Story 527: I Got a Bit Carried Away When Writing Season 4

             (In a conference room, seated around a long table are a television series’ showrunner, producers, and lead actors; various assistants are seated throughout the room behind them, ready to provide technical and moral support)

Showrunner: (Beaming widely at the attendees) Hiiiiiii, everyone!  I hope you all had a great hiatus!  (There is a chorus of mildly enthusiastic “Yeah”s, “It was OK”s, and one noncommittal grunt) So!  By now you’ve all heard the amazing feedback on the success that Season 3 was this year; the audience couldn’t get enough of us and kept demanding more – (To one of the producers) genius idea to go the traditional route and release only one episode a week, by the way –

Producer: (Smugly) That’s why they pay me the big bucks.

Showrunner: Finally paid off.  (Producer double-takes) We’re the critics’ darlings, reviews and ratings are through the roof, and all the awards are pouring in, including – (Gestures to Lead 1) our very own Best Actor in a Popular Series nominee, yaaaaaay!  (Starts clapping for Lead 1; everyone else slowly joins in)

Lead 1: (Mildly embarrassed) Thanks, everybody; that really belongs to all of us, truly.

Lead 2: (Seated next to Lead 1 and staring straight ahead) Then where’s my nomination?

Lead 1: You know very well I have no control over that stuff.

Lead 2: Of course – it’s not like there’s any campaigning involved in these things.

Lead 1: You were plenty welcome to submit your name as a nominee.

Lead 2: That’s not how I roll.  (Turns to Lead 1) Last I checked, this was an ensemble show.  We all support each other.

Lead 1: Oh yeah?  Tell that to the upstagers over there; I think they missed the memo.  (Nods across the table at Lead 3 and Lead 4, whose mouths drop open in shock)

Lead 3: Ex – cuse me?!

Lead 4: Yeah, why’re you suddenly dragging us into this?

Lead 1: Oh, I don’t know, maybe because every time we do scenes together, one or both of you are mugging for the camera in every shot!

Lead 3: It’s called “staying in character”, as you should know at this point in your career!  And not being boring about it, by the way.

Lead 4: Maybe, if you had a little more fun with the role, you’d’ve also been nominated for “Most Dynamic Performer in a Series” like we were.

Lead 3: And won!  Twice!  (Lead 3 and Lead 4 high-five each other)

Lead 1: (Seething) That’s a baloney award from a baloney organization and you know it.

Lead 4: Award’s an award.

Lead 2: (Back to staring into the middle distance) You’re telling me….

Showrunner: Children, my children!  We’ve gone completely off-track and are now barreling through the forest of inanity.  Let us return to why we are all gathered here today: our table read for the much-anticipated Season 4 of our show, yaaaaay!  (Claps again but only a few assistants and producers join in this time) Now, you all were given each episode’s script on your way in, so no peeking ahead to the finale!

Lead 5: (Raises hand as the other leads take the top script from the pile) Question: how come these weren’t sent to us over hiatus like usual?  I like to prep before these things.

Showrunner: Well, this season I wanted to do something a little different: I wanted you all to experience the wonder, the thrills, the chills, and the emotional destruction of each episode together, communally, just as almost the entire audience will when they watch these on the release dates.  (The leads stare blankly at Showrunner) It’ll be fun!

Lead 4: Sure, why not; I’m always up for something new.

Lead 1: (Narrows eyes at Lead 4) You would be.  (Lead 4 gives a baffled “What?!” look)

Lead 2: (To Lead 1) Not exactly the insult I’m sure you were going for.

Lead 1: (Flipping through the script) Realized that after the fact.

Showrunner: OK!  So, like usual, I’ll be reading the stage directions and such; and you all of course know where to come in.  Please save any minor questions for the end so we can keep this going; but if there’s something major you notice, feel free to speak up immediately!  These are pretty much the final drafts since the multiple plots building up over the past few years are so heavily intertwined that any revisions at this point will cause the whole series to collapse in on itself, but, you know, as the showrunner and sole writer on this show, I’m technically open to suggestions. 

Lead 6: Why are you bothering with a table read then if you have no intention of making any revisions?

Showrunner: I wanna hear out loud how awesome it is.  So!  Without further ado, let us begin with

SEASON 4, EPISODE 1

Showrunner: “Scene 56.  Exterior.  Fortress.  Nighttime.  Snow is falling gently as a stumbling figure shambles toward the woods, then falls onto the ground in utter defeat.  Staring up at the star-filled sky, we see that the fallen figure is none other than -------, who smiles sadly as both Fate, and the camera, close in.”

Lead 6: (Looking concerned) “Whelp, it seems my journey ends here.  What a wild ride.”  (To Showrunner) Hold on a second – did my character just die?!

