The Mainlining Problem

Posted by: Melinda

Tagged in: writing , hollywood

In addition to a lot of Wi sports games and head shaking over Sarah Palin there were in fact some discussions about writing and other creative matters. Months ago I wrote about the unsatisfying experience of mainlining Battlestar Galactica vs. Buffy or Dead Like Me. I mused about whether a show runner/creator needed to think in terms of how people watched television in this era of Netflix.

Well, Connie reopened the conversation when she talked about renting and watching Poldark the old BBC Masterpiece Theater historical soap that ran years ago. She had loved the show, and found the weekly cliffhangers to be incredibly gripping and exciting. She would spend the week wondering if Demelza would go back to Ross, or what was behind the door, etc. But now she was watching the shows back to back and she found it "flat".

This was my opportunity to raise my question - how do you make it a satisfying viewing experience when you have to service two forms of viewing? Cordelia nailed it. She said that you had to look at the old soap formula. You have three distinct story lines running at the same time. One is being resolved. One is at the tension filled mid-point and one is just getting started. As we talked we began to realize that this was probably not a bad way to run a book series either, and it has sent me away to ponder all this. If I ever do get another shot to create a show for Hollywood I'm going to be thinking back on this Thanksgiving conversation.

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written by S.C. Butler, December 04, 2008
Interesting thought. Looking at the question in BG and Buffy terms, a brief perusal suggests to me that both shows demonstrate this tripartite plotting. Yet Buffy succeeds, while BG doesn’t. Which leads me to believe it’s really the writing that matters. Good writing trumps every other aspect of narrative.

At least for writers.
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written by MelindaS, December 04, 2008
Actually BG doesn’t do that. Ian and spent an hour looking back over the show, and analyzing the structure. They start things, but they never resolve them they just sort of drop them — remember Starbuck as Captain Queeq. The only real issue revolves around the Cylon “plan”, or the five secret Cylons or Cylon religion — and boy do I not give a flip about that.

I think the point Connie and Cordelia were making was that the three story lines needed to be intrinsically powerful in and of themselves, and not necessarily directly related to each other. And here’s my two cents added to the mix — I think the three plots can have thematic echoes, but it all shouldn’t be the same note and that’s what’s going on with Galactica.

And I have to argue about the writing on Galactica. I think it’s pretty damn good. It just not going anywhere. It’s always the resolutions that leave you feeling let down. The individual exchanges are sharp, good dialogue and (for the most part) well delivered.
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written by Christine Valada, December 04, 2008
Len can give you all kinds of points about this, because he’s said for years that watching soaps is what helped him write comic book series. Many of the prime-time shows, L.A. Law comes immediately to mind, are or were written in the triparte method of which Cordelia spoke.
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written by Laurie Mann, December 04, 2008
I’ve been trying to find your latest blog entries on your new Website and can’t. Darn.

Anyway, I’d be interested in reading your “mainlining TV” musings when you publish them. There are really at least three different ways to watch series:

traditional (22 episodes scattered during a year)
rerun (1-2 episodes a day, sometimes in dubious order)
mainline (straight off the DVD, as many as you want, no commercials)

I haven’t mainlined a series (except for I, Claudius and Elizabeth, which are both extremely mainlinable). Usually, I don’t want to devote that much time to just watching TV.

I’ve noticed a problem with ER. I tried watching it on nightly reruns a few years back, found it too overwhelming and had to stop. Lately, being more underemployed, I’ve been watching it every day. The intensity doesn’t bother me quite as much, but some of the details do. For example, the high number of dead/disabled middle-aged or young doctors over the course of the series is more than a little over-the-top.

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