LAST year, it was known as "the show they canceled 'Deadwood' for." Now, some say it's "the show that could replace 'The Sopranos.' "
Expectations are running so high in some quarters for David Milch's multilayered surf family saga, "John From Cincinnati," launching next Sunday, its creators don't even want to discuss them. If HBO, a premiere network in flux, wants to maintain its reputation for high-quality original programming, it must come up with new programs that reach the critical highs of former heavyweights "Six Feet Under" and "Sex and the City" as the popularity of the soon-to-expire "The Sopranos," a cultural touchstone, may be impossible to match.
With the loss of those hits, and the recent forced departure of Chairman and Chief Executive Chris Albrecht, HBO's reputation as TV's foremost incubator of innovation hangs in the balance. So far, its newer series "Big Love" and "Entourage" have remained basically niche shows. While HBO has downplayed its expectations for "John," it signaled its ambition by scheduling the premiere immediately after the "Sopranos" finale.
Unlike broadcast networks, HBO doesn't aim for mass-appeal blockbusters; each show is "targeted" to specific demographics among subscribers, said Dave Baldwin, executive vice president of program planning. "John," he said, is aimed at young men 18 to 34 who are attracted to its themes of surfing and metaphysical mystery. " 'John' is one we were excited about," said Carolyn Strauss, HBO's president of entertainment, adding that the network is in a period of "great creative energy and enthusiasm."
"John's" particular promise derives from its pedigree: The 10-part series was created from an idea by Milch (the literary force behind "Hill Street Blues," "NYPD Blue" and "Deadwood"), combined with a pitch from San Clemente surf couple Herb and Dibi Fletcher and input from Kem Nunn, California's surf noir novelist ("Tapping the Source," "Tijuana Straights").
"John" tends to follow a certain HBO formula -- an unusual setting, a dysfunctional family, an unconventional narrative and enough creative rope for the executive producers to hang a masterpiece, or themselves. The production has been "crazy as usual" for a Milch project, according to Milch associates. Scripts were written just before shooting began. At least two episodes remained to be shot weeks before the premiere, an unusual situation for HBO.
