#i know what i would do if i was the showrunner

[tanadrin]

There's this big gripe I have with a lot of television shows that are dramas, which is that they take the formal elements of modern prestige television--very good cast, high-quality cinematography, terrific music, often even a pretty interesting premise--and just fall completely flat-footed on the execution, because the plot has the structure of a floppy spaghetti noodle.

Plot can be just one damn thing after another, but in general this is not a satisfying way to approach plot. Satisfying plots usually have some kind of structure, build logically to some kind of climax (or even series of climaxes, in serial formats like television), often leveraging diverse dramatic techniques so that even if the plot temporarily veers off into some cul-de-sac or subplot, you feel like the overall momentum of the story is moving forward, is coming to some conclusion. In short, you feel like there is a reason for you to be watching this story in particular, that it has some weight or consequence for its characters, that each sub-element of the overall plot, each chapter or episode or what have you, is in retrospect a necessary element in the story the creator wants to tell, and the audience wants to watch.

(Obviously, for more episodic structures, which a lot of perfectly great TV shows have, the rules are different, because the plot of each episode is partially or wholly discrete; but a key element of modern prestige TV is a serial and not episodic format. I don't know why this is exactly, but I assume it has something to do with the long shadow of The Sopranos and the notion that episodic formats are for cheesy sitcoms or cheap science fiction.)

But almost every prestige drama and quite a few other shows I have tried to watch in like the past--I dunno. Ten years? Maybe not that long, but it sure feels that long--has the floppy spaghetti plot problem. The plot really is just One Damn Thing After Another, usually fuelled by characters having to hand off the Emotional Idiot Ball to one another to generate conflict. Hell, one reason Game of Thrones stood out was that it wasn't this: for all I have ragged on George R.R. Martin, I think he has some notion of structure, and though in a long-running book series you can let that structure expand and breathe, the parts of the show that followed the plot he laid out in advance benefitted strongly from having that structure to guide them. Most showrunners these days seem to think only as far ahead as the next episode, and boy, it shows!

I'm not saying all writers need to be J. Michael Straczynski, and plot their shows out five seasons in advance with multiple escape hatches for various characters in case their actor has to leave the show, but I do think I haven't seen a well-structured serial drama television show since around the time of The Wire. And this lack-of-structure problem has even infected a lot of episodic, decidedly non-prestige TV shows that have tried to incorporate overarching plots into their seasons, which I think is in part due to the idea that serial storytelling is somehow, I dunno... like More Serious Television? Anyway, I wish it would stop. I wish writers and showrunners would care more about structure!

(There's also a related problem where a show will start out with some interesting premise or concept, and abandon it like three episodes in to focus on side plots, despite the premise being the whole draw of the show.)

[chimneyz]

happy holidays!

i wasn't able to donate much but i wanted to contribute what i could to the trevor project

thank you for @alliwantforchristmasislou for setting up this amazing project!

i myself very new to the fandom and only started to get to know some but i have been observing the fandom for sometime and it has given the most accepting friendly vibes that i had to join. everyone here is so kind and so creative. i first started watching 911 because simply i wanted something new and long to watch, little did i know how much the show would effect me. especially the ship of bucktommy. it was just such a compelling ship that i instantly became enamored with. everything about them just brought me so much joy.

i know that they are broken up but i do hope that they do come back and that the showrunners realized how much of an impact it has had on so many people. i am excited to see what else this fantastic fandom had in store. you are all wonderful and creative and i can't wait to get to know you all some more ☺️

- eds 💚

[fanaticallyfleeky]

Hear me out

If Tim ever decides to get Tommy and Buck back together (and that’s a gigantic ‘if’ because at this point I don’t expect anything) imagine they use God Only Knows from The Beach Boys

[dreadfuldevotee]

Lmaoo I'm not surprised but in this Golden Derby talk back, Rolin is asked about the plan for doing yk. 12 more books of TVC and hes basically like "🤨 Ive got four. five Max in me" which I cant even be mad about

[nostalgia-tblr]

speaking of doylist explanations, i do tend to default to one on the question of why missy has a(n interrupted) redemption arc when the other versions of her don't, which is definitely down to the fact that all the new who showrunners seem to go with the view that master as a character exists to be a dark mirror of the doctor, and moffat's the one who doesn't view the doctor as fundamentally good but as someone who has to continually choose to not be terrible. so if the doctor can choose to be bad then by extension it must be true that the master could choose to be good. it's like poetry, it rhymes!

