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Even more unfortunately, it's not just teen/ya shows it's scifi/fantasy/"genre" shows in general. They're pretty much non-existent on network tv right now, and the ones on cable/streaming, it's the handful of episodes every 2+ years shit 🙄

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Even more unfortunately, it's not just teen/ya shows it's scifi/fantasy/"genre" shows in general. They're pretty much non-existent on network tv right now, and the ones on cable/streaming, it's the handful of episodes every 2+ years shit 🙄
Netflix has seriously harmed it's reputation with how often it is now cancelling shows. What used to be seen as the go-to service for saving cancelled shows, has now become the very thing it swore to destroy {Hello There Obi-Wan Kenobi reference). Netflix likes to repeat it's standard line that they have never cancelled a successful show, but they conveniently never tell us how they measure success, because this doesn't ring true with their shows like Lockwood & Co and Shadow & Bone, that got to both Number 1 and Number 2 respectively in Netflix's own published streaming charts, and that still wasn't enough to save those shows from cancellation. Also Netflix clearly has favourites in terms of marketing, for example I enjoyed the show Everything Now, but you've probably never heard of it, and I searched Facebook - Netflix did one post about it when they dropped the trailer 3 weeks before it's worldwide release, and that was it; but other shows like Bridgerton, you can't fail to know it's there because they post daily about it on their socials for weeks up to and including release and for weeks after too. You even have actors in a new show saying they have to search their show to find it so they can watch and it's not even advertised on Netflix's own home screen, let alone anywhere else, so no wonder these shows get cancelled as they are never given a fair shot to succeed.
It seems unless you go viral or break Netflix's own streaming records, like Stranger Things or Wednesday, then even getting the number one or number two spot is not good enough to save a program from cancellation. Netflix needs to remember that not all releases are an overwhelming overnight success - even some of the best and most popular shows took a while to find their audience, like Breaking Bad, Game of Thrones, The West Wing, The Sopranos, but then when they did find their audience they became what everyone was talking about, and people who had never seen the show, still knew about them from it's impact on the cultural audience. Somebody else said, and I truly believe it, that if Netflix had made Breaking Bad today, they would have cancelled it after two seasons, and then think what great storytelling we would have missed out on, all because the show wasn't a record hit in it's opening week.
And now Netflix finds itself in a self-fullfilling loop where they have now trained their audience to not try new shows and get attached as they'll likely be cancelled. Think about it, how many new shows can you think of on Netflix that got renewed last year. It only seems to be people will tune in for shows like Bridgerton, Emily in Paris, Outer Banks, as they have had time to grow with the characters, so now Netflix has got themselves in to a model where customers don't try a new show, like KAOS or Everything Now, and they'll wait and see if it's renewed, and when after only a month since it's release, it does indeed get cancelled, the consumer hasn't wasted time getting invested in a show & characters that get cut short, especially nowadays when there is so much to watch across traditional TV and now streaming services too, that just because the audience doesn't come running to watch as soon as it drops, doesn't mean it's not there or interested.
2025 see's the return of some of Netflix's biggest shows like Squid Game, Wednesday and Stranger Things, but 2 out of those 3 also end this year too and then what shows will be left that are associated with the Netflix brand - they had Stranger Things, House of Cards, Orange Is The New Black when Netflix first got going, it'll be hard to say by the end of this year what big shows Netflix will have left to draw customers in
Unless Netflix, and the wider industry, change their perception to not only see massive, viral numbers as success and that shows with strong-moderate success are allowed to grow and widen their audience, then there will eventually reach a tipping point where they will cancel one show too many that either customers leave their service, or creatives will decide that Netflix isn't a good partner to work with where you put years of work in writing, filming, producing, editing a project just for it to be cancelled a month after it's release, so if you have a story that needs more than one film or a one and done series to tell it in, then Netflix probably isn't your best bet any longer.
‘danny dyer wants to be the first working class doctor on doctor who’ meanwhile christopher eccleston grew up in a small house in salford where his dad was a forklift driver and his mum was a factory worker at the colgate-palmolive factory AND the first 2 seasons of the revival of doctor who are quite possibly 2 of the most working class seasons of british tv ever if danny dyer has no haters i am DEAD
its not that shows weren't cancelled and cancelled viciously in the past... (people only remember the exemplary 6-7 season shows bc of syndication) but shows didn't take 2 years to make ten episodes with the cancellation decision being final 1 week after the season releases in 1 day or like 1 month.
Shows had yearlong seasons released contemporaneously and normally a mid season check-in. So if things were going really bad, there was usually some time to turn things around before the final cancellation, or half a season (like 10 eps) to wrap up storylines.
Midseason cancellation was rare, and i think the way shows are cancelled nowadays feels like that because seasons are short and decisions are made AFTER the writers, actors, directors have no time to course correct but also before audiences can work their magic.
so shows felt braver making longer, slower plotlines. Audiences weren't as fearful to grow attached. Because even if the show was cancelled early, things would probably be wrapped up.
