Critic’s Notebook: The Cancellation of ‘Clean Slate’ Marks the End of Freevee’s Creatively Impressive, Commercially Botched Half-Hour Brand

by

Amazon Cancels an Unknown Series” or “Amazon Ends Norman Lear’s Near-Final Project.

As a devoted fan, I appreciate both perspectives. The fact that Laverne Cox and George Wallace were part of Clean Slate was undeniably significant, yet it was Lear’s posthumous credit that seemed to draw the most attention, making it the show’s most prominent feature. However, in conversations with fellow fans, I rarely, if ever, heard anyone discussing Clean Slate outside the confines of our fandom circles. It was as though the show, despite its notable elements, remained largely unnoticed amidst a media landscape where only the largest titles manage to break through the clutter and gain visibility.

For my part, the sudden conclusion of “Clean Slate” symbolized the close of a unique, less celebrated epoch – an era characterized by Freevee’s half-hour content development, which, despite its creative promise, unfortunately fell short from a commercial perspective and left a significant mark in recent brand-building history.

Previously known as the ad-supported version of Amazon Prime Video, Freevee, which eventually became redundant when Amazon Prime Video adopted ads, was formally closed down in November. The streaming platform had established its reputation by focusing on specific areas of content development.

There were adaptations, spinoffs, and reboots – commonly known as intellectual properties (IP). Shows such as Bosch: Legacy, Leverage: Redemption, and Alex Rider either branched off from the popular shows that have made Amazon successful or were lesser versions of those kinds of shows. None generated a significant amount of hype, but they weren’t intended to; their purpose was to be successful, and they all received at least a second season.

Afterward, we had half-hour programs, some undoubtedly comedies while others resisted classification. These shows served as platforms for new talents and casts, typically aimed at underrepresented groups. I selected six shows that fell into this category, so it’s understandable if you’re not familiar with many of them.

In a post-COVID era, there emerged a crime comedy titled “Sprung.” This show brought back Martha Plimpton, Garret Dillahunt, and creator Greg Garcia, while Phillip Garcia and Shakira Barrera shone as the main stars. For me, “Sprung” is one of the best depictions on television about the easing of pandemic measures, showcasing Garcia’s consistent mix of emotional depth and absurd humor.

In the lineup was “Primo,” created by Shea Serrano and produced by Mike Schur. This series centered around a boisterous Latino family residing in San Antonio, offering a mix of humor and heartfelt moments. The cast was well-selected and the overall vibe was lively.

“Primo,” produced by Mike Schur under the guidance of Shea Serrano, depicted a spirited Latino family in San Antonio. This series combined raw energy with genuine emotion, featuring an excellent ensemble cast that kept things interesting.

Both versions aim to convey the same idea while using different wordings and sentence structures for variety and readability.

There was a series titled “Dinner With the Parents,” depicting typical dinners in a Jewish household. Since it was merely average and not particularly noteworthy, I likely won’t refer to it again here, as even its lack of significance was such that no one felt the need to create a Wikipedia page for it, which is rather unusual.

In the setting of a high school, there unfolded an authentic, heartwarming drama-comedy titled Tegan and Sara, reminiscent of shows such as Freaks and Geeks and My So-Called Life, yet without any exaggeration in comparison.

In Pittsburgh resided a family known as “The Pradeeps,” who were of Indian origin and found themselves in conflict with their neighbors. The story unfolds as they encounter an investigation at the Immigration and Naturalization Service offices. This series boasted notable stars such as Naveen Andrews, Ethan Suplee, and Megan Hilty. Initially, I was not fond of the interrogation plot device, but it gradually became more appealing to me as the storyline progressed.

In the gaming world, I recently stumbled upon “Clean Slate,” a series where a trans woman named Cox goes back to her Alabama roots and mends fences with her long-lost father, Wallace. While it didn’t exactly have me rolling with laughter, it was another heartfelt production that echoed the times of 2025, much like other shows on this list. Interestingly enough, just like “The Pradeeps of Pittsburgh,” “Clean Slate” made its debut on Amazon following Freevee’s shutdown.