[alicentflorent]

FTWDs final season could have been so much better if it was revealed that Troy was running padre and controlling madison (as revenge) this whole time. He knew enough about nick and Alicia to make madison think padre knew who and where they were this whole time. And here are some other reasons how this storyline would make sense and be more interesting:

- Troy has a military background so him taking over and running a military base makes more sense than two teenagers building it up by themselves because all the adults died.

- taking and training up children to be solidiers also would make a little sense because of his own fucked up upbringing and the idea he has of the type of people who were made for this world. He would have probably had the same idea as shrike, that the kids stood a better chance at padre than with their “weak” parents. The mother of his child dying for being a good person and not getting to raise their daughter (who would not be named after his abuser) could have also played into this idea of the kids being separated from their good parents.

- shrikes radiation cure experiments: Troy ran walker bite experiments before, just to see how people would turn. So it would also make sense if the work we see shrike doing was something he approved of or an idea he himself came up with. As for shrike, it would make sense that she turned out this way if she’d spent years being mentored by someone like troy otto instead of becoming evil and stealing children just because her dad died.

- the scene where madison smashes the glass to expose “padre” would have been such a good and shocking reveal if it was Troy. Imagine Madison finding out that Troy is not only alive but had been the one running this the whole time!

There’s also a lot of other things I would have done differently for the other characters too and I would have liked Madison to have a little villain era and do some really fucked up shit as she tries to take down Troy and padre. How dark would Madison go? Would she survive with her humanity still intact?

I know I’m just talking into the void here because no one care about this shitshow but I just hate it when shows have a plot that could have been good, maybe even great but then completely miss the mark and fans come with better theories and ideas with minimal effort and thought.

[saints-who-never-existed]

Ok, maybe this is a really stupid question, but why the hell did Tuunbaq consume souls? What does it do with them? Digest them? Tasty snack nomnomnom? Why not just kill those pesky sailors? I have an understanding of what Tuunbaq represents, but why the soul sucking? Sorry, I still have whiplash from that show…

Anyway, thank you for enlightening me in advance! <3

Not a stupid question at all!

I'm going to give an answer based more on personal knowledge and opinion rather than cold hard fact - apologies in advance if that's not what you're looking for. Rest assured though that this is something I intend to chase up further sources on and think/write a great deal more about in future. :)

For all you couldn't strictly define it as cannibalism, when I think of the Tuunbaq and its consumption of souls, I think of what I know about various cultures throughout the world that have practiced cannibalism historically, and I think about the reasons why they did so.

Often, it was a reverential and sacred practice, enacted in a very focused and particular way. In many cases, specific body parts were eaten with the intention that one would gain characteristics associated with the deceased - eating a man's heart to gain his courage, eating a person's eyes to gain insight or their brain to absorb in some way their wisdom.

I think that's part of why Tuunbaq eats souls. The men are invaders within the landscape who are alien in every conceivable way so it make sense to me that Tuunbaq could gain knowledge of/insight into/power over them by absorbing their souls - the very essence of who they truly are.

But I also see Tuunbaq's consumption of souls as something potentially more akin to exocannibalism - eating one's enemies as an open expression of hostility, the ultimate indignity, the most extreme act of domination. And make no mistake, Franklin's men are enemies.

They've invaded and desecrated the land, killed Silna's father, caused Tuunbaq to go "off" in the first place. It makes sense to me that an enemy of that magnitude would warrant the extra horror and indignity of their soul being consumed as well as their body.

[valinoar]

guys we’re actually in the trenches cause why do i have a feeling we’ll get zero helaegon scenes before b&c😭😭😭

[reluctantbylerblog]

this is going to be controversial but I'm seeing a lot of people saying that if the duffers didn't want to be accused of queerbaiting then they would just come out and say byler is not going to happen but bffr if they did say that y'all would just say something like "they're just saying that to keep the twist a secret". like they could literally do a press release saying byler is not going to be canon and you would take it as byler proof. the truth is that we won't know until s5 and we should prepare for either outcome

[incesthemes]

i like the implication in 7.03 that sam had to do the research for john and dean, probably to protect him and keep him out of harm's way. which means that he's not necessarily bookish by choice but by circumstance. dad-assigned nerd (sam) and jock (dean)

[mybrainproblems]

brain is just mii waiting room music as i consider where i've ended up in my supernatural fandom journey

[decapodparty]

the fact that we didnt see cas dressed as a minister is not only a targeted crime but also proof of bad market researching

[racefortheironthrone]

Hi- er, this is my first-ever writer's strike, how does one not cross a picket line in this context? I know how not to do it with things like Amazon and IRL strikes, but how does it apply to media/streaming?

