When the CW was
purchased by Nexstar earlier this year, they made relatively clear that there
was going to be a fundamental change in their approach to programming, mainly
they would be more interesting in keeping costs down which meant more ‘reality’
series and fewer original ones.
It has not taken long
for the effects to be felt. Nancy Drew and Stargirl, two of the
series more successful series, have been cancelled this month. Original series
premiering this season such as Walker: Independence and The
Winchesters will not be receiving the traditional 22 episode seasons. There
have been other signs leading up to the purchase that this era of programming
on the CW would be different: there have been cancellations of several series
that have been modest successes, such as In the Dark and Roswell,
N.M. before they could come to a
proper conclusion. And with The Flash ending in 2023, we may well be
seeing the conclusion of the most successful collaboration between a network
and a showrunner in recent years. (This relation will be dealt with in detail
in another article in this series.)
I wish I could feel
more dismay at what truly seems to be the end of an era and what is clearly yet
another sign in the decline of network TV as a whole. But in truth, over the
last several years I have found it increasingly hard to give a damn about the
programming on the CW and dismay at what it has ended up becoming over nearly
two decades.
To truly explain why
the CW, even at its peak, must truly be considered a failed experiment, we must
consider several things: how it got started, where it went wrong and how its
greatest successes were the building blocks for its inevitable decline.
For those of you who
may have forgotten by now, in 1994 two networks launched to challenge the Big
Four dominance: UPN and the WB. Almost from the start, the WB was the more
successful network, though it didn’t exact get out the gates gun-blazing.
Both networks at
their inception would lean heavily into African-American led programming. Overall,
UPN would be slightly better at it, considering that some of its shows like Moesha
are now considered part of the landscape. That didn’t mean their mistakes,
when they came, weren’t horrible: series like Homeboys from Outer Space and
The Secret Life of Desmond Pfeiffer rank among the worst series ever
created. But generally UPN would have slightly better luck with those series.
This is mildly ironic considering how many of the actors who ended up with
series on the CW are among the most iconic African-American superstars of our
era. But I find it difficult to believe that Shawn and Marlon Wayans, Steve
Harvey and Jamie Foxx look back on this particular era as anything other than marking
time until they managed to find their places in the sun.
Up until 1997, the
most successful series on the WB was 7th Heaven. A quasi-religious
drama about a minister (Stephen Collins’ casting now looks horrible in
hindsight) and his children, the series managed success thanks to the young cast,
led by future stars Barry Watson and Jessica Biel. Then in the spring of 1997, the networks reluctantly greenlit the
television remake of a box office flop in 1992 that had been adapted by the
screenwriter for television.
The show was called Buffy
The Vampire Slayer. Considering the
horrible controversies that now surround Joss Whedon, who was idolized by
millions (myself included) for more than two decades and the backstories that
we know were going on behind the scenes all this times, the series has fallen
under a dark cloud. But I’ve had occasion to rewatch many of the episodes in
the last few months, and despite everything I now know about Whedon the fact
remains its still one of the best series I’ve ever watched and still deserves
to be consider an essential part of the Golden Age of Television. Incredibly
written and superbly acted by one of the best young casts in the history of
television to that point, it was a mix of genres that many shows have tried to
mimic but none have succeeded in doing. It managed the perfect balance of monster of
the week and mythology that The X-Files never could, and had a level of
continuity in its backstory (which would continue in the spin-off Angel)
that almost no show in history has ever been able to match. It was a wondrous
joyous event, and was the official beginning of what must be considering an
unmatched gathering of talent.
For the remainder of
its existence – which as we shall see lasted until roughly 2006 – the WB may
have been the single greatest gathering of talent behind and in-front of the
screen, perhaps even rivaling the talents that their contemporaries at HBO were
starting to turn out at around this same period. Several of the most gifted
talents in television history would cut their teeth at the WB. Kevin
Williamson, who not that much earlier had revolutionized the horror genre with Scream,
created Dawson’s Creek in the spring of 1998. A relatively unknown
writer named J.J. Abrams created Felicity, a series whose critical acclaim would win some
of the few awards the WB would ever win. Amy Sherman-Palladino would become the
creative force behind Gilmore Girls, one of the most beloved shows of
the 21st century. And a young Ryan Murphy would lend his tilt on the
teen drama when he created the twisted Popular. At its peak the WB was known for creating
a genre that was openly satirized as ‘Pretty White Kids With Problems’ by Mad
TV. At one point the network itself satirized what it had created in the
superb one-season satire Grosse Pointe which fundamentally laid bare all
of the pretensions that so many of its series took seriously and had guest
stars from the WB’s shows have cameos as themselves.
