They conceive the characters, write or co-write the scripts, set the pace and provide the vision for the TV programs you know and love.
They're called showrunners, and they are the designated auteurs of the boob-tube renaissance still in progress.
Writer-producers such as Joss Whedon, Shonda Rhimes, Matthew Weiner, Vince Gilligan, and the holy trinity of Davids — Chase, Milch and Simon — have earned profile pieces and graced magazine covers, becoming celebrities in their own right.
They are to modern television what film directors were to the New Hollywood of the 1970s: the rock stars of their medium.
While the aforementioned heavy hitters are still working in TV (or, in the case of Whedon and Chase, have turned their attention to movies), there are a number of newer artists who are taking advantage of the freedoms that networks, basic-and premium-cable channels, and new streaming-content outlets like Netflix are offering. A few, like True Detective's Nic Pizzolatto, seemed to have attained small-screen stardom overnight. Most of the interesting and innovative serial storytellers — some veterans, others relative newbies — are doing the sort of work that may not have yet garnered them name recognition (yet) but, in a perfect world, would potentially earn them an invite to join the pantheon. Here are a dozen showrunners that you should being paying attention to ASAP.
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Joel Fields and Joe Weissberg bring authenticity to 'The Americans.'
Lots of spy shows can claim to have done due diligence on the drudgery of espionage skullduggery; hardly any of them, however, can claim to have an ex-CIA officer calling the shots.
As a former case officer, Joe Weissberg is able to bring a level of authenticity to his Reagan-era drama about KBG agents posing as married suburbanites in Washington D.C. None of the first-hand touches regarding the spy-vs.-spy activities, however, would matter if Weissberg and his showrunning partner Joel Fields weren't able to nail what lurks beneath all the intel and beaucoup wigs: It's really a drama about matrimony, and the lies we tell both our loved ones and ourselves.
Throw in some boundary-pushing sex scenes and just the right amount of period details, and you have one of the more compelling, complex shows on contemporary basic cable. A job well done, comrades.
Beau Willimon created a niche on Netflix with 'House of Cards.'
Out of all the people named on this list, playwright-turned-showrunner Beau Willimon may currently be the closest to actually breaching the A-list creator status.
Everyone initially referred to Netflix's revamp of a British TV drama-cum-surprising hit House of Cards as "the David Fincher show," thanks to the Fight Club director's involvement as an executive producer. But after two successful, binge-watched seasons, people have started to pay more attention to the Oscar-nominated 36-year-old who's responsible for every twist, turn and mustache-twirling Kevin Spacey aside in this political soap opera.
His attention to language and the nuances of the Washington grind (Willimon did time on Howard Dean's 2004 campaign) is no surprise, but the sheer joie de vivre he brings to the show's cutthroat power plays still has the power to shock. The show's cunning antihero may see his built-one-backstabbing-at-a-time empire come tumbling down. Willimon, however, seems to know where every card in the deck is stacked.
John Fawcett and Graeme Manson are behind the BBC America hit 'Orphan Black.'
Horror-movie fans might remember John Fawcett as the director and co-writer of the teen-girls-turn-werewolves cult flick Ginger Snaps (2000); hardcore sci-fi nerds would recognize Graeme Manson as the writer of the equally beloved existential headscratcher Cube (1997).
But with this BBC America hit about a young woman who discovers she's part of a set of clones — most of whom have been marked for extermination — has instantly, and deservedly, established the Canadian duo as unsung heroes of the Comic-Con nation. They have an ace up their sleeve in star Tatiana Maslany, a remarkably versatile actress who ends up juggling an average of five different roles per episode, yet it's Fawcett and Manson's deft ability to keep the various clones' plot strands moving along in sync that make this show so compelling.
This is smart sci-fi that knows when to get cerebral and when to kick ass; keep cloning that formula, gents, and we're yours.
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