Showrunner: (Grinning) Sure did!  I was very emotional writing it; the tears flowed freely the entire time.  I think you’ll enjoy filming it, too.

Lead 6: So I get killed off in Episode 1?!

Showrunner: Yep!  Definitely motivation for all the other characters to, you know, keep fighting the good fight. 

Lead 6: So I’m done here for good?!

Showrunner: Yes indeedy!  It’s been fun, byeeeee!  (Waves at Lead 6)

Lead 6: But you told me back in January that I’d be in Season 4!

Showrunner: And you are.  In Episode 1.  Byeeeee!  (Waves again)

Lead 6: (Tosses the script onto the pile and mumbles) Wish I’d known that before I relocated last year.  (Everyone else makes sympathetic noises)

Lead 5: Yeah, are there budget cuts or something we should be worried about?

Showrunner: Not at all!  (To Lead 6) It basically came down to the fact that you weren’t, how shall I put this, a “fan favorite.”

Lead 6: (Glares at Showrunner) You forgot my character was in the show again, didn’t you.

Showrunner: (Becomes focused on the script) Yes I did – shall we continue?

SEASON 4, EPISODE 3

Showrunner: “Scene 2.  Interior.  ------’s room.   ------ is seated at a table, piling wooden blocks in a symbolic gesture reflecting two of this season’s main themes when there is a smart rapping at the door.  ------ accidentally knocks over the blocks, again symbolically, walks over to the door to open it, and sees -------- on the other side.”  (Showrunner sets down the script, unobtrusively takes out a small box of popcorn, and begins snacking on it while watching Lead 3 and Lead 4 with intense glee)

Lead 4: “Oh, hi!”

Lead 3: “Hey there!  You busy?”

Lead 4: “Not at all – come on in!”

Showrunner: “-------- enters and jokingly slams the door shut; the two then flop casually onto two armchairs facing each other.” [CRUNCH-CRUNCH]

Lead 3: “So, that last assignment sure was a lot of fun!”

Lead 4: “I’ll say!  And I love that it gave us so many opportunities to bust our self-appointed leader’s chops.”  (Looks significantly at Lead 1, who fumes quietly)

Lead 3: “Well, busting chops is my specialty!  Plus we got to, you know, save the universe again and everything.  Pretty cool of us, I think.”

Lead 4: “Yeah; who knew saving the universe at least once a week would be both spiritually fulfilling and hilarious?”

Lead 3: “Right on!”  (Everyone with a script simultaneously turns to the next page) “You know, while we’re on the subject, I think it’s about time we moved on from goofing off non-stop and you – ” (As Lead 3 and Lead 4 lean forward to their respective scripts with extremely furrowed brows) “finally let me worship that hot, hot body of yours”?!  (Looks up confusedly at Showrunner, who nods vigorously with manic glee)

Lead 4: (Still staring at the script) “Oh baby, you don’t know how long I’ve been wanting to say the exact same thing – take me now”?!  (Also looks up confusedly at Showrunner) Are these the right lines?!

Showrunner: Of course they are – got your characters’ names attached to them, don’t they?

Lead 3: Yeah, but this isn’t us.  (Gestures to self and Lead 4) We’re the comic relief!

Lead 4: There has to be a mistake; these are the type of lines you usually write for those two!  (Point to Lead 1 and Lead 2)

Lead 1: (Smiling evilly at Lead 3 and Lead 4) I find this extremely hysterical.

Lead 2: Guess you two better start hitting the gym, huh.

Lead 1: (To Lead 2) Ooh, maybe with the heat on them now this’ll mean we get a break this season – doing love scenes are ten times more exhausting then pretending I can do hand-to-hand combat, any day.

Lead 2: No argument from me.

Lead 3: Hey, at least you two knew what you were getting into when you got cast as the attractive leads of a show with such unsubtle romantic undertones – I, however, did not sign up for naughty business when I auditioned for what I thought was just going to be a quirky clown character with several intriguing mini-arcs!

Lead 4: (To Showrunner) And I was supposed to be a one-off and then killed-off, but you called me back because you said the fans loved me so much!

Lead 6: Hm.  Must be nice.

Lead 4: (Winces) Sorry.  (Back to Showrunner) So when did “punching up the script” turn into “borderline softcore porn”?!

Showrunner: Relax: you know the love scenes I write are always extremely tasteful.  (Returns to the script) “-------- grabs ------, throws the latter onto the king size bed, and grabs a bottle of hot oil handily waiting on a lamp table as they passionately tear each other’s clothes off – ”

Lead 3: OH, BLAZES, NO!

Lead 4: My wife’s gonna kill me!

