Whenever a new TV season comes around, I always notice a divide between the shows I will give a chance and the ones I won't. Even of the shows I do continue watching versus the ones that drop off. Yes, in the end, it comes down to writing, handling of characters, and the ability to make me laugh. There is another connection though. The best way I can describe it is this: The more a show can be described by it's pitch, the less likely I am to watch it. What does that mean, exactly. Here's a couple examples from this year.
The Neighbors: Best example of a pitch-show. "A family moves into a neighborhood of aliens". That pitch probably got it into development and on the air. It's completely unique. Not likely to have a cousin on another network like "Partners" and "The New Normal". The problem is, where do you go from there. It's a funny enough premise, but what does season 2, 3, or 8 look like? I doubt we're looking at a lot of character growth. The plots will have to follow a specific "see alien neighbors do _____ for the first time" formula that will certainly follow a law of diminishing returns.
Some other pitch-heavy shows are Animal Hospital and Guys with Kids. The former is going to struggle integrating animals into everything and will eventually be hampered completely by that. The latter is an easy sell to a network but where does it go after a couple Baby Bjorn jokes. It's the same problem that Up All Night is working through. No wonder it is completely retooling itself for season 2. A show can't survive on such a definable concept.
Conversely, the have the shows I'm giving a chance. These all have simple concepts with room to stretch their legs out. Ben & Kate is one. The concept: "An irresponsible brother and a sister with a kid...uh...I'm not sure, exactly...do stuff, I guess." That show can go anywhere, be what it wants. Figure out it's strengths and rid itself of the weaknesses. Only Ben and Kate matter. The kid can even be shipped to leave with her dad if that's needed.
Another promising example is The Mindy Project. Beyond Mindy, what does that show have to do? Nothing. It's a little defined by the romantic comedy structure in the pilot, which seems a little limiting. The good thing is, that can be tinkered with over time. I'm not worried about it.
This isn't even a new formula. Think about the best sitcoms. Cheer - "A show about a bar". Friends - "A show about six friends in New York". The Office - "A show about an office." Fuck, even Two and a Half Men. That was originally about two brothers and a kid and it was loose enough to just be about two men, who are virtual strangers, and a kid, who is an adult by now. It's harder to come up with a list of the high concept shows since so few of them work. Outsourced and Cavemen come to mind. In fact, I can only think of one series that has survived despite the high concept, which has limited it for years -
How I Met Your mother is the most frustrating show on TV. I've always hated the premise. Despite loving the first season, I stopped watching it for a few years because of the premise. Largely, the only reason the show has survived and maintained any of it's quality is when it ignores the premise. The timeline jumping and build up to the mother is one giant risk after another. It's actually astounding the show works so damn well when you think about it.
Think about it. Ted tells his kids "That's your aunt Robin" in the first episode. What if it turns out that that character doesn't work at all? They can't get rid of her. She's been referenced as an important part of the story already. They don't even have the option of her and Ted ending up together if that is the way they wanted to go. Luckily, Colbie Smulders has nailed that character and Robin has been morphed into more of a match for Barney rather seamlessly.
Ted's character is the best example of all. He exists completely in stasis (I hope I'm using that word anywhere near correctly). He has to be the same man who would fall head over heels for the wife that he keeps describing. The Ted character has to be fully developed and realized by episode 1. Any character growth or change has to already be known, to fit who he is when he meets the mother. I can't imagine how hard it must be to write a character who is a hopeless romantic always knowing that you can't let him date someone and let it work out. At this point, his inability to stay in a relationship has led to making him a less and less likable character.
For fuck's sake, am I the only one who realizes that the Bob Saget voice-over is a completely different person than Ted? Is there any way that current Ted can become future Ted in, what, 15 years?
I'll get off my soapbox now. It makes me sad though, that a sometimes brilliant show is so often weakened by that initial pitch.
Well, hopefully all my weekly TV spotlights won't be this long. I kind of got going and couldn't stop. Hopefully this wasn't complete nonsense to you.
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