The network would
also begin to try and strike lightning with supernatural themed young adult series and had a fair amount of
success with them. Charmed which deputed a few months after Buffy ran
for eight years. Smallville, the first series to try an origin story of
a young superhero (something that was novel when it debuted) premiered in 2001
and ran for a decade. Even some of their less successful shows were part of the
zeitgeist: Roswell, which debuted in 1999, was considered a fan favorite
even after its mythology began to collapse in its first season.
And if the talent
behind the scenes was impressive, the talent in front of it was incredible. Not
since the days of the studio system in the 1930s had so many future celebrities
who would dominate the landscape for decades to come assembled in a single
place. Here are just a handful of the stars who cut their teeth on the CW:
From Buffy: Sarah
Michelle Gellar, Allyson Hannigan, Seth Green, James Marsters, Amber Benson.
From Dawson’s Creek: Katie Holmes, Michelle Williams, James Van Der
Beek, Joshua Jackson. From Felicity: Keri Russell, Scott Foley, Scott
Speedman, and in a recurring role, Jennifer Garner. From Gilmore Girls: Lauren
Graham, Alexis Bleidel, Jared Paladecki, Milo Ventimgilia, Liza Weill, Matt
Czuchry. From Everwood: Emily Van Der Kamp and a very young Chris
Pratt. And from Smallville:, playing
Oliver Queen: Justin Hartley.
And those are just the ones who were listed in
the opening credits. A lot of the actors who worked their managed to take their
lessons and put them into use elsewhere. Danny Strong had recurring roles on
both Buffy and Gilmore Girls. Eventually he changed his focus to
writing and has written some of the most stunning work for television in the
past decade, most recently in the Hulu limited series Dopesick.
There has been rarely
been so much talent at one place and one time – and just as rarely has their
been so little regard for it by the Emmys. Not one of the series or actors ever
received a single nomination for Best Drama or any of the acting awards which
is, collectively, the biggest travesty in the history of the Emmys. To ignore an
actor or series is one thing; to ignore an entire network is offensive and
insulting, particularly considering that around this same period cable was beginning
to start its long period of dominating the awards circuits. The fact that
dramas like ER and Law and Order received nominations even though
they were well past their prime and series like Buffy and Gilmore
Girls never did when they were at their peaks can only be viewed as the
fact the Emmys were run by geriatric snobs. (The Golden Globes would show more
enlightenment, nominating four actors and actresses, giving Felicity a
Best Drama nod and giving a Golden Globe for Keri Russell. Another reason I can
never fully dismiss them as an awards show despite their manifest flaws.)
If I have left out
the UPN as a similar provider of great series, well, I think even the most
devoted fan of the network would have reasons to understand why. For much of
its run, the UPN was best known for being the provider of two of the least
regarded spinoffs in the Star Trek franchise: Voyager and Enterprise.
There were the occasional successes
like 7 Days and intriguing cult series like Nowhere Man, but the
UPN was almost always regarded as the poorer cousin of the WB. This seemed true
even when series would switch networks: Buffy and Roswell would go
there in the fall of 2001, and the quality of both series would drastically
drop. Roswell got cancelled in the spring of 2002, and though Buffy lasted
until 2003, the last two seasons are considered by even the most devoted fans
as the bottom of the creative barrel.
By 2004, it looked
like UPN might be turning itself around. It managed to launch the critically acclaimed
comedy retelling of Chris Rock’s childhood Everybody Hates Chris, a highly
regarded Taye Diggs drama Kevin Hill and perhaps the first series that
could have ever gone toe to toe with any WB show and beaten it on its own merits,
Veronica Mars a show which
launched, among others, Kirsten Bell to superstardom and is probably one of the
most beloved series of all time. Unfortunately, for both the WB and UPN, time
was about to run out.
Neither network had achieved
its goal of being as successful as either of the four competitors. The WB was
more successful, with shows like Buffy and Smallville averaging
between six and seven million viewers an episode. Ironically, while these days
networks would kill for shows with ratings this high, in the 2000s they were
still not considered enough for financial success.
So in order to stave
off what seemed inevitable for both, the two networks merged, officially becoming
in September of 2006 the CW. Much of the
first season of the new network was made up of series that were part of both
networks. In the transfer of power, the WB ‘won’, with the majority of its shows making up the
six night schedule. (Veronica Mars and Everybody Hates Chris were
among the few series from the UPN to make the transition to the CW.) Many of
the series from both networks would make up the bulk of the CW for the next few
years. But there was one smaller series that had debuted in the last full year
of the WB that became one of the flagships of the network, symbolizing all that
was good about it – and its biggest failures.
In the next article
in this series, I will discuss the fate of several of the series that survived
the transfer and deal with Supernatural, the greatest success story – and
its greatest failure.
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