Showrunner: Don’t worry: there’ll be an intimacy coordinator there the whole time so everything’s on the up-and-up.

Lead 3: Not the point!  Neither of us agreed to these types of scenes in our contracts!

Showrunner: Well, you didn’t not agree to them, either.  (Both glare at Showrunner, who sighs) Fine, fine: I’ll cut the scene short and you won’t have to do any of that stuff.  Will that stave off the lawsuits your eyes are threatening?

Lead 3: Maybe.  It also makes zero sense for these characters, but I’ll be satisfied with no on-screen shenanigans.

Lead 4: And no kissing.  (To Lead 4) No offense; it’d just be too awkward.

Lead 3: None taken – I agree, and I don’t want your wife killing me, either.

Showrunner: Aw come on, watching people make out on-screen is so cathartic!

Lead 3 and Lead 4: NO!

Showrunner: (Sighs again and starts crossing out lines in the script) You win; it’ll just be heavily implied.  A lot of fans are going to be very disappointed, though.

Lead 3: Well, tell them that’s what fan fiction’s for!

Showrunner: Where do you think this idea came from?

Lead 4: Seriously?  Our characters got paired up in fan fiction?  (To Lead 3) I never played it that way; I thought we were just buddies, almost like siblings.

Lead 3: (Laughs ruefully) Pal, that’s where some of the most intense sagas there get started – not that I’ve actually read any of them…. (Sips water while looking everywhere else but at Lead 4)

Lead 1: As riveting as all these negotiations are, can we back to the actual reading before it’s time to start filming the season, please?

Lead 4: Why, are we upstaging you again?!

Lead 1: Yes!

Lead 4: Fair enough.

SEASON 4, EPISODE 10: SEASON FINALE

(Three quarters of the attendees have dozed off)

Showrunner: “Scene 257.  Interior.  A cozy living room.  A figure sits contemplatively in a chair facing a fireplace.”  (Looks up from the script and throws a piece of popcorn at Lead 7, who has been sleeping while leaning on folded arms on the table for almost the entire session) Oi!  That’s your cue!

Lead 7: (Startles awake and sits up) Huh?  What?  You killed off my character last season; I don’t even know what I’m doing here.

Showrunner: This is a flashback!

Lead 7: Oh.  Do you really need me, then?  Just use stock footage; not to sound disrespectful to everyone here, but I’m in the middle of a film shoot and don’t even care about this show anymore.

Showrunner: It’s a new flashback so we have to film it!  Read the line and collect your paycheck!

Lead 7: (Rubs tired eyes) Sure; something to do.  (Starts shifting through the pile of scripts to reach the bottom one; Lead 5 hands over a script open to the correct page) Thanks.

Lead 5: Don’t mention it – I got killed off two episodes ago and I’m just following along out of courtesy.

Lead 7: (Clears throat and reads flatly) “And so, as the black hole slowly devours our solar system, leaving Earth as the last sacrifice to its eternal greed, we come to that ultimate question that has defied the logic of ages: What truly is the meaning of life?”  (To Showrunner) If this is a flashback, when would my character ever have said this?  And to whom?  And where is this even supposed to be?!

Showrunner: And that is the question!

Lead 7: What?!

Showrunner: And now you’re done – you can go back to sleep.

Lead 7: (Hands the script back to Lead 5) Sounds like a plan.  (Lowers head and arms onto the table again and immediately falls back asleep)

SEVERAL HOURS LATER

Showrunner: “Scene 3,072.  Interior/Exterior.  ---- and ------ are on opposite sides of an open doorway in yet another symbolic expression of this season’s themes as a reality-ending storm rends the fabric of spacetime around them.”  (To Lead 1 and Lead 2) This means you have to scream at each other to be heard, by the way.

Lead 1: (Braces self) “This is it!”  (Most of the attendees suddenly wake up) “The end of all things!”

Lead 2: (Braces self) “That’s what you said at the last seven reality-ending storms!”

Lead 1: “And I meant it, every time!”

Lead 2: “Guess this is good-bye forever, then!”

Lead 1: “I just have to tell you one last thing before we part for eternity!”

Lead 2: “I know!  You don’t have to say a word!  I will always love you too, my love!”

Lead 1: “Well… I actually wanted to say that I finally realized that I like you more than love you, if you know what I mean!”

Lead 2: “…What?!”

Lead 1: “I’ve grown to respect and admire you as a person, so that transcends the whole romantic, physical part of our relationship and makes it feel a bit mutually exploitative, to be honest!”

Lead 2: “…What?!”

Lead 1: “I do still love you, though!  Just in the Platonic ideal sense, which shows that I have truly evolved as a human being!”

Lead 2: “We’ve been intimate for almost five years and you’re just figuring this out now?!”

