The Writers Guild of America’s strike of 2007–2008 disrupted everything for TV in Hollywood, putting a hold on several productions and cutting short beloved shows. Private Practice and Gossip Girl‘s early seasons were shortened, as were the seasons for returning shows like Ugly Betty and Grey’s Anatomy. However, the strike ultimately benefited the writers in the WGA, and while those four shows might have had fewer episodes that season, they went on to thrive. It’s worth noting that the guild deservedly secured a much better contract (until 2023, that is). But some shows didn’t survive the downtime at all, which, in the case of Big Shots, was a blessing.

‘Big Shots’ Aspired to Be ‘Sex and the City’, With Men

“Men. We’re the new women.”

Those five words, uttered in the pilot episode, tell you all you really need to know about Big Shots. It was hyped as <em>Sex and the City</em> for men, although some wags likened it to “Male Desperate Housewives.” The series focuses on “four friends at the top of their game… competitive but dysfunctional CEOs” James Walker (Michael Vartan), CEO of Amerimart Industries; Duncan Collinsworth (Dylan McDermott), CEO of Reveal Cosmetics; Karl Mixworthy (Joshua Malina), President of Flexor Williams; and Brody Johns (Christopher Titus), who heads Alpha Crisis Management.

The four friends meet up regularly at their men’s club, acting as advisors in business and life, becoming confidantes and supporters for one another as they sit in the sauna, play pool, tennis… you know, rich people stuff. There’s a lot of soapy drama they support each other through. James’ long-time wife had an affair with his late boss. Duncan divorced his wife but would go back in a heartbeat, except that she knows he’d only repeat the cycle, which would make their 19-year-old daughter resent him even more than she already does. Brody is a coward. And Karl’s mistress is getting chummy with his wife.

‘Big Shots’ Was Mercifully Put Down by the WGA Strike

Where to begin with Big Shots, besides the painfully tired soap tropes? Not one of them is interesting – in fact, their arrogance, which might be the only thing interesting about them, is simply off-putting. What they call male-bonding is actually male-bonding aimed at a female-targeted audience. As the previously cited Columbia Spectator so eloquently explains, a male audience will not be interested in hearing men sitting around the pool in towels gossiping. Similarly, no woman wants to hear four men complaining about the holes they’ve dug for themselves by cheating on their wives or talking disparagingly about women as a whole. Not male-centric enough for men, too problematic for women, Big Shots couldn’t find the right audience.

Not only are the storylines tired, but they are hopelessly outdated, borderline offensive, and ridiculous to boot. Duncan’s future with the company could be in jeopardy after he’s caught having sex at a rest stop with a trans woman. It’s a storyline that didn’t need the trans angle to begin with, and it ages the show poorly when it tries to use this angle to make a “normal” tryst scandalous. The fact that he then hopes to keep it on the down-low by seducing the female reporter about to write an exposé reeks of misogyny as well, but at this point, we’re beating a dead horse. A steamy Dylan McDermott horse, but one all the same. Then there’s Karl, whose wife demands that his mistress join them in couples therapy, which could actually be funny if Karl wasn’t such a whiny loser.

The Hollywood Reporter called its cancellation “a surprising move given the raging writers’ strike,” but anyone who actually watched the show would applaud ABC’s decision to pull the plug on Big Shots. And to prove how unsuccessful the series was, despite the strike still going on, the network opted to air repeats of Private Practice instead of airing the last three wholly original episodes of Big Shots. This alone might be the most damning indictment of Big Shots; proof-positive that God truly loves us. And apparently, Private Practice.