FROM ‘NEW GIRL’ TO NEXT ONE’S CHAMPION

Pioneering producer and script writer is forging a new path for women in Hollywood

For a while there, Liz Meriwether’s sleeping bag was almost as famous as Liz Meriwether. After Meriwether’s Fox series New Girl debuted in 2011, becoming a ratings hit and charming critics with its earnest, nerdy heroine, the puffy purple sleeping bag received mentions in profiles in Glamour and The New Republic. The Hollywood Reporter photographed Meriwether in her office, with her laptop, sitting atop it. The sleeping bag symbolised Meriwether’s deep commitment to her work, but it also gave off a whiff of the dishevelled post-collegiate. It made for a good fit with how the media cast her at the start of New Girl: as a wunderkind, the untested 29-year-old brain behind a sudden juggernaut.

On Tuesday, after seven seasons, New Girl will end — and so will that chapter of Meriwether’s life. Today, she is 36, married to producer Alex Cuthbertson, and mother of a 6-week-old daughter, Harriet. She has become a prominent voice in the industrywide push for gender equality in Hollywood. This year, even as she presided over the end of New Girl, she shepherded three female-driven projects to the pilot stage, becoming one of television’s most productive talents.

And she’s no longer much of a floor-crasher. “The last three seasons, I stopped sleeping there,” Meriwether said by phone, just before her maternity leave.

As her habits have evolved, so has her stature in the industry. Meriwether, a Michiganbred Yale graduate, had already seen plays of hers staged in New York ( Heddatron, Oliver Parker) and developed a pilot for Fox when, in 2011, the Natalie Portman film No Strings Attached, for which she wrote the screenplay, was released.

That same autumn, New Girl debuted to more than 10 million viewers, chasing off long-held Hollywood doubts about actresses carrying sitcoms. Meriwether’s writing — honest, wacky, deeply character-specific — has always been the show’s calling card. And in the beginning, according to Dana Walden, a chief executive and a chairman of the Fox Television Group, that was all Meriwether wanted to focus on.

“She would write well into the night,” Ms Walden said. “You’d see her exhausted the next day. She was that person who would put the hood of her hoodie up at the table read and try to disappear.”

During Season 3, Ms Walden urged her to take on showrunner duties — to be not just the head writer of the show she had created, but one of its bosses, too. After some hesitation, Meriwether agreed, joining Brett Baer and Dave Finkel as co-showrunner.

“She was a little afraid of the power,” Ms Walden said. “I told her, ‘You cannot be prolific unless you’re prepared to be a leader.’”

Meriwether is now officially both.

Having shed her own invisibility, she seems intent on eradicating others’ as well. All three of the pilots Meriwether is producing for 20th Century Fox Television were created by women. Bless This Mess — a marriage sitcom for Fox about New Yorkers who move to Nebraska — was co-written by Meriwether and actress and filmmaker Lake Bell, who will also star. ABC’s Single Parents, which features a gaggle of spouseless friends raising their children together, was written by New Girl producer JJ Philbin, based on a concept conceived by her and Meriwether. And Fox’s Daddy Issues, which chronicles a fatherdaughter relationship, was written by Erin Foster, who will also star.

Daddy Issues earned the distinction of an all-female creative team when Fox approved Kat Coiro, Meriwether’s choice, to direct the pilot. “It feels like there’s this openness to taking some chances and giving women an opportunity this year,” Meriwether said. “I don’t know if Kat would have been approved before.”

Of course, the studio’s confidence in a newer talent likely has as much to do with trusting Meriwether as it does this moment in time. “Um, yeah,” Meriwether said. “It’s funny to me that the studio sees me as someone who can vouch for new people. I still feel so new.”

This reaction rings true to how Meriwether’s colleagues describe her: as both fiercely modest and freakishly capable. “In the early days on New Girl, she would shrug her shoulders and go, ‘I don’t know what I’m doing,’” said Philbin, who has worked on the show since Season 1. “Then she’d pitch a story with total precision.”

But Meriwether’s trademark self-deprecation, Bell argues, doesn’t actually signal an uncertainty. “Saying something wildly hilarious and then apologising for it is part of her brand of funny,” said Bell. “But I think she’s grown more confident in her choices. Before, she’d be like, ‘I don’t know what I’m doing.’ Now, she’s like, ‘I do know what I’m doing.’”

And what Meriwether intends to do after New Girl, it seems, is write the post-#MeToo playbook. She has been public about Hollywood’s troubling gender dynamics, speaking to The New York Times about gender perceptions in television in 2015, and writing about brushes with misogyny for The Cut last year, at the height of it.

But Ms Walden bets that Meriwether’s role in the reckoning will fall along the lines of less talk, more action. “She clearly has things to say,” said Ms Walden. “But ultimately Liz is going to be able to do the thing that’s really meaningful: promote women into positions of power.” (Including at the network Ms Walden runs. Last season, Fox hired just one woman to direct a pilot; this year, there are four, two on Meriwether’s projects.