#Tv stuff

[cassmouse]

'She wants us to' was such a crazy statement from someone who didn't even want to take Jackie's jacket off her corpse a few hours before

[ironworked]

Given the reasons behind 911's move from FOX to ABC (x, x), its ratings and viewers for this season so far, the currently developing spin-off, its year to year evolution, 911 vs its timeslot rivals and other ABC shows (shown below), and this ranking of this year's broadcast shows so far

911 year-to-year evolution:

vs ABC shows (this season):

vs timeslot rivals:

...

[swan2swan]

An underutilized trope in today's shows (unless I've not been paying attention, which is possible, there are only so many hours in a day and so many shows I can watch), is the classic arc of "Characters we never see but whose lives are constantly updated via the on-screen characters".

I'm not talking "occasionally we learn about our characters and their relatinoships with unseen acquaintances via dialogue", I mean "One character has an increasingly bizarre series of updates about someone else who is leading a very exciting life that we are not directly privy to." Sometimes they can connect in a dramatic upswing, sometimes it's just a complex series of dots that become more and more difficult to connect the more we hear.

Two prominent examples being Dr. Kelso's son (?) from Scrubs, and Jason's offscreen, never-seen family (singular?) from Home Movies.

[bisexualbrainrots]

sometimes I like to imagine how the show would be like if it had belonged to hbo and like... damn it would be hot. and heartbreaking. but so hot.

[wanderingmind867]

I lost track of Bob's Burgers with Season 12. I still don't feel good about it, but I have my excuses. Namely, my excuse is that I didn't like the movie, but I felt supreme guilt over that. Like... massive guilt. And then I panicked and worried that later seasons of the show would bring up the movie a lot, and inadvertently rub it in my face. And so I let my panic dictate my actions, and I just stopped paying attention to the show. So that's what happened, and now I just feel guilty about it. But you know... I probably will return to it one day. I'm just very slow and lazy, so it could take me a while to work myself back towards doing it. But I think I'll get there one day. But either way, I just wanted to vent about this, and get everything off my chest here.

[seresinhangmanjake]

I have never seen this show. I do not know these characters. But I saw a random gifset from season 5 episode 7 and now I'm fully invested

[wonderlandleighleigh]

You've got a weekend to binge a show, and you're able and willing to watch 10 episodes. What show do you pick, and which episodes do you watch? Or would you be chaotic and pick 10 episodes of 10 different series?

From your roommate who's definitely considering this kind of weekend to happen sometime soon. :-)

Oh, I would 100% be a chaos gremlin about this.

Keeping in mind that we should do this after the strikes/boycots end so we can use streaming without feeling weird.

In no particular order.

Gilmore Girls - Cinnamon's Wake

2. The OC - The Best Chrismukkah Ever

3. Farscape - Crackers Don't Matter

4. Supernatural - Baby

5. Doctor Who - Tooth and Claw

6. The Marvelous Mrs. Maisel - It's Comedy or Cabbage

7. The West Wing - The Stackhouse Filibuster

8. Justified - Hatless

9. Community - Pillows and Blankets

10. Falcon and the Winter Soldier - Truth

Bonus: What We Do in the Shadows - On the Run

[leahsstuff]

On Series Finales

Personally, when I spot something that I like in a work of fiction (a relationship, a character, a storyline) and it doesn’t get developed in a way I wish it would have been, simply because that’s not what the writers chose to focus on, I’m actually excited about it. Because that means it’s an opportunity for me to develop a story from something I really liked! I’m free to create it myself! Especially after a series finale, that’s the perfect moment to understand the writer’s intentions while also figuring out where you would have gone in a different direction.

