Why do so many *highly anticipated* tv series fail to meet expectations?
I mean, it’s weird. In the last several years, I have watched a lot of streaming tv and the ones that are good are AMAZING. Mandalorian, Sandman, The Last of Us, and The Marvelous Mrs. Maisel are very fine examples of this. I don’t think anyone is going to debate me on that point. Though I’m open for debate, if you’re interested. Like, I admit that the subsequent chapters of Mandalorian didn’t quite measure up (and the spin off series, hoo boy). But in general, those four series pulled off something amazing, mainly by standing out in an over-crowded market.
You might notice that those shows are streaming on four different services, too. Disney+, Netflix, Max, and Amazon Prime, respectively. So, this isn’t about which streaming service provides the best entertainment. It’s about what exactly made those shows spectacular.
I think it all comes down to who has Creative Control over the project. And I don’t mean the director or the writers or whoever else. I mean who has Final Say. Is it the Creatives? Or the Executives?
How many times has a show/movie bombed and then it comes out that there were massive reshoots and rewrites and post-production editing to appease the production company? How many times did we find out that disastrous casting decisions came down from some business executes not wanting to alienate the Chinese market?
Interference on the creative process from the business side of show business is often behind the rash of flops we keep seeing. Which isn’t to say that the creative process doesn’t flop on its own, there’s plenty of that.
With good shows what we get is a strong creative vision that is supported by skilled artists, with input from the non-creatives kept to a minimum. That’s why the MCU worked so well. The creatives worked (mostly) cohesively within a shared universe because there was a unified vision of the whole to work within as well as space for individual expression within the separate films. It’s unheard of for this level of coherence to exist within so many films/tv series and I think what we’re seeing now is the pressure to maintain the standard. Meaning, the vision is being second-guessed by guys in suits that what to see exponential profits.
Some of the Marvel missteps lately have been down to the pandemic and compared to some other franchises, they’re barely missteps. Reshoots and rewrites for Falcon and the Winter Soldier caused some plot issues and the straight-to-streaming release of Black Widow caused legal issues (and lots of cheering for ScarJo to demolish Disney). I think the Ms. Marvel and Hawkeye series may not have hit as well just because they were mostly just to establish younger characters. I liked both the series, personally. Then there was Thor: Love and Thunder (delightful) and Guardians of the Galaxy (fantastic), both series that have blossomed thanks to writers/directors with strong creative visions (Taika Waititi and James Gunn, respectively).
So why is the big question this last month “what the hell happened with Secret Invasion?”
Oh, I have so many notes.
First, the last thing you ever want to do with a character like Nick Fury is make him the star of the show. The appeal of Fury is that he’s a shadowy figure, all-knowing, all-seeing, and invincible. He is Oz. No one wants to see the movie about the guy behind the curtain, even if he’s played by James Franco. Or to put it another way, people love watching James Bond films but I doubt they’d queue up to see a film about M. Most of his job is gathering information. So, like, talking to people. Then plug in the data points and find a pattern. Or at least, that’s the Nick Fury we saw before the snap, right?
Some of the commentary from the people behind the show is that they wanted to show a different side of Fury, a vulnerable side. Okay. But. The last time we saw Fury he was relaxing on the SABER station during Far from Home, very much in his element. And if you’re going to go with Vulnerable Nick Fury, maybe don’t make him a prominent figure in the trailers for the Marvels movie?
What they could have done is start the show with him and Maria Hill reappearing in the middle of traffic. Then play it out like a spy thriller from there. That’s Nick Fury with contacts that are five years out of date or who just reappeared like he did. That’s Nick Fury having to come out of hiding because the world just doubled its population and NO ONE KNOWS WHAT TO DO. And in the process of trying to get his footing, Talos shows up and drops the news that Fury dusting was the last straw for the Skrulls who decided to take advantage of the chaos after the snap to insert themselves in powerful positions.
But that’s just how I would have done it. Let’s talk about how they did it. Or maybe just talk the big issues.
#1: They killed Maria Hill in the first episode. Dumb. Her death served zero purpose except to be brought back again and again as video evidence against Fury. Let’s forget for a second how insulting it is to use her as the “woman who is only important because she’s dead” trope. Hill is the Protege and she’s an incredibly capable woman. She’s the one who steps up when Fury “died” and when Shield went down. And I knew from the beginning of the episode they were going to kill her. They did all the stupid forecasting, reminding the audience of how close they used to be and how important she is to him as an ally. They even played chess and reminisced over drinks. Just UGH. And Fury’s reaction to Hill’s death is *very cold.* With all the skrull-fake-outs, it was very hard to believe that she was actually dead.