Lead 1: “Because now is the end of all things!”  (To Showrunner) I’m sorry, I gotta stop you right there –

Showrunner: (Working on a bag of candy) Nope!  It’s almost over, so we’re finishing this uninterrupted!

Lead 1: (Grinds teeth while looking back at the script) “My only regret is that we failed to save the universe this time, and soon all space and time will be flushed down the galactic toilet that is a supermassive black hole!”

Lead 2: “I know!  And more importantly, all our friends’ll be gone, too!  We’re losing everyone we care about!”

Showrunner: “At that exact moment, -------- and ------ ride up in a superhyperspeed-powered motorcycle.”

Lead 1: Unbelievable – upstaged again!

Showrunner: Wait your turn!  “Ride up in a superhyperspeed-powered motorcycle.”

Lead 3: “Speak for yourselves, losers!  We created our own supermassive wormhole that’ll take us to an alternate Earth where we’ll be safe and never have to deal with these cosmological hijinks ever again!”

Lead 4: “Sorry – not sorry – there’s no room for the two of you to come with us!  So… it’s been real!”

Lead 3: “You and me against the multiverse, babe!”

Lead 4: “I am so turned on right now!”

Showrunner: “They sloppily make out with undying passion – ”

Lead 3 and Lead 4: NO!

Showrunner: Right.  (Crosses out more lines and writes new ones)  “It’s heavily implied that they will sloppily make out with undying passion after they arrive on the alternate Earth, and they rev off at faster-than-light speed to their new destiny.”

Lead 3 and Lead 4: “Whoooo.”

Showrunner: A little more enthusiasm would be nice.

Lead 3: (Turns a page ahead) Wait, that’s our last line?!

Showrunner: This season, yeah.

Lead 4: (Mutters to Lead 3) This series, I’ll bet.

Showrunner: What?

Lead 4: What?

Lead 1: (Holding head in pain) Can we please wrap this up?!

Lead 2: I second that: we were supposed to end hours ago, and the daycare meter’s been running well into overtime.

Showrunner: Do not rush art!  And your own interruptions are not helping the cause, either.  (Returns to the script) “---- and ------ stare at each other with profound meaning as reality collapses around them.”

Lead 2: “The end!”

Lead 1: “Or is it?!”

(Everyone still reading the script turns the page)

Showrunner: “Cut to title card: TO BE CONTINUED.”  (Sets down the script and looks around the room triumphantly) The End!  For this season.  So, what do you all think?

(Mostly silence, and soft snores from those who had fallen back into a doze)

Lead 1: It… may need to be workshopped a bit.

Lead 2: A lot.

Showrunner: Children, we start filming in a few weeks; I told you there’s no room in my tightly plotted scripts for major revisions!

Lead 3: Then I’ve only got one thing left to say: brace yourself for the backlash.

Showrunner: Oh.  Right.  That.

ONE YEAR LATER

(In the same conference room with almost all the same people as last time; nearly everyone looks dour)

Showrunner: Hiiiiiii, everyone!  I hope you all had a great hiatus!  (There is a chorus of “Hmmmmm”s) So!  The reviews are in and by now you’ve all heard the, how shall I put this, not-so-great –

Lead 4: Abysmal.

Showrunner: – could-have-been-better response, which of course is no reflection on the hard work of every single person in this room.  You should all be proud of yourselves, yaaaay!  (Claps alone)

Lead 6: Can I just say that this was the easiest paycheck I ever earned?  I had the best time, and the fans even wanted me back!

Lead 5: I envy you so much, you have no idea.

Lead 1: (To Showrunner) Regarding the elephant in the room: I noticed this time we neither got scripts during hiatus or on our way in here.

Lead 3: (Holds a hand up to one side as if whispering a secret that everyone can hear) Spoiler alert: there aren’t any.

Showrunner: There are too!  I wrote a beautiful and moving Season 5 that will make the world weep!  (They all stare at Showrunner) But, I got word from the studio this morning that the show’s been cancelled so, yeah.  No Season 5, unfortunately, children.

Lead 2: Yeah, we pretty much all figured that was the only logical outcome for this situation.

Lead 4: Good thing I recently was cast as the lead in an exciting new adventure series that critics already are comparing to this show, “when it was good,” so I guess you would’ve had to kill off my character this season anyway.

Lead 3: (To Lead 4) Aw, you got the role?  Congratulations!

Lead 4: Thanks!  They’re still looking to cast a few more regulars if you’re interested, and can take time during the other five shows you’re on now.

Lead 3: Send me the info – I grab all the shows I can get!

Lead 1: (To Lead 2) They never stop, do they?  It’s like a compulsion.

Lead 2: I physically cannot care any less than I do at this very moment.

