Common Sense will feature a cast of recurring characters in different states — duos and trios made up of friends, colleagues or family members — sharing their opinions on seven or eight news stories of that week, from the big headlines to the random local happenings. "It's a show that really captures the water-cooler conversation, with pairs and threesomes discussing news and local stories in their workplace, in a bar, on a golf course or at the gym," Lambert told Deadline. And while The People's Couch is shot in Los Angeles, with Common Sense "we for the first time will be able to film the series across the country, which gives us the opportunity to make a show that reflects what is going on in the country." To stay topical, Common Sense will have a quick turnaround, with an episode airing within a week of it being filmed. It will cover all kind of news — political, sports, celebrity, etc., along with smaller local stories.
Status: In Development
Runtime: 30 minutes
Common Sense - Common Sense (John Prine album) - Netflix
Common Sense is the fourth album by American folk singer and songwriter John Prine, released in 1975.
Common Sense - Recording - Netflix
Common Sense was produced by Steve Cropper and was recorded at Ardent Studios in Memphis and Larabee Studios in Los Angeles. The album features contributions from Bonnie Raitt, Glenn Frey, Jackson Browne and Steve Goodman. Bassist Donald “Duck” Dunn, who played in Booker T and the MGs with Cropper, plays on “Forbidden Jimmy” and “Saddle In The Rain”. The album marked the first time Prine recorded an album on Atlantic without producer Arif Mardin, and critics took note the change in the Prine sound. In the Great Days: The John Prine Anthology liner notes, Prine insists Sweet Revenge “was a really good record, but I didn't want to keep making the same album over and over, do another 'Dear Abby.' I was really reaching on Common Sense, trying to do some different things musically.” According to Eddie Huffman’s book John Prine: In Spite of Himself, the singer was “perfectly content with the record he cut in Memphis. But Cropper was moving into the rock ‘n’ roll big leagues as a producer, working on Rod Stewart’s next record around the same time. He decided Prine’s album needed fleshing out. Despite the singer’s reservations, Cropper took the tapes to Los Angeles and added the kinds of overdubs Prine said he wanted to avoid...”