Breaking News: Why are network sitcoms different from streaming sitcoms? - News Paper

Writing a sitcom for broadcast television is very different from writing one for a streaming service. And not for the reason you might think.

No, it’s not because you have more freedom. You can’t say fuck on CBS (yet) but you can on Netflix. It’s not because you don’t have to worry about lead-ins and time slots on Amazon. Or even that all episodes drop at once vs. being doled out one a week.

The big difference is storytelling.

In broadcast TV your series needs to be fairly open-ended. You create characters and a world and hopefully things for them to do for 200 episodes. The audience develops an attachment to the characters and just likes spending time with them. One of the reasons multi-camera shows do so well in syndication is that the viewer is so familiar with the show he doesn’t have to pay full attention. You can have FRIENDS on and go into the laundry room to throw the clothes in the dryer while still following the show. You know what the apartment looks like. We always used to say that CHEERS was really a radio play. There’s a comfort food element to most successful traditional sitcoms.

For short-order sitcoms for streaming services you need an overall arc. Broadcast TV wants stand-alone episodes but streaming platforms prefer serialized storytelling. You’re asking the audience to go on a four or five hour journey (depending on how many half-hours you make). And to me, that’s very liberating. You really have the time to develop stories and relationships. And you don’t have to happily resolve every episode.

The trick though is to have an overall story arc that really drives the series from beginning to end. I go back to the difference between THE KOMINSKY METHOD and BARRY. There are some wonderful scenes in KOMINSKY and some laugh-out-loud moments. And even though Arkin & Douglas each have their problems, there’s still no real engine propelling the series forward, as opposed to BARRY (a hit man wanting to become an actor and how that desire jeopardizes him and everyone around him).

The perfect example is THE MARVELOUS MRS. MAISEL. It’s so clear what Midge’s quest is. As opposed to “comfort food,” the goal is to get viewers to binge. You want them to want to watch “one more” before they call it a night. If KOMINSKY had that big hurdle to conquer in addition to all the wonderful character touches I think it could be a home run.

That said, if the show were for ABC I would plot it exactly as it is now.

Streaming platforms are still the Wild West. Writers are still experimenting and trying to find what really works. To me that’s the exciting part. Hopefully in the near future there will be a new “Golden Age of Comedy.” Even if we have to pay monthly to get it.

from By Ken Levine https://ift.tt/2FTkOFr
Breaking News: Why are network sitcoms different from streaming sitcoms? - News Paper