6 queer filmmakers and TV writers on the dream movies and series they’d like to pitch in 2019
Jamie Babbit, Silas Howard, Nisha Ganatra, and Gabe Liedman. Photo: Getty Images Last year, the screenwriter and director Nisha Ganatra tried to sell a show based on her life to TV network executives, about a queer, Indian-American high-school freshman obsessed with Madonna.
Jonathan Gabay, a senior vice-president of development at Berlanti Productions who recently left Fox, said that he thinks we’re on the “cusp” of a major shift toward more queer content in mainstream venues. When he started buying comedy series for Fox eight years ago, he says, “any time someone would pitch a show the goal was, ‘How can we reach the broadest audience?’” Executives had little faith that a queer-centric show would appeal to the masses. Now, there’s less pressure to meet that goal.
There’s something really fucking hot about a very closeted environment that I think most queer people understand — the taboo of it, and the high stakes. As someone who is a dyke from the early ’90s, there’s a really hot aesthetic in the whole butch/femme underground thing that I find very remiss in current queer movies that I would like to explore. So that’s our dream. And we have a pitch document we’ve been sending around to European financiers. No luck yet.
Back in 2005, we got so close. [The movie] was in development for over a year. We did location scouting and casting. But then one of our executives who was really onboard with it left, and it got kicked up to another executive who just didn’t connect to it. I could tell he had no sense of the story, and I knew then that we were just going to die there. And then the words came out of my mouth that we’d rather take it back than try to reinvent the story.
I was pitching it back in 2013, and I did hear back then, “Oh, we already have a gay show in development.” No one says it directly to your face. You go and pitch your show and everyone nods or laughs or stifles yawns, and then you go away and they tell your agent yes or no and a brief sentence. It really was pretty direct: They already have a gay show; they’re passing.
The pilot did really well — it got ordered, and it was shot, and it tested really well. The gay character, in particular, tested astronomically well. The audience wanted more of him, but the resounding note we got from the development process itself was to cut down on the gay dating story and focus more on other things, and that note was very hard to swallow. At the end of the day, I don’t know why they never ordered a full season. We got so close.
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