In the world of entertainment, there’s almost nothing better than being completely immersed in a TV binge of your favourite show. I know this from experience and still love Breaking Bad sessions when I get the chance, as I can never watch just one.
Just because a lot of us like to watch a lot of one show all at once, doesn’t mean studio execs should keep shows on the air repeating the same old formula just to up the episode count. What’s their motivation? Creating enough content for syndication or making more money from ads?
Shows like The Big Bang Theory and Family Guy come to mind. The latter animated series has been notoriously inconsistent with its quality, even if we just look at the seasons after it returned from an early cancellation. Both shows have stayed on for so long that characters have become clichés and brilliant one-liners have become predictable as they’re applied to a ‘new context’ every episode, or so it seems.
It’s why TV shows need to know their limits as they risk alienating the core audience that loved them right from the start. The Simpsons, which was genius for nine seasons, is now most likely heard alongside comments like “Yeah, that used to be good” and “Why haven’t they cancelled it yet?” It’s such a shame as the show ends up being tarnished for a new generation, but it’s inevitable when the writing staff run out of ideas and arguably, become lazy.
So, a lot is at risk; revenue, reputation and legacy. Yet, how can a show know it’s limits? It’s difficult, especially when the aim of a show changes and it becomes more like a slick business plan.
A perfect example of an ‘ultimate stayer’ that’s actually improved over the years is the BBC series Doctor Who, which is still as relevant to families and children as it ever was. People are still so engrossed by the drama they wear t-shirts, form fan clubs and of course, dress as the Doctor for Comic-Con. Now, isn’t that incredible seeing as he’s currently played by a 57-year-old man?
The success of the Doctor is down to two things: the main character actor is replaced to suit modern times and it regularly takes extended breaks. Both of these points keep it fresh and motivated to hit the ground running for new seasons. As you know, not every show has a premise that allows for such transcendence as a time travelling alien, which is why it’s an exception to the rule..
For everyone else, knowing limits is about being engaged with your audience online, as well as looking at live viewing figures and revenue. Showrunners should navigate the tricky waters of interacting with the fan base without being swayed by their opinion and pandering to their needs, as proven by Glee’s creator Ryan Murphy, who regularly fan-baited to the show’s detriment.
In addition to judging how fans are responding to the creative output and if interest is waning, writers, actors and producers should look to themselves; if they’re bored of the characters or struggling to come up with the next dramatic finale, it’s time to turn off the cameras. With this in mind, perhaps it’s best to have a long-term plan from the beginning to know that a show has staying power.
Vince Gilligan of Breaking Bad fame created the show with the story arch for five seasons already set-out and kept to this honed plan even when the show became a phenomenal hit. Not bowing down for calls to extend the run, he kept it as originally intended. It’s the perfect example of a show knowing it’s limits from the beginning and using this to the benefit of its artistic merit. In the first season, Gilligan was able to allude to plot points that wouldn’t occur until the fifth, and character choices (mainly bad) in the third season weren’t resolved until the finale. This tight vision is intensely satisfying for the audience as it adds to the realism, the core message and any investment in cause and effect.
In essence, Breaking Bad is why shows should know their limits. It’s a programme most often heard alongside comments like “The best TV show in modern history” and “I’m left wanting more”. Yet, it’s best as audiences that we don’t get more. With modern services like Amazon Prime and Netflix, we have unadulterated choice meaning we don’t need too much of one show waning in quality, as we can move onto the next at the click of a mouse. Wouldn’t it be better for everyone if the aim was to produce more appealing shows rather than sticking with that one old success story?
Indeed, ‘leave them wanting more’ is probably the earliest entertainment mantra, and is as true today as it ever was. Let studio execs remember this so we get the shows we deserve, not just the ones we need right now.
Fran Atkins
https://www.youtube.com/watch?list=PL18yMRIfoszEaHYNDTy5C-cH9Oa2gN5ng&v=0_9dLZCKOvQ