Showrunner: Some good news, though: we got nominated again for lots of awards, including – you guessed it – Best Actor, yay!

Lead 1: I’m frankly amazed myself.

Lead 2: So am I.  (Lead 1 glares at the other) What?  Admit it: this year we both checked out before principal photography even began.

Lead 1: (Looks away shiftily) I thought that was an unspoken understanding for all of us….

Lead 3: Um, not those of us who actually take our craft seriously!  Unworthy.

Lead 4: (To Showrunner) So: any reason this is a meeting and not an e-mail?

Showrunner: Glad you asked!  We may not be able to film Season 5 per se, but there’s no reason why the storylines and most of the dialogue can’t be salvaged and plugged into an amazing new series that I want everyone here to be a part of – (Everyone else in the room stands up and leaves) Rude.  Eh, who needs them?  I can always post it in fan fiction.

Story 454: Creating a Fan-Favorite Franchise

            (Writer 1 sits at a kitchen table doodling in a notebook with one hand while propped up on the other; sighing, the latest doodle is “IDEA???????? L”.  Writer 2 suddenly enters the room and plops a stack of DVD covers on the table)

Writer 2: I’ve got it!  At last, I’ve got it!

Writer 1: (Straightens up in shock) Dude, I didn’t even hear the door open, how’d you get in here?!

Writer 2: We’re writing partners: our lives are forever one now.  (Pulls out a chair and sits)

Writer 1: Ummmmm….

Writer 2: So: want to hear my brilliant flash of genius?

Writer 1: (Resignedly tosses the pen aside and sits back) Sure, fine – anything would be more than the bupkis I’ve got lately.

Writer 2: Yes, we’ve both been in a bit of a dry spell since our trial-by-fire on the late-late-late-late night show –

Writer 1: (Shudders) I never want to think about that debacle ever again: it should’ve been our big break, but by the end if they hadn’t fired us I’d’ve quit.

Writer 2: The timing of that was unfortunate; however, it was a blessing in disguise in that it gave us – and by “us,” I mean “me” – time to come up with the brilliant flash of genius.

Writer 1: Oh yes, all that time to spend all my lack of money on all my bills.  And the flash of genius is…?

Writer 2: We write our own show!

Writer 1: That’s literally been the plan this whole time.  Bupkis has been the result!

Writer 2: Sorry, let me rephrase that: we write our own hit show!

Writer 2: Well yeah, everyone wants a hit show.  Reality interferes.

Writer 2: Yes, but the ones who do write a hit show basically stumble onto it by accident with talented writing and wonderful actors and fantastic cinematography and inspired music and whatever – to my knowledge, no one has actually cracked the code for deliberately creating a hit show.  Until now.

Writer 1: (Rubs tired eyes) Let me guess, you?

Writer 2: How’d you know?

Writer 1: What?!  Just – go ahead and tell me what you so cleverly deduced.

Writer 2: Gladly.  (Holds up one of the DVD covers) Remember this series?

Writer 1: Who doesn’t?

Writer 2: (Sets that down and holds up another cover) Uh-huh – and this?

Writer 1: Hated it, but yes.

Writer 2: (Sets that down and holds up another cover) And this?

Writer 1: Never even looked at my spec script for a Season 3 episode, so definitely yeah.

Writer 2: (Sets that down and holds up another cover) And, the ultimate in recent television classics, this?

Writer 1: Overrated, but yes.

Writer 2: “Overra – ”?  This was a piece of PURE ARTISTRY!

Writer 1: Artistry, pretension, tomato, to – mah- to.

Writer 2: (Through gritted teeth) Agree to disagree.  (Gently sets down the cover and straightens the newly created pile) The point is, these all contain elements of a magic formula that, when executed properly, creates that most coveted item of all in the entertainment industry.

Writer 1: Money?

Writer 2: Well, obviously, that’s the endgame – what leads to infinite amounts of that is the coveted item: Fan Obsession.

Writer 1: (Sits up straighter) Go on.

Writer 2: The strategy is simple: all we need to do is, take the best elements of these series – (Waves hands over the pile) and, um….

Writer 1: (Nods) Steal.

Writer 2: Pay homage to what makes them work so well.  If we combine enough of them and throw in one or two actual original ideas, no one will even notice the rip-offs!

Writer 1: Uh-huh.  (Starts casually sorting through the covers) And that’s it, huh?  Instant hit?

Writer 2: We-ell, that’s best-case-scenario.  We might have “Cult Favorite” status at first and nearly get cancelled several times, but the most important part is to capture fan devotion immediately.  They will be the ones powering this machine long-term, and once the studio realizes our work is at least a decade’s-long franchise they’ll practically throw the money at us.

