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Has the Phrase “Game Changer” Jumped the Shark?

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“Game changer” just does not mean what it used to.  In fact, it means virtually nothing these days simply because the over-use of the term has diluted the very meaning of it.  When did the phrase “game changer” turn into such a snooze-fest? Back in the good ole days, when you heard that a television show was going to air a “game changer” episode, it meant something so much more thrilling — something so significant and unexpected that viewers were shocked and could not believe their eyes.  A “game changer” used to mean that a key character was being killed-off, someone was coming back from the dead, or there was going to be so mind-blowing that you could not foresee it happening.  But nowadays, it could mean anything from the addition of a new character, a character losing their job, or even less gasp-worthy, a character getting pregnant.

Great examples of “game changers” were LOST, 24 and TORCHWOOD’s willingness to kill off key characters.  Another show particularly adept at game-changers was the J.J. Abrams’ series ALIAS, such as when it took down SD-6 with one swift blow during the second season or when it surprised viewers with the 2 -year time jump.  Game-changers are risk taking and shocking.  The viewer should be sitting on their sofa wondering why the world felt like it had just tilted.

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Ask the Addict: Spoilers for SMALLVILLE, THE VAMPIRE DIARIES, BONES, NIKITA, 90210 & More!

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Any word on how NO ORDINARY FAMILY plans to end its season (and possibly series)? — Brandon
The TV Addict: With the return of a big baddie! Yes, LOST’s Rebecca Mader will be reprising her role as the villainous Victoria Morrow on the upcoming April 5th finale that will have the Powells working together to save J.J. who’s been kidnapped by Mrs. X (Lucy Lawless) and forced to solve an enigma that could lead to the permanence of the trilsettum’s effects.

Is there any light at the end of the tunnel for this long-suffering Booth/Brennan shipper? — Amanda
The TV Addict: There might be, depending of course on your interpretation of the following: In a roundabout way, we recently had the chance to ask the man who pulls the strings, executive producer Hart Hanson that very question and here’s what he had to say when asked in terms of character development, if it would be safe to characterize May’s finale of BONES as the show’s biggest one to date, Said Hanson, “Hahahaha, that is a very sneaky question from the TV Addict but I’m going go ahead and say yes.”

Care to share who Ivy is going to marry this season on 90210? — Jenn
The TV Addict: Umm… No. After-all, where’s the fun in this column if we can’t lord our vast array of television secrets over you? That said, what we will say, is that the gang will be getting plenty of use out of their wedding attire (read: dark suits) seeing as though the season’s penultimate episode will also have them attending a funeral.

Got anything for a WHITE COLLAR fan who is already going through post-finale withdrawal? — Ainsley
The TV Addict: When WHITE COLLAR returns this June, fans will finally get a peek into the private life of Detective Diana Barrigan when Neal meets Diana’s partner, Christie. What’s more, the episode will feature Diana as she goes undercover to protect a powerful newswoman who is about to break a deadly secret that may take down a major corporation. Which, if you ask us, is a nice change of pace from the usual episode of WHITE COLLAR where women are often overlooked and underestimated in lieu of Peter and Neal.

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America’s Racial Divide: Tackling the Taboo on THE GOOD WIFE

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In an episode which left everyone talking about Kalinda’s big secret, I was more struck by the other “white elephant” in the room – specifically, how delicately, yet pointedly THE GOOD WIFE addressed an obsolete social taboo when Peter Florrick’s campaign manager, Eli Gold, tried to hide the fact that a political candidate’s son was dating a black girl.  Sex may still trump the race card, but really, racial tensions and how they are inserted into political campaigning was skewered thoroughly in an episode innocuously entitled “Ham Sandwich.”
 
It was fascinating to see that Peter’s campaign that was originally founded on the black vote and his alliance with Pastor Isaiah, which had been so very carefully cultivated, ultimately came to be seen as a handicap in the final days of his campaign.  With the blue collar and suburban voters looking to sit the election out, it became crucial to remove any overt association with the black constituents from Peter’s campaign.  Even Grace noticed her father had distanced himself from Pastor Isaiah and had removed any non-white faces from the photos on his campaign website.  It became even more glaring when Eli made a point of asking Alicia to keep Zach away from the press during his father’s speech at his school – not to protect Zach, but because Eli was worried that the press would notice Zach’s girlfriend Neesa and try to spotlight the interracial couple.

