[ SECRET POST #5926 ]

[case]

⌈ Secret Post #5926 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.


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05.
[A Heist/A Date/In Space with Markiplier and Who Killed Markiplier]



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07.
[Dear Monster]



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09.
[Beanytuesday]



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Notes:

Secrets Left to Post: 02 pages, 30 secrets from Secret Submission Post #848.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

TBH I think a lot of it comes from studios/show runners grabbing at shallow assumptions on the shows that are regarded as "prestige tv".

The magic of shows like The Sopranos and Mad Men was that they can be presented and even enjoyed almost episodically but the reward of being a regular viewer was that the plot is actually tightly written and character/plot developments through a whole season (or even through the whole show) progress with an actual intention by the writers (but as viewers it just feels seamless).
Whereas with shows like Lost or Game of Thrones were that the interwoven and complex lives of the characters were amplified due to the stakes in those shows being so big (due to a vast and complex world building).

And people just assume you take the best of what they liked of these various shows and it'll draw people in. Big budgets, messed up characters who do messed up things, plot twists for plot twists' sake, elaborate sets.

But in reality, I think it's because the best shows had the clearest intentions (in terms of what story they wanted to tell and how/why).

And that's why most shows suck. They have all these big ideas but I don't know if anyone really has a true clear intention in why they are making the show they're making.

[(Anonymous)]

Yes, and also, most of the new shows, it seems like the showrunners don't conceptualize them as episodic TV shows. They conceptualize them as big long stories that happen to be broken up into episodes and each episode is like a chapter in a book.

And the thing is, pretty much all of the classic prestige TV shows, the people making them had extensive backgrounds working in episodic TV. David Chase started on Kolchak The Night Stalker and Rockford Files, David Simon did Homicide Life On the Street which was a procedural, Tom Fontana was on St. Elsewhere and Homicide, David Milch was on Hill Street Blues and did NYPD Blue, Matt Weiner was on Becker and Andy Richter Controls the Universe, Vince Gilligan was on X-Files. All of those people had extensive experience in writing and formatting TV episodes and working with TV as a medium. And it turns out that's very valuable experience to have.