Writer 1: (Gnaws lip) I don’t know – it sounds great in theory, but being too dependent on the fans to keep… whatever this’ll be, going, just means down the road we’ll have to start doing fan-service stories and classify the scripts as Top Secret and film misleading scenes and fake storylines and actually talk to them at conventions, and by the time the finale rolls around they’ll hate everything we do, turn on us, and curse our names.

Writer 2: Not necessarily, and even so it’ll be too late by then – we’ll already have the money!

Writer 1: You make an excellent point.

Writer 2: Great!  (Picks up Writer 1 by the elbows and tosses the latter onto the living room couch) Now, your job is to watch or rewatch all these hit shows and take lots and lots of notes – we’ll compare when you’re done.  (Brings in the DVDs, Writer 1’s notepad, and the pen, and tosses them onto the couch) These are only Season 1s, so let me know as you finish and I’ll keep supplying you with the rest.

Writer 1: But – but – but that’ll take me years!

Writer 2: (On the way out) Better start now!

 SIX MONTHS LATER

(Writer 1 and Writer 2 are seated at a park bench)

Writer 2: See!  I knew you were exaggerating.

Writer 1: (Face is pallid and there are bags under the eyes) This is the first day I’ve breathed the outdoor air in… what year is it?

Writer 2: Doesn’t matter – what are your findings?

Writer 1: (Shakily takes out a notepad that has writing all over the pages, including the margins) OK, common elements I found in each hit series….

Writer 2: Yes?

Writer 1: Number one: Grit.

Writer 2: Huh?

Writer 1: The material.  It’s gritty.  Extreme violence, rampant drug use, relatives who lethally hate each other, way too much sex that does absolutely nothing to advance the plot, exploitation of mental illness, showcasing the worst of humanity with no real suggestions for improvement –

Writer 2: Yes-yes-yes, I’ve already got all that – what else?

Writer 1: (Flips a page on the notepad) Lots of cursing.  As in, so many f-bombs.

Writer 2: Goes without saying.

Writer 1: (Drags a finger down the page) It either needs to be snowing all the time or over 100° Fahrenheit, but that can change from season-to-season or even mid-season.

Writer 2: Good, didn’t catch that one.

Writer 1: That also means we need to film on location.

Writer 2: Such as…?

Writer 1: All of them.  More as the budget increases.

Writer 2: (Nods) Yeah, that’ll finally get me my trip to Fiji, sweet.

Writer 1: (Flips another page) The leads at least have to be gorgeous – everyone else can be, you know, average-looking.

Writer 2: (Dismissively waves hand) That’s down the road – we’ll give notes to the casting director.

Writer 1: Hiring a big name ties into that, then.

Writer 2: About that: it goes against my instincts, but try not to write with anyone particular in mind, in case they’re not available or really don’t want to be in this; the whole concept’ll be ruined if we base it on someone who winds up not being there.

Writer 1: (Squeezes in a note on the crowded page) Gotcha.  OK, ummm…. (Flips another page) Ooh: there has to be a mystery introduced in the pilot that even we don’t know the answer to, but we’ll have 10 years to figure it out.  Maybe.

Writer 2: I did have something similar.  (Pulls out a notepad and flips through the pages) Ah yes: basically, get them hooked in Episode 1 on something that’ll be brought up sporadically throughout the series, then either never resolve it or resolve it in a way that leaves it as a problem for one or multiple spin-off series.

Writer 1: Didn’t even consider the possibility of spin-offs; intriguing.

Writer 2: Well, we are developing a franchise here: it can’t just end with the series finale, that’s too finite.

Writer 1: Makes sense.  What else you got?

Writer 2: Oh, let’s see…. (Flips a page) You’ll like this: two-to-three romantic pairings and/or triangles dragged out for years and years.  The fan fiction possibilities will be astronomical.

Writer 1: (Squeezes in more notes) Excellent point – fan fiction is the best-kept secret ingredient to franchise longevity.

Writer 2: I know, and I love reading the especially smutty ones with random pairings I never even thought of! 

Writer 1: I’d say you’re strange, but who am I to judge?

Writer 2: Exactly.  Well, I think we’re off to a good start here – want to get into actually writing the thing now or let this digest for a few more months?

Writer 1: Quick question: audience-wise, you want to gear this toward the 14-and-up bracket or Mature Audiences?

Writer 2: What do you think?

Writer 1: (Writes on the notepad) Mature Audiences it is.

ELEVEN YEARS LATER

(On a beach, Writer 1 and Writer 2 relax in lounge chairs watching the ocean as the sun gloriously sets in front of them)

Writer 1: You know, from here, I can almost not hear the masses typing how much we ruined our own show.