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Why Cliffhanger Endings are Ruining Television

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For decades the season finale of just about any television show is guaranteed to be a cliff-hanger.  Why? For the simple reason that television showrunners and writers are not confident that their audience will return when the show does.  They figure the best way to ensure that their existing audience is seated in front of their television is the cliff-hanger.
 
But here’s a small secret:  viewers hate cliff-hangers.  It presupposes that viewers won’t tune-in but for the cliff-hanger.  When, in reality, fans of a television show are more likely to tune-in regardless of the cliff-hanger.  That is why they are fans – they keep coming back.  Fans by their very nature are dedicated and committed.  They do not need to be toyed with and manipulated.
 
So in addition to making a viewer’s brain want to explode whenever they see the words “to be continued” or the episode ends without resolution to a major character’s status –cliff-hangers also do not even allow the viewer the small comfort of knowing that their favorite character will be returning; particularly as characters in jeopardy or on the brink of death are the preferred.
 
However, because this plot device has been utilized ad infinitum for years, fans have become a bit numb and unimpressed with cliff-hangers.  Such a device is more of an annoyance and it insults the very person that the show wishes to keep when the show returns. 
 
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The Butterfly Effect: The Metamorphosis of Boyd Crowder on JUSTIFIED

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walter goggins

For those who have been watching FX’s electrifying series JUSTIFIED, the transformation of bad-boy Boyd Crowder over the past season and a half has been riveting.  Played by the equally fascinating Walton Goggins, the dichotomy of such a strong actor immersed in such a complex, yet compelling character has enthralled viewers.  Essentially, the show has grasped a rattlesnake by the tail and is allowing us to see how it plays out.
 
Make no bones about it, any way you look at it, Boyd Crowder is a cold-blooded killer.  When we were first introduced to Boyd in the pilot episode, he blew up a church and ended up shot after squaring off with U.S. Marshal Raylan Givens.  Boyd and Raylan, having grown up together, are like opposite sides to the same coin — best friends who chose different sides of the law and yet whose fates are inexplicably tied together.  Throughout the first season, it became less clear whether Raylan or Boyd were really all that different; particularly as they both believed fervently that their viewpoint was the right one and would do anything to back it up.  Raylan just happens to have the law on his side having the protection of the U.S. Marshal service to back him up.
 
So as Raylan continues to walk the path of righteous justice, behind the power of the badge, Boyd has embarked on a thornier and murkier path.
 
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Brilliant Television Writing Does Not Guarantee Television Viewers

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In response to my  recent article “Superheroes Are Dropping Like Flies! An Investigation Why Television Seems to be the Genre’s Kryptonite,” one commenter offered his opinion that superhero shows are failing because the shows are not well-written.  But unlike in the movie Field of Dreams, the theory of “If you build it, they will come,” does not hold true on television.  In fact, if anything, time and time again, great writing is an anathema to the average television viewer.  It does not lure in more viewers and it does not guarantee a higher retention rate.  Great writing is but one ingredient needed to draw and retain viewers.
 
Examples of ratings-challenged television shows offering superior writing include a large number of “brilliant but cancelled” shows from the past decade.  Among those are:  TERRIERS, BATTLESTAR GALATICA, DEADWOOD, FIREFLY, VERONICA MARS, EVERWOOD, WONDERFALLS, ELI STONE, KINGS and even fan-favorites TERMINATOR: SARAH CONNOR CHRONICLES and DOLLHOUSE.  (If looking at the current television landscape, it also includes such current shows as the Emmy-winning MAD MEN and BREAKING BAD and newcomer FX’s JUSTIFIED.  It appears that no matter how many awards or how much critical-acclaim, even those will not draw in viewers.)
 
What is fascinating about all these shows is that whether they were immediately heralded as “brilliantly written,” now that they are gone those are the tags we put on them.  Why?  Because they were.  For whatever reason, the average viewer just did not see or perhaps appreciate the superior writing of these shows when they were on.  It is certainly true that a small devoted and vocal bunch of viewers immediately saw and appreciated what they had — but in television, small is never better.  Television shows only survive if they can pull in a large number of viewers.  More viewers equals more ad revenue and thus a longer chance at longevity.
 
There is a reason all of these shows are now called “brilliant but cancelled” — they simply are.
 
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PaleyFest 2011: SUPERNATURAL Dazzles Fans with Sneak Peaks, Spoilers and a few Surprises!