#2: They killed Soren off screen. That left speculation way too open, especially since they didn’t explain what happened. This is a major player just dropped, seemingly to create discord between Talos and G’iah? It’s another female character whose only impact on the plot is her death. And it’s not even a big impact. Talos is pretty bummed about it, and there’s a bit of anger from G’iah, but it’s just a footnote so underplayed that we just assumed her death was fake. (For the record, none of the deaths in this show worked.)
#3: Skrull-Rhodey is deeply problematic.
#4: The Big CGI fight is exactly what She-Hulk made fun of in her finale. It was goofy-looking, plain and simple (over-working VFX artists will do that to you). And it was so unnecessary. It provided no catharsis and no emotional resolution for Fury. Plus, it didn’t reveal to the rest of the Skrulls how Gravik was willing to kill their entire community in order to start his genocide. They built him up as an almost religious cult figure. His betrayal needed to be public and his defeat doubly so. That would also be more in line with the genre (spy craft, not superhero).
#5: THEY FORGOT WHAT GENRE IT WAS. I’ve actually seen this in several shows. My big complaint about Wednesday is that it couldn’t decide what genre it was. Is it monster horror? Is it murder mystery? Is it coming of age high school comedy? (Also, while the majority of the casting was very good, Catherine Zeta-Jones and Luis Guzman had zero chemistry. Plus, the appeal of the Addams family is their juxtaposition with bland normies, so plunking Wednesday into a school of other weirdos kind of defeats the fun.) Secret Invasion is spy craft/political thriller, or it should have been. There were elements of that, sure, but here’s the thing. I’m seeing a lot more shows that go through extensive editing in post-production. Scenes get moved around, dialogue is changed, plotlines are adjusted. They even change the order of the episodes in post. I’m sure that works with some mini-series, but… no, honestly, it seems to happen a lot and I haven’t seen it work yet, regardless of genre. It jumbles the story, makes huge plot holes, and diminishes of the work of creatives during filming. Lots of changes in post undermines the creative vision. The actors, writers, directors, everyone on the set making the story, all their work gets cut/pasted into sometimes a completely different story. And it’s sloppy. A really good spy film gets to the end and twists so hard you have to watch it again to see what you missed the first time. The ending gives new context to the entire film. And the thrill of spy craft films is seeing how all the threads tighten the net at the end. That’s not what we got AT ALL. This is what happens when too many hands get involved after the fact.
#7: I’m just gonna say it. Fury and G’iah’s plan to beat Gravik was So Dumb. There were a million ways it could have gone wrong and the subterfuge was 100% unnecessary. And in the end, they got a war started anyways.
To contrast, I submit The Mandalorian. The creative vision was guided 100% by Jon Favreau and Dave Filoni, with plenty of license given to the directors tell their stories. They stuck to the western genre without being married to it. Their VFX were flawless. It was a good story that they told very well.
For my next victim, and this really pains me, I submit Good Omens 2. I won’t do a silly list for this one. The editing on the first episode was super choppy, flipping back and forth between the all the different storylines (the angels/demons, the shop owners, Crowley & Aziraphale). I was also a little boggled by using the same actors as different characters, but then some actors playing the same characters, and some characters being recast. It was odd. And about the casting, Derek Jacobi shows up in the last episode, first in a meeting with the other archangels and then as a deus ex machina when it turns out he’s the Metatron. This felt weird. For one, the other archangels didn’t know who he was, despite sharing a scene with him earlier? And him being the METATRON?!? But also bringing an actor like Derek Jacobi at the very end, to be a mysterious character for maybe 30 seconds? He should have been peppered into the entire series. I would also like to complain that Beelzebub became more conventionally attractive as the series progressed, so by the time she and Gabriel headed off to Alpha Centauri, The Lord of the Flies, High Duke of Hell was a lovely woman with a fly hat on and that just annoys me, especially because Gabriel didn’t change in appearance at all.