Writer 2: You knew the deal going in: in exchange for their love at the beginning, the fans eventually turn that love into hatred at the end.

Writer 1: Never quite prepared when it happens, though.

Writer 2: (Uses feet to play with the sand a bit) To be fair, I suppose character assassinating all their favorites and making multi-season struggles come to absolutely nothing when we blew up the entire fictional planet in the last frame of the series was a bit much on our part.

Writer 1: Yeah – guess we went a little overboard there.  I was so focused on the other hit shows’ beginnings and prime years that I forgot to pay closer attention to the few endings people were sort-of happy with.

Writer 2: I share the blame in that as well.  Typical fatal flaw of success: not knowing how to end a good thing.

Writer 1: Hm.  (Stares at the crashing ocean waves for a few moments before turning back to Writer 2) We should write a satisfying ending before starting our next hit series, then.

Writer 2: Waaaaay ahead of you.

Story 337: Television Test Studio

           (In an office, a television studio executive and an assistant are seated at a desk across from a potential showrunner)

          Showrunner: Thank you so much for meeting with me today – I’m very excited to pitch this series to you.

            Executive: Yes, we can tell.  The premise does sound intriguing, so I, too, am excited about all the money we stand to make off of this thing.

            Showrunner: Well, this has been a labor of love for the past 10 years of my life –

            Executive: None of that matters if no one watches past the first 10 minutes of Episode 1; now pitch it to me.

       Showrunner: [Pitches high-concept, epically worldbuilt, complexly characterized, subtly philosophical, soulfully resounding series]

            Executive: (Leaning back with wide-open eyes) Wow.

            Showrunner: You’re darn right “Wow”: this whole thing’ll blow everyone’s minds and change the landscape of television forever, again.  So, yeah, that’s how the series ends; I think it should take about 15 episodes to tell the story properly.

          Executive: Whoa-whoa-whoa, back up a second there; all that was just for one season?

           Showrunner: Well, yeah; I mean, it’s a pretty tight story that can be told in a short period of time – wouldn’t want to end on a cliffhanger and get cancelled, am-I-right?

            Executive: With that kind of attitude, you will be!

            Showrunner: Oh.  OK, I guess you could split the series over two seasons with about seven or eight episodes each.

          Executive: With all due respect to our cousins across the pond – what do you think this is, British broadcasting?!

            Showrunner: Ummm, sooo, what exactly do you want?       

            Executive: Five seasons minimum.

            Showrunner: (Laughs hysterically, then stops abruptly) Oh, you’re serious?

            Executive: I’d actually prefer the series to be extended indefinitely, but my experience in this business has taught me to manage my expectations.

            Showrunner: But – but – that’s completely unsustainable!  Do you know how long it took me to lovingly craft this exquisite work of art?!

            Executive: Ten years, and yet I don’t care: either figure out how to stretch the story out over five seasons of 20-plus episodes each using however many clip shows you need, or figure out what shenanigans the characters can repetitively get into after the ending you currently have.  Find a way to make it work, or you have no show.

            Showrunner: (Pulls hair in despair) I can’t just add to a finished story; it’s complete as it is now!

           Executive: Tell that to the sponsors – they’re not gonna invest in a one-off that builds an audience of consumers just to drop off suddenly in less than a year.  The viewers will tell you the same: I can see the comments now on how they wasted their precious leisure time and brain power on an immersive fantasy world and realistic characters that all up and vanished when one measly season’s over.  The fan fiction alone will eat you alive.

          Showrunner: But the story is over, don’t you get it?!  Anything past that will be a disgusting shadow of its former glory!

           Executive: This is TV – nothing is ever over.  You want it to end on your terms, you should’ve written a novel.

            Showrunner: But none of the cool people I want as fans would read it!

            Assistant: If I may interject?

            Executive: Oh, forgot you were here; go ahead.

            Assistant: This show may be the perfect opportunity to use the Test Studio.

            Executive: Oh, right, forgot that was here, too.  (To Showrunner) Interested?

            Showrunner: I have no idea what you’re talking about.

          Executive: You heard in the news about the mini-black hole discovered right here on Earth recently, yes?

            Showrunner: Yeah, it’s messed up literally everything – so?

            Executive: Well, our studio bought it and –

            Showrunner: What?!

            Assistant: We decided to utilize it to create a Television Test Studio, sort of like a test kitchen without the disastrous consequences.  (Takes out a computer tablet and displays convoluted diagrams) Turns out the black hole leads to an alternate universe with an Earth just like ours in every way, except not everyone there’s left-handed for some reason.

            Executive: It’s a real drag.

           Assistant: So, we can produce your show on that Earth for five seasons and judge the reactions of that audience to see if it would work here, without any of the risk or potential loss of profit on this end.

