to play her character, Dina. Haddish told her agent to tell them, “I’ve had a name since 1979. Okay? I was born with a name.” In the end, her rare comedic gifts won out, and reviews of Girls Trip regularly singled Haddish out for praise. Continue reading “FEATURE: ‘Girls Trip’ Star Tiffany Haddish’s Remarkable Rise”→
A&E Network will mark the 25th anniversary of the Los Angeles riots next month with a two-hour documentary from filmmaker John Singleton. “L.A. Burning: The Riots 25 Years Later,” set to debut April 18, tells the story of the civil unrest that shook the nation from the perspective of those who lived through a week of upheaval following a jury’s acquittal of four Los Angeles Police Department officers charged in the 1991 beating of African-American motorist Rodney King.
King’s arrest and savage treatment at the hands of veteran LAPD officers was caught on videotape by a local resident who gave the incendiary footage to KTLA-TV Los Angeles. KTLA’s coverage and airing of the nine-minute recording depicting cops kicking and beating King with batons while he was lying on the ground set off a firestorm of outrage and protest over the LAPD’s treatment of minorities.
The incident coincided with the dawn of the 24/7 news cycle fueled by the growth of cable news and the spread of home video recording technology.Singleton, a native of Los Angeles, was fresh out of USC film school and had just launched his career as a movie director with 1991’s Oscar-nominated “Boyz n the Hood” when the riots erupted on April 29, 1992, the day acquittals of the four officers were handed down by a nearly all-white jury.
Five days of violence and unrest left at least 55 people dead, more than 2,000 injured and inflicted more than $1 billion in property damage.“I believe the 1992 L.A. uprising has never truly been given a voice until now,” Singleton said. “We’ve attempted to chronicle the untold stories and unique perspectives of people whose lives were profoundly affected by this event. As a native Los Angeleno I know the actions of that three-day event didn’t just appear out of thin air. The city was a powder keg boiling at the seams for many years under police brutality and economic hardship of people of color.”
Among those featured in the documentary are actor-activist Edward James Olmos, police officers, rioters, bystanders caught in the crossfire and reporters who covered the upheaval. “L.A. Burning” hails from Entertainment One and Creature Films. The doc is directed by One9 and Erik Parker.
“L.A. Burning” is one of several TV productions in the works to mark the anniversary of the violence that shook Los Angeles and the world. Filmmaker John Ridley is behind the two-hour ABC special “Let It Fall: Los Angeles 1982-1992,” set to air April 28. On April 18, Showtime will air the documentary “Burn Mother—–r Burn!,” examining the history of racial tensions and rioting in Los Angeles.
NBC’s drama development chief Pearlena Igbokwe has formally taken the reins of Universal Television as president.
Igbokwe succeeds Bela Bajaria, who exited the studio after five years earlier this week. She reports to Jennifer Salke, NBC Entertainment president.
“Pearlena’s remarkable track record in drama programming at NBC over the last few years made it clear that she was the ideal choice to lead the studio into its next phase of growth,” Salke said. She cited Igbokwe’s role in developing dramas that have helped NBC rebound.
“Her leadership, vision and taste have resulted in an impressive string of drama successes — from ‘The Blacklist,’ ‘Blindspot,’ ‘Chicago Med,’ ‘Shades of Blue’ and the upcoming series ‘This Is Us,’ ‘Timeless’ and ‘Taken’ — that coincides with our return to a top position among networks. Pearlena also comes to the job with a wealth of experience in television movies and comedy and we have no doubt she will lead our prolific studio forward in a dynamic way.”
Igbokwe’s appointment is expected to strengthen ties between NBC’s broadcast and studio operations. The executive has strong relationships with Salke and NBC Entertainment chairman Bob Greenblatt, with whom she worked at Showtime prior to joining NBC.
Although Universal TV has experienced a great deal of success selling to cable and digital platforms as well as to rival broadcasters, the studio has not been a reliable source of breakout hits for its sister network. NBC’s two biggest dramas — “The Blacklist” and “Blindspot” — both hail from outside studios. Of the three freshman drama series slated for fall on NBC, none originated at Universal TV.
No successor has yet been named to take Igbokwe’s drama-development role at the network.
Igbokwe spent 20 years at Showtime, helping to develop series such as “Dexter” and “Nurse Jackie.” She is well-regarded in television’s creative community, but, having joined NBC in 2012, she is fairly new to broadcast TV, where the volume of original programming running through the development pipeline is far greater than it is in premium cable.
Showtime has ordered “Guerrilla,” a limited series from “American Crime” creator John Ridley, starring Idris Elba. The six-episode drama will be broadcast in the U.S. on Showtime and in the U.K. on Sky Atlantic.