The saving grace, if you’ll forgive the term, of the series is Crowley and Aziraphale. David Tennant and Michael Sheen are amazing together, even more so in the second season. They’re the reason I keep coming back and the reason I’ll be watching the next season if it gets made. Plus, I know Neil Gaiman is behind it.
Which brings me neatly to The Sandman. I don’t know why exactly Sandman is so much better than Good Omens. The cinematography is completely different, as well as the style and tone. The source material is a visual medium rather than written, so that certainly gives it an advantage inadaptation. The show can actually match panels from the graphic novel, with is artistically and aesthetically enjoyable for the viewer. Casting is 100% spot-on. I’m inclined to think that the differences in quality are down to the production company. Netflix gave Gaiman free-reign and perhaps Amazon Prime isn’t so liberal.
I mentioned Wednesday already and I’d like to add 2 things. First, Gwendolyn Christie has stated in interviews that it was the first project she worked on where she was made to feel beautiful. And I’d like to say categorically that it is such fkn bullshit that a woman that talented and fierce and powerful was ever made to feel less than fkn brilliant. She absolutely owns every scene she’s in, be it in Game of Thrones or The Sandman or Wednesday. The fact that they killed off her character pissed me off to no end.
Second, I am sick to death of nostalgia farming. I wanted to see the show because of my love of the Tim Burton Addams family movies, sure, but I also wanted to see an interesting story about an interesting character. And just throwing Christina Ricci in as fan bait didn’t help at all. I would rather have seen her cast as Morticia. (She’s 43 now. Angelica Huston is only 29 years older than her. So, Angelica Huston’s Morticia would have been 45 when Christina Ricci’s Wednesday turned 16.) They would have had to cast a younger Gomez, but it wouldn’t have been unreasonable. But beyond that, the tone of the show completely missed the appeal of the movies and the original comic and show. And missed the point, as well, which is to critique the American Ideal as shallow. The Addams’s are weird but they love and laugh freely. They are 100% genuine about themselves and genuinely happy. That wasn’t the message I got from the Netflix series.
I could point to a lot of successful works of nostalgia bait. Okay, not a lot, but certainly more than one. But I haven’t talked about The Marvelous Mrs. Maisel yet. This is a great show. Like, really great. It’s funny, which seems like common sense since it’s about the early career of a comic in the 60s, but you’d be wroooooong. It’s only five seasons but it is beautifully written and Alex Borstein is a fkn gem (She has a special on Amazon Prime called Corsets and Clown Shoes. WATCH IT.) Rachel Brosnahan is also amazing, and Tony Shalhoub, and really the whole cast. The time period is interesting, the sets and costumes are exquisite, and the dialogue is pristine. But the COMEDY, just wow. The stuff that’s funny kills. The times where they bomb are painful to watch. It’s hard to write funny bits but it is damn-near impossible to write bad comedy bits that aren’t also funny somehow. And the best part is, they finished the series. Finished, finished. Not years of dragging it on because it’s popular. Not cutting it off suddenly without a resolution. Not leaving it open to spin-offs and other cash grabs. Finished. Delightfully so. The nostalgia bait is all for the styles, the fashion, and not for the racism and homophobia and antisemitism. I’m sure some people don’t find it realistic that the main character would have such “modern” ideas about race and sexuality, but she’s also a Jewish divorced mother who does stand-up for a living in the 60s, so it shouldn’t be that surprising. And the Big Plot Twist of the show is that the most important relationship in the series is not her and her ex-hubby or any other romantic subplot. The show hinges on the friendship between the two female leads. Midge and Suzie, BFFs even when they hate each other. That was worth watching.
Bottom line is we can’t keep taking finished content and hacking it up to appease corporate interests. Besides AI and royalties, this seems to be one of the biggest complaints that brought on the writer and then the actors strikes. Undercutting the creative side to increase profits for the business side. That clearly worked for a while when the landscape was first shifting from cable and DVDs to streaming services. But eventually, you have to pay the creatives or the product suffers. And when you cut corners, like doing complete series rewrites after the writers have been paid or farming out the VFX to the lowest bidder (or overloading your VFX teams with too many projects and short deadlines so we end up with that travesty of MODOK), then all the profits gained by fucking over your creatives will bite you in the ass when people stop watching your movies/series. There will always be diehards, but you won’t be destroying box office records. Even if you drag in Michael Keaton to revise his role as Batman.