The enduring chemistry between the cast of the hit sitcom New Girl continues to permeate the entertainment landscape long after the show concluded its seven-season run in 2018. While the recent gathering of all six principal cast members at the Chrysalis Butterfly Ball in Los Angeles provided a nostalgic moment for fans, the event also served as a backdrop for revealing the next phase of professional collaboration between two of the series’ most prominent alumni: Jake Johnson and Damon Wayans Jr. The pair, who previously demonstrated their comedic synergy not only on New Girl but also in the 2014 box office hit Let’s Be Cops, are currently developing an untitled pilot for Hulu that reimagines the premise of the 1996 Jim Carrey cult classic, The Cable Guy.
A Spontaneous Genesis for a New Creative Partnership
The path toward this new project began with a chance encounter that underscores the close-knit nature of the television industry. During a celebratory gathering at the Chateau Marmont—hosted to honor Tess Sanchez, wife of New Girl star Max Greenfield, for the release of her book We’ve Decided to Go in a Different Direction—Johnson and Wayans Jr. found themselves discussing the uncertainty of the pilot season and network scheduling.
At the time, Wayans Jr. was starring in the CBS comedy Poppa’s House, which featured him alongside his father, Damon Wayans. Reflecting on the conversation, Johnson revealed that the timing was fortuitous. "I hadn’t seen Damon in a bit, and he was on a show with his dad," Johnson explained. "We were walking out to the car and I said, ‘If the show with your daddy goes away, let’s do a TV show together.’"
The professional realignment happened with remarkable speed. According to Johnson, Wayans Jr. reached out only two days later to confirm that his series had been canceled, triggering a prompt call to their respective talent agents to facilitate a formal partnership. This sequence of events highlights the volatility of the current television landscape, where high-profile actors often rely on established, proven interpersonal chemistry to secure new development deals in a crowded streaming market.
Reimagining a Dark Comedy for the Streaming Era
The project, which is currently in the pilot stage at Hulu, seeks to modernize the central tension of Ben Stiller’s 1996 film. In the original movie, the narrative focused on a lonely, unstable cable installer who becomes pathologically obsessed with a client. The new iteration, written and executive produced by Johnson and Wayans Jr., shifts the focus to the complexities of modern male friendship in an era defined by digital isolation.
The official logline provides a glimpse into the series’ thematic direction: "In a world of endless streaming, binging and algorithms, old-school cable technician Chip Douglas (Johnson) languishes alone — until Steven Stephens (Wayans) calls to have his cable turned back on, reconnecting Chip with a childhood friend he never forgot. The relationship gives each man something he’s been missing — until Chip’s enthusiasm turns into obsession. Inspired by the movie, the show explores the darkly absurd side of modern-day male friendship."
To ensure the tone remained distinct from the original feature film, the creators enlisted the expertise of Rob Rosell, a writer and executive producer known for his work on New Girl. "We didn’t want to just make a remake of the movie," Johnson stated. "We got a New Girl writer, Rob Rosell, who’s unbelievable, to come on board and reshape it a little bit. It was just using that as a starting point, then what they wrote was really funny."
The Economic and Cultural Context of the Pilot
The decision to develop this project for Hulu reflects a broader trend in the television industry, where streamers are increasingly relying on "intellectual property" (IP) that carries built-in audience recognition. By utilizing the title and thematic foundation of a well-known 1990s comedy, the studio aims to mitigate the risks associated with launching a new series.
Furthermore, the involvement of actors who have already anchored a successful multi-camera sitcom provides a degree of stability for executives. Both Johnson and Wayans Jr. have significant track records in both film and television. Wayans Jr.’s career, spanning from the cult-favorite Happy Endings to his return as Coach in New Girl, combined with Johnson’s sustained success in projects like Spider-Man: Into the Spider-Verse and Minx, creates a formidable pairing that significantly improves the pilot’s chances of being ordered to series.
Industry analysts note that as streaming platforms continue to consolidate their libraries, the demand for "comfort content" featuring familiar faces has increased. The New Girl fanbase, which remains highly active on social media platforms, represents a significant target demographic that is likely to follow the actors into their next project.
Peer Reception and Potential Crossovers
The news of the project has generated excitement among the original New Girl cast, who remain supportive of one another’s creative endeavors. At the Chrysalis Butterfly Ball, the camaraderie was palpable as Zooey Deschanel, Lamorne Morris, Hannah Simone, and Max Greenfield joined Johnson and Wayans Jr. on the red carpet.
Max Greenfield, who played the fan-favorite character Schmidt, expressed a playful sense of professional jealousy regarding the new project. When asked about the potential for a reunion on the set of the new series, Greenfield indicated a strong interest in participating should the project be greenlit. "If they’ll have me," Greenfield remarked. "Maybe tonight I’ll pitch some characters."
While no official cameos have been announced, the vocal support from the wider ensemble cast suggests that the production may lean into the established "New Girl family" dynamic, which has proven to be a successful marketing strategy for other shows that rely on actor-producer synergy.
Broader Implications for the Television Landscape
The development of this project arrives at a pivotal moment for Hulu and the streaming industry at large. As platforms pivot from aggressive growth strategies to focusing on profitability and sustainable viewership, the role of the "showrunner-star" becomes increasingly critical. By having Johnson and Wayans Jr. serve as both leads and executive producers, the production gains a level of creative cohesion that can often be lost in traditional development cycles.
If the pilot for the untitled project succeeds in capturing the "darkly absurd" tone promised by the creators, it could signal a return to more character-driven dark comedies on streaming services. The project also serves as a case study in how established actors are navigating the post-network-TV era, where the traditional pilot season has been replaced by a more fluid, year-round development cycle.
Ultimately, the project represents a convergence of nostalgia and innovation. While it borrows the framework of a 1996 classic, its exploration of "algorithms, binging, and digital isolation" suggests a deeply contemporary narrative. For the television industry, the success of this collaboration will likely be measured not just by its viewership numbers, but by its ability to translate the undeniable, decade-long rapport of its leads into a new, distinct, and culturally resonant story.
As the project moves through the post-pilot phase, all eyes will be on whether this "New Girl" offshoot can successfully transition from a nostalgic conversation piece into a cornerstone of the next generation of comedic television.