Ridley will write the bulk of the episodes and direct the first two. A love story set in one of the most explosive political times in U.K. history, the miniseries tells the story of a 1970s London couple who liberates a political prisoner and forms a radical underground cell. The group targets the Black Power Desk, a true-life counter-intelligence unit within Special Branch dedicated to crushing all forms of black activism. Though set against a backdrop of social upheaval and activism, the story focuses on the relationship between the two characters at its center.
“Guerrilla” will be co-produced by Fifty Fathoms and ABC Signature, and will begin production in London late this summer.
“We’re excited to partner with our friends at Sky to bring a fascinating and unexplored story spearheaded by John and Idris, two major creative talents at the top of their game,” said Showtime president and CEO David Nevins. “Guerilla will surely keep our audience at their edge of their seats.”
Elba will serve as executive producer through his Green Door Pictures with Ridley. Patrick Spence and Katie Swinden of Fifty Fathoms, Tracy Underwood of ABC Signature and Michael McDonald of Stearns Castle will also exec produce.
Ridley extended his overall deal with ABC Studios in January for three years. His “American Crime,” which ended its second season last month on ABC, received 10 Primetime Emmy Award nominations last year for season one, with star Regina King winning for outstanding supporting actress in a miniseries or movie. In 2014, Ridley won the Academy Award for best adapted screenplay for “12 Years a Slave.”
“I am both humbled by and impressed with Idris’s passion toward bringing this story to life,” said Ridley. “I share his commitment for populating the culture with driven and complicated people of color, and believe we have great partners on the producorial level, and with our broadcasters Sky Atlantic and Showtime.”
Elba is a four-time Emmy nominee whose TV credits include “The Wire” and “Luther.” He was nominated for a Golden Globe award for his work in last year’s Netflix feature film “Beasts of No Nation.” His upcoming films include “Star trek: Beyond” and “The Dark Tower.”
“It’s been a long time desire of mine to collaborate with Mr. Ridley and his work here is nothing short of a masterclass in character building and story-telling,” Elba said. “TV is in for a treat.”
On TV talk shows, the host introduces a guest, then music plays while the guest emerges from backstage. On podcasts, the etiquette is still being worked out. The host often launches into an introduction while the guest sits quietly in the same sound booth. A couple of years ago, the co-hosts of a podcast called “Alias Smith and LeRoi” began this way, speaking about their guest, the comedian Leslie Jones, as if she were not there.
“This is gonna be kind of a hot one,” Ali LeRoi said.
“I’ve been waiting to sit her ass down for a minute,” Owen Smith said. “One of the funniest women in the game.”
“Funniest comedian in the game,” Jones interrupted. “Not just woman. I hate that shit.” End of introduction.
Comedians are combatants: they “kill,” they “bomb,” they “destroy.” Such bluster can mask insecurity, and Jones had good reason to feel defensive. She was forty-six, and had been a standup comedian for more than a quarter century; her peers respected her, but that respect rarely translated into high-paying gigs. “I remember some nights where I was, like, ‘All right, this comedy shit just ain’t working out,’ ” she told me recently. “And not just when I was twenty-five. Like, when I was forty-five.” She was a woman in a field dominated by men, and an African-American in an industry that remained disturbingly segregated.
Although she had opened for Katt Williams and Dave Chappelle, acted in movies alongside Ice Cube and Martin Lawrence, recorded a standup special for Showtime, and made several appearances on HBO’s “Def Comedy Jam” and BET’s “ComicView,” she worried that the gatekeepers of mainstream comedy—bookers for the “Tonight Show,” casting directors of big-budget films—had never heard her name. “Every black comedian in the country knew what I could do,” she said. “But that doesn’t mean everyone else is paying attention.” Chris Rock, who met Jones when they were both road comics in the late eighties, told me, “Black women have the hardest gig in show business. You hear Jennifer Lawrence complaining about getting paid less because she’s a woman—if she was black, she’d really have something to complain about.”
Jones spent much of her career performing in what she calls “shitty chitlin-circuit-ass rooms, where you’re just hoping the promoter pays you.” She told me that, around 2010, “I stopped only doing black clubs. I stopped doing what I call ‘nigger nights’—the Chocolate Sundays, the Mo’ Better Mondays. I knew how to relate to that audience, and I was winning where I was, but I wasn’t moving forward.” She lived in Los Angeles at the time, and she began asking for spots at the Comedy Store, where David Letterman and Robin Williams got their starts. A comedian named Erik Marino, who befriended her there, said, “She felt very strongly that she was being pigeonholed as a black comic—a BET comic.”
