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Good thing someone is teaching Hollywood's next batch of writers how to churn out boring sequels with de-risked financial prospects for the investors. What I w
by danbmil99 6y ago
Good thing someone is teaching Hollywood's next batch of writers how to churn out boring sequels with de-risked financial prospects for the investors.
What I want to hear about is, how will the medium of uncertain-life multi-year serials get beyond the 4th/5th season disapointments of GOT, Lost, BG(reboot)?
I spend an inordinate amount of time investing in these endless storylines, only to have them 1) get canceled after Season 3 or 2) start sucking in season 4 or 5 (Might get lucky with a Dexter and not suck until year 6 or 7, but still...)
This is an important cultural issue, what with the pandemic and whatnot
- anonAndOn 6y agoFailure is not inevitable. Maybe you just need an extremely talented showrunner/lead actor with a father/actor/cultural icon and to film it away from Hollywood?[0] [0]https://en.wikipedia.org/wiki/Schitt%27s_Creek https://en.wikipedia.org/wiki/Schitt%27s_Creek
- joshuak 6y agoI somewhat agree. It seems clear to me that its a consequence of not writing to a story arc, which in turn is a consequence of not knowing the running length of your story. Even the best execution I've seen are series that end ambiguously with open questions left for the audience to decide. In feature writing open endings are often considered edgy or avant garde, in series writing it is the most obvious of cliches. Series that have a known fixed length do much better imho. Mind you I think it is possible to execute on a story arc without knowing your running length in advance as long as you are within an order of magnitude in estimation. I just haven't noticed anyone trying.