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For their second return visit to PaleyFest, SUPERNATURAL set out to charm and entertain their fans.  As if appearing in person before thousands of their most fervent fans was not enough, SUPERNATURAL began its presentation with a highlight reel, an extended clip from their recent episode “The French Mistake,” and a sneak preview of their upcoming episode “Frontierland” (where the Winchesters go back in time to retrieve the Colt).  It only amped up the excitement as thunderous applause and appreciate hollers were heard as each of the panelists then took the stage.  Appearing for this spectacular event were: creator/executive producer Eric Kripke, executive producer Sera Gamble, writer/director Ben Edlund and cast members Jensen Ackles, Jared Padalecki, Misha Collins and Jim Beaver.
 
Unable to resist inquiring about the genesis of “The French Mistake,” moderator Maureen Ryan of AOL’s TVsquad asked what inspired the supernaturally-inclined show to tackle an episode where the actors portrayed themselves in an episode mingled with angels, demons and a whole lot of mixed-up universe mythology and fun. 

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Ask the Addict: Spoilers for CASTLE, DEGRASSI, NIKITA, THE OFFICE & More!

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Any clue on the return dates of SPARTACUS, BREAKING BAD and THE WALKING DEAD? — Sourabh
The TV Addict: As long as your definition of “clue” involves the month rather than specific dates and times, then yes, we do have plenty of clues. In chronological order, you should expect BREAKING BAD’s fourth season to premiere in July 2011, SPARTACUS Season 2 sans star Andy Whitfield who will be valiantly focusing on his health to bow September 2011, and THE WALKING DEAD to return sometime in Fall 2011. Satisfied?

Yesterday’s “blind item” was a blatant rip off of Michael Ausiello. Luckily, all will be forgiven should you provide us with an answer. — Angrodpallanen
The TV Addict: While we’re the first to admit that yesterday’s “Blind Item” wasn’t our finest hour (Note to aspiring bloggers: Juggling real life responsibilities while trying to come up with enough moderately interesting content to fill up a web site on a daily basis is easier said than done!), we hope this answer will help make amends: The show currently on the look out to cast a disapproving father who isn’t on board with his son’s sexual orientation is… drumroll please… DEGRASSI. In other words, Riley and Zane fans are in for a bumpy ride. Particularly when you also take into account a casting notice that has gone out for “Athena,” a hot and athletic 17 year old who may-or-may-not soon be playing the starring role as Riley’s “beard.”

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A Toast to WHITE COLLAR at PaleyFest 2011

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It was another night of fun and festivity as WHITE COLLAR was honored on Day 3 of the PaleyFest at the Saban Theater in Beverly Hills. Fans had arrived early for a glimpse of their favorite stars and by the time the panel began, the auditorium was abuzz with activity and excitement. After a brief introduction by creator/executive producer Jeff Eastin, the fans were treated to a special early screening of the second season finale. With treasure, lots of good-natured teasing and moments of comedic terror, the finale kept everyone on the edge of their seats. If the laughs and cheers were any indication, the episode is a guaranteed to be a fan-pleaser.

So as the lights went up, there was a palpable feeling of anticipation. As Jeff Eastin introduced the evening’s moderator, David E. Kelly (known for creating/producing such legendary shows as ALLY MCBEAL, THE PRACTICE, BOSTON LEGAL and HARRY’s LAW), he shared a brief humorous story about how David came to be the event’s moderator. Apparently Jeff had challenged Tim DeKay to contact David after Tim had bragged about meeting David at another event. So, in what could have been a potentially egg-on-his-face moment for Tim, worked out as apparently David’s daughter is a huge fan of the show and was only too happy to act as moderator.

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Superheroes Are Dropping Like Flies! We Investigate Why Television Seems to be the Genre’s Kryptonite

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If you are a fan of the superhero genre on television, you are amongst a dwindling audience.  For some as-yet unknown reason, viewers are turning their backs on superheroes – on television, at least.  Superheroes at the box office still seem able to lure viewers into theater seats.
 
With the Internet still buzzing about the David E. Kelley reincarnation of the classic television series WONDER WOMAN, one would think that superheroes are the biggest thing on television today.   Unfortunately, that is just not the case.  In fact, shows like THE CAPE, NO ORDINARY FAMILY and HEROES are evidence that viewers are not embracing superheroes – in fact, they are rejecting them.  Even the CW’s all-powerful SMALLVILLE has seen a steady erosion of viewership since its debut a decade ago.  For example, in 2001, SMALLVILLE debuted to 8.4 million viewers and now pulls an average of 2.9 million viewers.  Another attempt to launch a superhero series was Syfy attempt to draw in viewers with its television event THE PHANTOM as a back-door pilot, but the mini-series only managed to draw in a modest number of viewers.
 
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