For a while, Jones performed at the Store at odd hours. Then, she said, “I went to the booker and I threw the race card at him. ‘Why you won’t let me go up at ten on a Friday? ’Cause I’m black?’ ” The booker gave her a prime-time slot. “She destroyed, obviously,” Marino said. “Bookers are the ones who care about black rooms versus white rooms. To us comedians, it’s, like, if you know what you’re doing and you can connect with an audience, they’re gonna laugh.”
Rock saw Jones perform at the Store in 2012. After her set, he told her, “You were always funny, but you’re at a new level now.”
“You’re right,” she responded. “But I’m not gonna really make it unless someone like you puts me on.” Rock took out his iPhone and added her name to a list labelled “Funny people.”
Common has been acting for a while (“Selma”, “Now You See Me”, “Just Wright”, “Single Ladies”, “American Gangster”) , and now he’s starting to get in the game behind the scenes too. According to reports, Showtime picked up an untitled drama from Common, who will be producing a scripted drama with Lena Waithe, who is one of the producers of Dear White People.
The show will be a coming-of-age drama that will explore the life of a young African-American male, in which simply growing up can be a matter of life and death. Waithe will write the script and executive produce the Fox 21 drama along with Common.
“The two creative forces behind the show, both hailing from Chicago’s South Side, give this pilot an unparalleled authenticity. Lena Waithe is an extremely fresh, talented young writer with a unique voice and a deeply thoughtful perspective into the world where she grew up. I immediately gravitated to her script, which is emotional, funny, tragic and relevant, all at once. And, we are so fortunate to have artist and visionary Common for his first producing project in scripted television,” said Showtime president David Nelson in a statement.
I get the feeling that this story will be loosely based on Common’s own life growing up in Chicago. It’s cool that cable networks are starting to get more on board with diversity in TV programming.
According to Deadline.com, John Singleton’s take on the beginnings of the crack cocaine trade in Los Angeles has found a new home. Originally bought by Showtime, John Singleton’s Snowfall pilot has now been picked up by FX, Presidents of Original Programming Nick Grad and Eric Schrier announced today.
“Snowfall takes us on a wild ride through one of LA’s most fascinating cultural and social periods, and no one can tell this story better than John Singleton,” said Schrier. “The pilot script by John and Eric brilliantly depicts the era through the story of three captivating characters, and we can’t wait to see John’s execution of it.”
Singleton (“Boyz In The Hood”, “Baby Boy”, “Higher Learning”, “Shaft”) co-created and co-wrote the early-1980s set Snowfall pilot with Eric Amadio and will direct the pilot for FX Productions, with production set to start this summer. Justified’s Dave Andron will serve as an Executive Producer along with Singleton, Groundswell Productions’ Michael London, Amadio and Trevor Engelson. With the drug storm about to come, Snowfall focuses on a trio of main characters – ambitious dealer Franklin Saint, ex-Mexican wrestler and now gangster Gustavo Zapata and prodigal son Logan Miller.
“I have always been fascinated with that volatile moment in time before crack changed everything,” added Singleton. “It’s a tense, insane and sexy era that touched every aspect of our culture. I couldn’t have better partners for this journey.”
According to Variety.com, NBC’s “Saturday Night Live” has added Leslie Jones, a member of its writing staff, to the cast. She’ll begin in this role as regular performer starting with this week’s Jim Carrey-hosted episode.
The comedian was a contender in the search for a new cast member of color last fall. The spot went to Sasheer Zamata, but producers decided to bring Jones on as a writer. Jones is the latest “SNL” cast member to be plucked from the writing staff. Michael Che, the new Weekend Update co-anchor, was also upped from his spot as a writer earlier this season.
Jones has appeared several times on SNL’s Weekend Update segment, including one in the 40th season premiere, proving her onscreen chops. She also starred in her own comedy special, “Problem Child,” for Showtime.
Spike Lee is revisiting his debut feature, 1985′s She’s Gotta Have It, on the small screen. Showtime has put in development a half-hour series adaptation that updates the film, with Lee set to write and attached to direct. The project is taking a new, contemporary look at the characters and willexplore Lee’s unique and provocative points of view about race, gender, sexuality, relationships, and the gentrification in Brooklyn.
Showtime is a fitting home for the project as the pay cable network has built a whole slate of half-hour series that straddle comedy and drama in the tone of She’s Gotta Have It.
Lee made his breakthrough with She’s Gotta Have It, which he shot in 12 days during the summer of ’85 on a budget of $175,000. The film, starring Tracy Camilla Johns as a young, sexually independent Brooklynite who juggles three suitors (Tommy Redmond Hicks, John Canada Terrell, Lee), ended up grossing $7,137,502 at the U.S. box office. It helped usher in the American independent film movement of the 1980s and paved the way for other black filmmakers.