Hi, this is a great question, because it allows me to write about the difference between honoring a picket line and a boycott. (This is reminding me of the labor history podcast project that's lain fallow in my drafts folder for some time now...) In its simplest formulation, the difference between a picket line and a boycott is that a picket line targets an employer at the point of production (which involves us as workers), whereas a boycott targets an employer at the point of consumption (which involves us as consumers).

So in the case of the WGA strike, this means that at any company that is being struck by the WGA - I've seen Netflix, Amazon, Apple, Disney, Warner Brothers Discovery, NBC, Paramount, and Sony mentioned, but there may be more (check the WGA website and social media for a comprehensive list) - you do not cross a picket line, whether physical or virtual. This means you do not take a meeting with them, even if its a pre-existing project, you do not take phone calls or texts or emails or Slacks from their executives, you do not pitch them on a spec script you've written, and most of all you do not answer any job application.

Because if this strike is like any strike since the dawn of time, you will see the employers put out ads for short-term contracts that will be very lucrative, generally above union scale - because what they're paying for in addition to your labor is you breaking the picket line and damaging the strike - to anyone willing to scab against their fellow workers. GIven that one of the main issues of the WGA are the proliferation of short-term "mini rooms" whereby employers are hiring teams of writers to work overtime for a very short period, to the point where they can only really do the basics (a series outline, some "broken stories," and some scripts) and then have the showrunner redo everything on their lonesome, while not paying writers long-term pay and benefits, I would imagine we're going to see a lot of scab contracts being offered for these mini rooms.

But for most of us, unless we're actively working as writers in Hollywood, most of that isn't going to be particularly relevant to our day-to-day working lives. If you're not a professional or aspiring Hollywood writer, the important thing to remember honoring the picket line doesn't mean the same thing as a boycott. WGA West hasn't called on anyone to stop going to the movies or watching tv/streaming or to cancel their streaming subscriptions or anything like that. If and when that happens, WGA will go to some lengths to publicize that ask - and you should absolutely honor it if you can - so there will be little in the way of ambiguity as to what's going on.

That being said, one of the things that has happened in the past in other strikes is that well-intentioned people get it into their heads to essentially declare wildcat (i.e, unofficial and unsanctioned) boycotts. This kind of stuff comes from a good place, someone wanting to do more to support the cause and wanting to avoid morally contaminating themselves by associating with a struck company, but it can have negative effects on the workers and their unions. Wildcat boycotts can harm workers by reducing back-end pay and benefits they get from shows if that stuff is tied to the show's performance, and wildcat boycotts can hurt unions by damaging negotiations with employers that may or may not be going on.

The important thing to remember with all of this is that the strike is about them, not us. Part of being a good ally is remembering to let the workers' voices be heard first and prioritizing being a good listener and following their lead, rather than prioritizing our feelings.

[dreadfuldevotee]

Lmaoo I'm not surprised but in this Golden Derby talk back, Rolin is asked about the plan for doing yk. 12 more books of TVC and hes basically like "🤨 Ive got four. five Max in me" which I cant even be mad about

[amberautumnfaebrooke]

i think i could design a better death arena for children than those hunger games amateurs.

the whole premise of the games is all pageantry. every year you get a crop of 24 candidates around whom the entire state media apparatus dedicates an entire year to building celebrity narratives. this candidate is the younger sibling of last year's winner - these candidates are young lovers forced to compete - he's smart - she's fast - root for them, care about them, watch them, form opinions on them, bet on them. and then they stick them all in an arena to kill each other, which is a great entertainment premise, except that they make the arenas themselves really boring and generic. ooo, they're in...a forest.

