![]() And because it’s 2020 I also need to talk about the pandemic and how you guys are handling that for your shows.Īlso, in our bonus segment for Premium members I want to look at ambient TV. So I want to talk about the format, about writer’s rooms, about the role of the writer-producer. Now, generally on the show we talk about limited series like The Queen’s Gambit or Chernobyl, but today because I have you guys here I want to get back to the meat and potatoes of one-hour dramas on broadcast and basic cable, because even in this age of streaming it’s still the bulk of TV writing jobs out there. So, yeah, it’s definitely you wonder why a small city of half a million has so much crime, but you know, it’s New Orleans. There’s like a naval reserve, an air-naval reserve base that is shared by the Navy and Marines and the Coast Guard. ![]() What’s happening here? Is it a Murder She Wrote situation? Why is there so much crime in the Navy?Ĭhad: You know, the best thing too about New Orleans is that in reality there isn’t an actual naval base there. John: Now, seven seasons into NCIS: New Orleans and I’ve been meaning to ask you why is there so much crime in the Navy. Chad, welcome to the show.Ĭhad Gomez Creasey: Thank you so much for having me on. But way back before Scriptnotes he had roughly Megana’s job as my assistant. But first I want to welcome our second guest, Chad Gomez Creasey, whose TV credits include Pushing Daisies, Castle, NCIS: New Orleans where he serves as executive producer. John: Yeah, I want to get into all that with you, both running an ongoing show but changing up to develop new stuff. So, it’s also a different studio and a different network, so it’s relearning the notes process with different people and their rhythms are different and their likes and dislikes are different and etc., etc. But it’s her against the bad guys kind of storyline. It’s something very different for me, although I make jokes that Queen of the South is kind of a superhero show except she doesn’t have super powers. Also I’ve never worked in the superhero genre, so I’m learning a lot and it’s really exciting. ![]() I’ve been in the Queen of the South world and in that headspace for four years, so it’s exciting to branch out, try something new. What is it like to start on a new show after having run a show?ĭailyn: You know, it’s really exciting. John: So you are actually in the writing process now. Dailyn, welcome to the show.ĭailyn Rodriguez: Thank you so much. Next up she’s moving to the DC universe where she’s writing the pilot for a new Wonder Girl series. Dailyn Rodriguez is a television writer-producer whose credits include Ugly Betty, The Night Shift, and USA’s Queen of the South for which she serves as executive producer. ![]() Craig is gone this week but luckily I have two guests who more than make up for that absence. My name is John August and this is Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. The original post for this episode can be found here. ![]()
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