Logline: Centers on a hard-living, foul mouthed woman who moves to affluent Greenwich, CT to raise the spoiled kids of her wealthy sister who has fled the country to avoid a federal indictment. She quickly learns what the rest of us already know – other people’s children are awful.
Cast: Kaitlin Olson
Creators: John Chernin (Writer / EP), Dave Chernin (Writer / EP), Randall Einhorn (D/EP), Oly Obst (EP), Nicholas Frenkel (EP)
Studios: 20th Century Fox TV, 3 Arts Entertainment
Raising other people’s children — and being ill-equipped to do so — is a perennial network pilot season trope. It rarely gets picked up to series though. The Mick has a bit of extra juice going for it, though, with Sunny’s Olson in the lead.
The titular Mick is actually Mackenzie “Mickey” Murphy a foul-mouthed, Twinkie-eating, drug-abusing Celtics fan. Or I could have just written “Celtics fan.” Mickey ends up at a suburban party where we’re introduced to her snooty sister and her 18 year-old niece (described as Claire Underwood, but with resting bitch face) and younger nephew Ben. By page 14, we have FBI agents raiding the party and Mick having to take over running errands with the kids. The end of the pilot has snooty sister Poodle informing Mick she’s going to have to watch the kids longer than expected.
My problem with The Mick is that it never subverts expectations. When you read a logline, you picture a pilot. You want that pilot to meet or exceed your expectations, but in interesting ways. Here, we have a show somewhat similar to Grandfathered (reluctant parenting), but with a much harder edge. But it does exactly what’s expected without ever transcending. That’s not going to get your audience engaged. Also, this premise is much better for multi-cam (i.e. Two and a Half Men) than for single cam (Ben & Kate).