it's not even an interestingly designed forest. imagine if the game designers treated their arena like an actual video game designer treats level design. discrete zones with multiple paths between each room, creative use of lighting to guide players to points of interest, points of interest scattered across the map, discoverable resources hidden to encourage exploration. instead they just have a generic outdoors location and if you get too close to the edge they throw a random fireball at you.

the 75th games are especially bad about this. the arena is laid out radially into 12 wedges, and each hour one wedge becomes especially dangerous in a 12-hour loop. as a mechanic, this is genius. it forces everyone to keep moving, making "survival by hiding" an engaging and tense viewing experience instead of someone sitting in a tree for three days. plus, it encourages players to return to the center of the arena, where travel time between wedges is short, which creates a high-value zone for players to regularly return to and conflict over. in other words, it's a mechanic which incentives players to adopt dramatic, dynamic, exciting behaviors which are entertaining to watch (not to mention it communicates geography to the audience well). but it only incentives those behaviors if the players understand what's happening, and they go out of their way not to tell the players anything! when they figure out what's going on, the showrunners spin the arena to disorient the players, like they're intentionally trying to get them to just. randomly wander the jungle instead.

this isn't even to mention how often they create undramatic, boring deaths. they plant poison berries around the arena. they supply no fresh water and no way to get it. they roll poison clouds over sleeping victims. these happen to work out in the books themselves but you have to imagine that extremely often these just result in players dying unexciting deaths.

the cardinal sin though, of course, is that nothing is done to personalize the arena for the crop of contestants that year. if i'm designing the 75th hunger games and two of my most beloved contestants famously had to cancel their wedding because of a return to the games, i would OBVIOUSLY give them a trail of, i don't know, wild game which conveniently leads directly past a well defended wedding chapel. will they hole up there for a while? hold a mock ceremony for themselves? do or receive ironic violence here? stare wistfully and move on? any of it is better television than getting attacked by generic attack monkeys. you should have a dozen of these things on the map for every single candidate. but the game makers are more interested in doing the same thing every other game has done than in telling a compelling story.

it makes me second guess enjoying the children's murder arenas at all.

[neil-gaiman]

HELLO MR GAIMAN MY SCHOOL IS HAVING A CAREERS TALK AND I AM MEANT TO ASK SOMEONE ABOUT THEIR CAREER.

UNFORTUNATELY, EVERYONE I KNOW IS A DOCTOR (WELL NOT REALLY UNFORTUNATELY, BUT IN THE GRAND SCOPE OF CAREER FAIR THINGS. I WANT TO PRESENT A JOB THAT WOULD INSPIRE THOSE WHO ARE INVESTED IN WRITING AND DIFFER FROM OTHERS). WOULD YOU PLEASE MIND ANSWERING THESE QUESTIONS FOR ME? THANK YOU SO MUCH, KING. YOU ARE AMAZING AND I ADMIRE YOUR WORK GREATLY.

(I WOULD GOOGLE THIS INFO BUT APPARENTLY I'M MEANT TO ASK YOU THIS YOURSELF.)

What is your job title?

Do you work for a company? If so, which one?

What does your job involve on a daily basis?

Do you have qualifications directly related to this job?

What has been your career path?

Did you do A levels at school? If so, were they directly relevant to your career path?

Did you go to university? If so, what did you study? Was your degree relevant to your current job?

Any tips to those unsure about their own career paths?

Thank you so so much !!!!!! You are an icon and I must thank you for writing the graveyard book, which helped my imagination as a kid a lot, and also in general. You are wonderful !!!!!!!!!!!

Thank you once more <3

What is your job title? Author and (currently on strike) showrunner. Also, Professor in the Arts at Bard College.

Do you work for a company? If so, which one? As a showrunner I work for Amazon Prime and Netflix, as an Author I work for myself and companies publish what I write. As a professor for Bard College.

What does your job involve on a daily basis? Writing. Right now, being on strike.

Do you have qualifications directly related to this job? Nope.

What has been your career path? Freelance journalist, to writer of books and comics and television and films. Since 2017 I've been showrunner of Good Omens as well.

Did you do A levels at school? If so, were they directly relevant to your career path? I never did.

Did you go to university? If so, what did you study? Was your degree relevant to your current job? I didn't.

Any tips to those unsure about their own career paths? Have an idea of what you want to do and keep heading towards that goal.