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Unwanted by film and abandoned by TV, a once-loved orphan seeks a home at Sundance

A still from "When the Street Lights Go On" by Brett Morgen, an official selection of the Special Events program at the 2017 Sundance Film Festival.

A still from “When the Street Lights Go On” by Brett Morgen, an official selection of the Special Events program at the 2017 Sundance Film Festival.

(Ellen Kuras / Sundance Institute)
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For most Sundance premieres, this hermetic gathering in the Utah mountains is a first stop, the beginning of what filmmakers hope will be a long journey to theaters, streaming services, video on-demand platforms and, if stars really align, awards podiums.

“When the Streetlights Go On” is not most Sundance premieres.

Written by two upstart twentysomethings, the teenage-centered mystery began life more than five years ago as a buzzy movie script on Hollywood’s peer-approved Black List.

On Friday it will finally be seen for the first time — as a TV pilot hunting for a series order.

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In what is surely one of the oddest paths to a Sundance screening room — if also an oddly apt snapshot of the optimism surrounding this peak-TV moment — “Streetlights” will make its debut as one more stop on a twisty road. Along the way have been acquisitions by production companies, the attachment of a major star, the conversion to a television series, a consequent shift in the identity of the story’s killer, the replacement of the star with a less major star, a pilot deal with Hulu, an apparent series deal with Hulu, an apparent nonseries deal with Hulu, attempts to get the series resurrected elsewhere and now, as a fourth-down attempt of sorts, a screening at Sundance that producers hope will reignite buyer interest.

“It does feel like the girlfriend you love and also drives you crazy,” said Eddie O’Keefe, who with Chris Hutton wrote the script. “Love more. But also drives you crazy.”

Directed by the veteran documentarian Brett Morgen, “Streelights” (the TV pilot) is strong. The episode, which the Los Angeles Times was shown before the festival, tells of an all-American suburb circa 1983 torn apart by the killings of a prom queen (Nicola Peltz) and a teacher with whom she was having an affair, all through the point of view and of an enterprising 14-year-old (Max Burkholder).

At its best moments, at least, it channels Spielberg by way of “The Wonder Years,” with a murder-mystery at the center. The piece has a polished but brooding quality, the kind of space that upscale television and independent film now squarely share. It sometimes relies on Morgen’s documentary background, reveling in observational details of characters; he even uses a historical montage at the top of the 46-minute episode in the manner of many archivally oriented filmmakers.

But the content may be less interesting than the ways “Streetlights” has struggled to enter the world.

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O’Keefe and Sutton had hit pay dirt in 2011, when their script came out of nowhere to land at No. 2 on the Black List. (No. 1 was “The Imitation Game”; we know how well that turned out.)

Set up with “Spotlight” producer Anonymous Content, “Streetlights” was beloved for its genre echoes and tender moments. Chloë Grace Moretz agreed to star and Morgen was going to direct. The major issue was financing — the movie was budgeted at about $7 million. The number of stars that these days can attract enough foreign sales to hit that number — and certainly the number of teenage stars who can do that — is next to none. Money couldn’t be scrounged up.

But Anonymous had another idea. The company had a deal with Paramount Television. What if, with upscale-TV getting so hot, Hutton and O’Keefe converted “Streetlights” to a 10-episode series, using the script as a kind of jumping-off point. They’d have to change the killer — you can keep an audience guessing for 90 minutes much more easily than nine episodes — but the world would remain the same. Anonymous and Paramount TV would produce. And Morgen would direct the pilot instead.

“ ‘Streetlights’ is in many ways the story of television in the past few years,” said Chad Hamilton, the manager-producer at Anonymous who is spearheading the project for the company. “It’s something that ‘it doesn’t work, but television is hungry for great content.’”

A year ago this month, the gamble appeared to pay off. Hulu announced a pilot deal, with what was essentially a flashing green light; the streaming service was, like many of its rivals, bypassing the pilot process and going straight to series. “It seemed like we had done it,” Hamilton said.

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That perception was inaccurate. Hulu, for reasons that remain unclear, decided to put on the brakes. A few months ago Hulu passed on the pilot and sent Anonymous, Morgen, Hutton & O’Keefe — the world’s most creative law firm — back to the drawing board. Other networks weren’t biting. So Morgen, a Park City veteran, and the others had an idea: What about trying to juice interest with a spirited Sundance screening? The dice were rolled.

Part of why it ended up at this festival has to do with Sundance’s interest in increasing its television offerings in recent years. That ambition reaches a high-water mark at this year’s Sundance, as cable docuseries such as CNN’s “The History of Comedy” and Spike TV’s “Time: The Kalief Browder Story” will debut, along with socially conscious fictional series such as Fox’s “Shots Fired.”

But those are well-established projects with imminent release dates simply looking for a marketing boost. “Streelights” is part of the nascent — and still uncertain — indie-TV world. On Friday the piece will be shown with just two other projects in what Sundance terms the “Independent Pilot Showcase” — essentially, an attempt to use the enthusiasm of a festival screening to leverage a distribution offer.

And even among that small group (the other two are titled “Playdates” and, well, a name that can’t be printed here), “Streetlights” stands out given the bona fides of its backers. Will that make it more likely to be sold? Or make it stick out like a sore thumb even further?

“I’d be lying if I said I knew what to expect,” Hamilton said.

Though the appetite, both consumer and industry, for episodic content is high, there are a number of hurdles with approaching a work this way. For starters, self-contained scripts don’t necessarily lend themselves to the open-endedness of most television. Basic cable also requires commercial breaks and cliffhangers, which movie scripts tend not to.

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“I wouldn’t recommend it for a lot of shows,” said Hutton. “But ours felt like it made sense — after we did a lot of work.” (The pair have written two more episodes and have a heavy outline for the seven or more beyond).

Indie TV faces other challenges. Many independent financiers are reluctant to back a pilot when, unlike a film, it may not amount to anything (and they certainly won’t pay for an entire series).

Many studio pilots, on the other hand, won’t necessarily jibe with Sundance’s aesthetic.

Sundance buyers, for their part, are accustomed to knowing what they’re buying when they make a late-night condo deal — an impossibility with just a pilot. (They also don’t tend to run TV networks.) Even the audience here is an issue — Sundance attendees are accustomed to a complete experience, not a tease that, if a show isn’t picked up, may never get satisfied.

“Streetlights was an anomaly,” Morgen said. “I’m not sure how often you’ll see this happen again.”

(Indie-TV forays at Sundance have met with success. Two years ago the animated show “Animals” sold to HBO after debuting here. But that was an exceedingly low-budget endeavor that came in fully cooked; there was little risk about how the show would turn out.)

Whether Sundance is make-or-break is unclear. Though no one’s calling this a last-ditch effort — Hamilton says “we’ll be bringing the show back [to Los Angeles] no matter what” — it’s not hard to conceive of a scenario in which principals give up the ghost.

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“We’re all hoping Sundance isn’t a send-off,” “O’Keefe said. “But if it is, it’s a good way to be sent off.”

See the most-read stories in Entertainment this hour »

steve.zeitchik@latimes.com

Twitter: @ZeitchikLAT

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