          Showrunner: (Stares at the diagrams) This is a life-altering, universe-impacting discovery, and you’re using it to test a TV show?!

            Executive: I know, isn’t it great?!  It’ll save us a fortune!

            Assistant: And time: there’s some kind of temporal dilation once you cross the event horizon, so we can do the five years over there and then come back here with extremely minimal loss of time on this end.

            Showrunner: But we’d get older!

            Assistant: Over there, yeah, but we’d supposedly get the years back when we come over here again, kind of like changing time zones or what-not.

            Showrunner: I don’t think that’s how it works.

            Assistant: What can I tell you: I don’t science, I television.

            Executive: So, are you in?

            Showrunner: I don’t know, this is all so weird….

            Executive: You want your series baby see the light of day or not?

            Showrunner: Where do I sign?

FIVE YEARS LATER

        (In an Alternate Earth office, Executive and Assistant are seated at a desk across from Showrunner)

            Executive: So!  Reviews for last night’s episode are in.

            Showrunner: (Slumped in the seat) I know, and I don’t want to read them.

            Executive: Oh come on, it’s gotta be a little flattering to read all those embittered fans saying you’ve lost your way – means they loved you at some point!

            Showrunner: They called the show a dumpster fire and wondered how I could’ve written such a great first season if all the others are such obvious money-grabs!

            Executive: Yes, but those same people still give us their money to watch it, so that’s really on them.

          Showrunner: They said the show should’ve ended after Season 1!  I told you this would happen – they hate it, and now they hate me, not you!

          Executive: Calm yourself: they’re still buying the other seasons en masse; I fail to see why you’re letting a few trolls get you down.

            Showrunner: They’re the same fans who loved Season 1!

            Executive: Audiences can be a fickle crew.

         Showrunner: And you even lost money when you made me write Season 3 to take place entirely in the characters’ minds!  The CGI was eye-bleedingly terrible, and all the actors wanted higher salaries because they were practically doing one-person shows!  In pantomime!

          Executive: Yes, I did hate giving into the divas, but we’d’ve lost half the audience if any of those guys had walked out before we got a chance to kill them off between seasons.

           Showrunner: That’s another thing!  You knew the lead villain was supposed to die at the end of Season 1 because the story was over, but you said the audience loved him too much so I had to keep resurrecting him even though it made no sense!  The actor’s been begging me to kill the character for years because he can’t make it believable anymore!

            Executive: Well, then he clearly does not take his craft seriously.

            Showrunner: Whatever.  Series finale is next week and it can’t come soon enough; I just won't read anything about how much everyone hated it, that’s all.

           Executive: Yeah, about that: the show’s still trending in the top 10, so I’d like at least two more seasons to maximize our returns – three, if I can be greedy.

            Showrunner: (Stares in horror) It has been bled beyond dry.  The critics are right: I have been making this up as I go along, for years!

            Executive: True, but they don’t need to have that theory confirmed, do they?

          Showrunner: What am I gonna do with these characters for another 20 episodes?!  They’ve already saved the world 100 times, plus they’ve all hooked up with each other and had 15 babies with three more on the way; what’s next, they colonize Mars?!

            Executive: (Starts writing on a notepad) Ooh, that’s a great idea –

           Showrunner: (Slams hand on the desk) No!  No-no-no!  You’ve already warped my beautiful creation into an unrecognizable mass of rubbish; this madness ends now!

            Assistant: If I may interject?

            Executive: Oh, sorry, forgot you were here; go ahead.

           Assistant: I think our testing phase is complete and has effectively demonstrated that this show should only have one season.

          Executive: Oh, right, also forgot that’s what we’ve been doing here.  (To Showrunner) All right, you win: the viewers have clearly spoken and want just the one perfect season, so we’ll go back to our universe now and go do that.

            Showrunner: (Bleary-eyed) I don’t even remember why we came here.

APPROXIMATELY FOUR YEARS EARLIER

        (In the Prime Earth office, Executive and Assistant are seated at a desk across from Showrunner)

            Executive: Well, well, well!  It’s not often that I’m wrong, but I do admit when I am – the show was a smashing success, the viewers are sad that it’s over but continue to rave about how awesome it was, and our ratings have never been higher, all thanks to you!

            Showrunner: Wow.  Thank you for saying that: this past year’s been an immense relief, let me tell you, and fulfilling on a deep, personal level, if I might add.

            Executive: I wish you wouldn’t.

            Assistant: If I may interject?

            Executive: You always do.

          Assistant: Now that this show is completely over, we have been looking at the possibility of at least 10 spin-offs –

            (Showrunner face plants onto the desk)

            Executive: Oh, don’t be so glum – we have a whole alternate universe Test Studio to try them out in first!