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from the diamonds-in-the-coal-pile dept.
John Koblin writes in the NYT that there's a malaise in TV these days that's felt among executives, viewers and critics, and it's the result of one thing: There is simply too much on television. John Landgraf, chief executive of FX Networks, reported at the Television Critics Association Summer Press Tour that the total number of original scripted series on TV in 2014 was 371 and will surpass 400 in 2015. The glut, according to Landgraf, has presented "a huge challenge in finding compelling original stories and the level of talent needed to sustain those stories." Michael Lombardo, president of programming at HBO. says it is harder than ever to build an audience for a show when viewers are confronted with so many choices and might click away at any moment. "I hear it all the time," says Lombardo. "People going, 'I can't commit to another show, and I don't have the time to emotionally commit to another show.' I hear that, and I'm aware of it, and I get it." Another complication is that shows not only compete against one another, but also against old series that live on in the archives of Amazon, Hulu or Netflix. So a new season of "Scandal," for example, is also competing against old series like "The Wire." "The amount of competition is just literally insane," says Landgraf.
Others point out that the explosion in programming has created more opportunity for shows with diverse casts and topics, such as "Jane the Virgin," "Transparent" and "Orange Is the New Black." Marti Noxon, the showrunner for Lifetime's "UnREAL" and Bravo's "Girlfriends' Guide to Divorce," says there has been a "sea change" in the last five years. "I couldn't have gotten those two shows on TV five years ago," says Noxon. "There was not enough opportunity for voices that speak to a smaller audience. Now many of these places are looking to reach some people — not all the people. That's opened up a tremendous opportunity for women and other people that have been left out of the conversation."
(Score: 3, Interesting) by MrNemesis on Wednesday September 02 2015, @11:11AM
There's even a trope about it: British Brevity [tvtropes.org].
Essentially, british shows frequently have only one person, a "show runner", behind them instead of the authored-by-committee nature of a lot of US shows. Likewise there's no real drive here for what I think you guys call syndication (indeed, the real drive here is selling something to you leftpondians and the number of episodes seems immaterial to that). As such, when a show gets commissioned it's typically already had the entire series written and if there's a second series pending that'll already be plotted out. There's little appetite for filler since there's no need to stretch each series out for any longer than the story merits and it would detract the writer from bringing in the bacon for the juicy bits.
Incidentally if you haven't seen it already, please give The Shadow Line a whirl. It's very highly stylised and the dialogue won't be to everyone's taste but it's got a fantastically labyrinthine plot and Chiwetel Ejiofor (for my money one of the best actors alive) and manages to go wrap itself up in a neat little bow after seven episodes. Likewise Stave of Play and Utopia (the first series at any rate). Perhaps I just like conspiracy stories.
I was pretty annoyed when I discovered Carnivale was canned after two series for its spirally production costs; was a great swooping kitchen sink about american culture and its links to the old world and one of the most texturally rich depictions of 30's depression that I've seen. It's scope was sadly too big and it was chopped off at the knees :(
"To paraphrase Nietzsche, I have looked into the abyss and been sick in it."
(Score: 0) by Anonymous Coward on Wednesday September 02 2015, @05:41PM
I wholeheartedly agree about Carnivale. I had fallen in love with that show and poof it was gone right when it was getting into the main plot. I was very disappointed and I keep hoping (against hope I know) that someone will pick it up again and run with it.