The seventh episode on Freevee lasting half an hour was titled “Jury Duty,” a popular series that garnered Emmy nominations but doesn’t exactly fit the same mold; the plot revolved around the notion that the ideal solution to America’s legal system is a friendly, ordinary white man. It combined humor and realism, and despite plans for a second season, it is expected to change since the unique format can’t easily be replicated.

That’s remarkable since all the other six half-hours on Freevee were terminated following only one season.

That’s a wild track record, 0-for-6. More Quibi shows were renewed than Freevee half-hours. 

Interestingly enough, the quality of Freevee’s half-hour content was remarkably similar to a baseball team scoring six runs. While Freevee might not have hit any home runs – High School came the closest – it certainly had its fair share of doubles (Primo, Sprung) and singles (Pradeeps of Pittsburgh, Clean Slate). Additionally, there might have been one instance where a player reached base due to an error (Dinner With the Parents). In an industry where new streaming platforms and cable networks typically struggle to produce even one or two good comedies, it’s impressive that Freevee managed to develop, produce, and air six solid half-hours.

Not only are these six shows unique in an industry where it’s challenging for new streamers and cable networks to create a harmonious programming schedule, but they seem to align beautifully to convey a particular inclusive spirit. Regardless of their comedic or dramatic themes – such as the challenges faced by immigrants, teenagers discovering their sexuality, Latino families bonding over child-rearing, ex-convicts seeking redemption amidst a post-COVID society, and a trans woman’s journey for acceptance in an unlikely setting (in this case, Canada for High School) – they all manage to depict the sense of belonging despite feeling like an outsider within a broader societal context.

Not only did Freevee manage to air six exceptional shows without a single one falling flat, but these shows were of such high quality that any network or streamer would be PROUD to have them on their platform. However, Amazon/Freevee surprisingly chose not to renew any of these six series, which is something that should raise questions and perhaps cause some embarrassment.

Consider the shows on Freevee that last a half-hour. None of them are bloated productions with big-name stars, and it seems none were merely taken for quick cash. Except for the musical duo “Tegan and Sara,” whose brand is subtly present but not overtly mentioned in the title “High School” (the title of their memoir, though certainly not a title that would ever rank highly on search engines), there’s no sense of trying to capitalize on nostalgia for an ’80s movie or a nearly forgotten video game (“Dinner With the Parents” was adapted from a successful British series and changed its name so as to not hint at this connection).

I want to make it clear that I’m not new to the world of television. It’s evident to me that these shows didn’t attract many viewers. Exact numbers aren’t disclosed by Amazon/Freevee, but it’s safe to assume they were quite low. The problem is, it’s hard to determine what success or failure looks like for this and other streaming services. This gives corporations an immense amount of influence over the creative community, which can be quite powerful. I have no doubt that these shows didn’t become massive successes.

How might it have transpired? They were all given promotions sparingly and modestly, but even if they hadn’t, what could one reasonably anticipate? If you decide to produce a series about two teenage girls, portrayed by the exceptional yet relatively unknown twin actors Railey and Seazynn, who listen to ’90s grunge rock and navigate their first loves in suburban Calgary, it seems your approach to audience growth should be patient. And if you create shows with budgets that likely fall short of the second breakfast catering expenses on Lord of the Rings: The Rings of Power, you understand that the former is for gradual success and the latter is for making a big impact immediately. These productions are about establishing a brand and nurturing relationships within the creative community — things that could yield benefits five or ten years down the line.

Creating and executing five to six shows similar to that exceptionally well is truly impressive; on the other hand, creating the same number of shows without allowing any of them to develop into valuable additions to your content collection is regrettable.

I attribute the issues at Amazon’s streaming service to those at the top – whether it be Jeff Bezos, if he ever watched a second of High School, I would eat a biodegradable shoe purchased from Amazon as a joke; or Jennifer Salke, who has since left the company; or simply a corporate mindset that values diversity in programming, only to swiftly eliminate it with such haste that it seems there was no audience for it (when the truth is, without proper promotion and strategy, an audience doesn’t just materialize out of thin air).

Goodbye to “Clean Slate,” and goodbye to the entire lineup of half-hour shows on Freevee. You truly deserved a more favorable outcome, those who created you did as well, and viewers deserved something better too.

Read More

2025-04-23 01:25