[enigmaticmoonchild]

These are the two best stills of a tv show opening I’ve ever seen. This opening in general is just top tier

[operationmorewhitecollar]

White Collar rolled around as episode numbers were transitioning downward (though certainly not to current streaming levels), so we’re lucky we have as many episodes as we do. But, some of the most popular episodes of the series are ones that aren’t fully wrapped up in the overarching, ongoing storyline. Filler episodes with no “point” within the larger plot? Maybe. (Though we tend to think of them more as “stand alone” episodes.) But we’re very glad we got them, and got a chance to learn more about the characters. (Especially Mozzie, who was frequently the focus of those “filler” eps.)

genuinely one of the worst things that’s happened to television in the last few years (exacerbated by streaming services) is death of Filler. going from 20 episodes to 8 because “we didn’t really need that episode where the main characters went to the beach right? it had no long lasting effect” but we DID!!! we needed to see how they act without the Big Bad Plot and to establish the dynamics between the characters and lay in the sun (do they forget sunscreen? how do they react to a thieving seagull? do they get buried in the sand or do they do the burying?). the plot isn’t everything. the action doesn’t hit as hard without the quiet moments. give us character development and our little scenes back

[karmelarts]

so much of the horror genre is informed by the metaphor of queer/transness as monstrousness. especially emphasizing the amount of horror that depends on the audience's repulsion at seeing a human body changing into a new, other body. I Saw the TV Glow is about the horror of NOT transitioning. the horror of static. the horror of looking into yourself and being terrified of what you see. the horror of seeing who you are and choosing to do nothing about it. the horror of looking away. and by god is it terrifying.

[cassmouse]

Thinking again about how much Jackie and Shauna fucking loved each other before the crash and I am literally so upset about everything

[ironworked]

[...] says veteran ER and The West Wing producer John Wells. “Not having [new episodes] available for a long period of time is one of the reasons why shows decline rather than build an audience — even shows that come on big in their first year.”

A programming exec at a major streamer concurs, arguing that “familiarity” is what sets television apart from the feature film experience.

[...]

Insiders point to three big factors behind The Big Wait:

TV shows have turned into spectacles: in the Disney+ era, both Marvel and Star Wars shows have felt like elongated movies which may or may not get sequels years after their initial release. The outsize ambition of these tentpole projects — even a period costume drama like Bridgerton — means turning around a new season every year “is just physically not possible given what needs to be shot.

Movie people don’t know how to make shows quickly: the near collapse of the mid-budget theatrical-film business has forced less-famous movie vets to seek work in television. [...] “But they came from a different system where things took longer to get made, and they brought that kind of approach to TV.” [...] streaming execs [...] could have found a way to keep this sort of episodic TV factory going, but instead opted to follow Netflix off the short-season cliff, believing audiences wanted to hook up with a sexy new show every few weeks rather than form long-term relationships with a few really good series.

The streaming production model doesn’t encourage timeliness. in addition to more time required for complicated special effects on many shows, today’s global platforms need “as many as 120 days to conform it to all the various territories that it’s going into,” [...] Then, once a new season of a show finally does premiere, streamers will often take their sweet time deciding whether it makes sense to order another season. “Tech companies wait 30, 60, 90 days after a binge drop to get performance data,” [...] “specific metrics: completion rates of episodes and the full season, did it attract new subscribers, did it attract high income viewers.” Those numbers then get measured against the show’s overall production budget [...]

Can This Be Fixed?

The success of linear faves such as Suits and Prison Break has resulted in a new-found appreciation for “network”-style shows which can be produced more quickly, while the post-Peak TV era has ushered in a new age of fiscal discipline. “I think you’re seeing services trying to move themselves back to getting these shows on the air more regularly, particularly those who are not just dropping all the shows at once for binging purposes,” says Wells.

He should know: The veteran producer is currently overseeing a medical procedural for Max called The Pitt that will release 15 weekly episodes in 2025 and, if renewed, will have the potential to turn around a second batch of episodes within a year. [...] to allow the audience to become connected to these characters and be excited when we’re coming back.”

[angelofdumpsterfires]

how i feel about all the changes in s3

[cosmicrot]

i'm insanely curious but also aggressively bad at math

[theswedishpajas]

Girls night 💸💸💸