I know laying down track while a show was airing was stressful for everyone, but this model is too. Can there be a middle ground where a show has time to build an audience and reserve and episode or two for wrap ups without being a hectic schedule for everyone and companies aren't exceeding their budgets either?
Dunno. I think even the worst show deserves a chance to have the writer write an ending.
On the one hand I do not enjoy watching ads on the average
On the other hand it was kind of nostalgic and almost more "natural" feeling to watch Community with ads on Peacock before I got my mom's Hulu password to watch without
It was nice to remember how many shows were/are made explicitly with commercial breaks in mind. They not only had to conceptualize the pacing of this episode for one episode, but they also had to consider the pacing for each commercial break!
Part of the art of script writing for network TV shows!
Like
I'm going to *keep* watching it on Hulu over Peacock don't get me wrong
But it was still interesting to see it in its natural environment for a bit.
What the fuck happened to making merch for tv shows like pretty much no main tv shows have waves and waves of merch anymore. Take Doctor Who for instance Toys 'R' Us (RIP) and other toy shops used to look like this in the UK
You could walk into any toy shop independent or chain, and you could be guaranteed to see at least one variant of sonic screwdriver and action figure. Hell, even hardware shops used to sell sonic screwdrivers. But now no toy shops have anything the best you will get is books and apparel in comic book shops that toe the line between official and unofficial. Like look at the official website of the company who has the toy license for doctor who
This is all they have for the supposed rebirth of the series meant to harken back to the glory days of 9th and 10th Doctors (Not even the best Doctors IMO). What the fuck happened to this industry, man.
It's even worse for kids who are now getting into the show, my 6 yr old nephew has started to watch it and his Mum can't find anything to get him for birthdays or Christmas because the only toys left are being sold for hundreds by sad losers on eBay.
Thanks for attending my rant.
I feel like the whole cast is in a funk and are not happy working on 911. Wouldn't be surprised if someone quits next season. Also I have a feeling Oliver has started looking for other job opportunities.
While I agree I wouldn't be surprised if someone quits next season... I mean, there's a complex calculation there. The main cast who have been there since seasons 1/2 are making serious money. It's not 100% clear when last contract renewals were ("back in the day" 7 year contracts were common, but now 5 is more standard), though I heard rumble that there was some scaling up for Oliver and Ryan specifically in season 5, and I've seen other, unsubstantiated info that the rest of main cast last reupped in season 6, through season 9.
If true... if anything, main cast will have insane negotiating power as season 9 ends and we're looking at season 10. On the assumption ABC is all-in on the 9-1-1-verse and season 10 is in the bag... well, either main cast will stay and net some stunning salary increases, or some may not be renewed, depending. The only person I currently see voluntarily leaving because they simply already have the bag is Angela. Everyone else? Have you see prices in California lately? The state of the industry? I just can't see many people walking away from job security like that in TV, in LA.
That doesn't mean other main cast might not be completely happy... but look you can put up with a lot for millions per episode. FWIW, scuttlebutt in the industry is 9-1-1-verse is a good place to work, all things considered. It's a good set and... not all sets (and rooms, re: showrunner/writers) are like that. It's exhausting work, yes. But main cast on 9-1-1 right now is kind of the golden goose.
Also, re: Oliver... all these years he's not done a single other project. He was clearly elevated to the go-to male lead for press with ABC--the compromise to network with Peter leaving; here have this other handsome, accessible basic white guy who can give pat PR answers and appeal to the mainstream base. Buck is basically the main character. If I'm Oliver, I'm going full Ellen Pompeo with this bitch. ¯\_(ツ)_/¯ He can retire in ten years to a sprawling ranch somewhere and live off with twelve dogs for the rest of his life. Or idk launch a vegan fitness lifestyle brand.
(oh hi now people who follow me know I have a LOT of thoughts. I don't work in broadcast but, uh, I do work in hollywood and everyone knows someone who knows someone so)
WOMEN IN "AHSOKA" AND OTHER STAR WARS SERIES
Let's be honest, women in Star Wars are a recent thing. As much as I love Leia and she's an icon for sure, she's not given that much screen time as women nowadays. Same for Padme, in one of the movies she's the only woman with spoken lines.
I watched the Ahsoka series and I was positively surprised by the representation of women there. All the protagonists are women. The main 'bad guy' is a woman. There are those weird witches. There is Hera, whom we see as a general and as a mother too. The casting is diverse and the spectrum of femininity is wide as well.
But the plot, I'd say is simple, flat, boring, and undeveloped.
Sabine is trained for a Jedi and her main goal is finding Ezra. Basically, Sabine is given the opportunity to do all these things that the male protagonists of other trilogies and series did before her - which is use a lightsaber, use the Force, go on a mission to find a man who will for sure defeat the main villain (also a man). She's just put in the shoes of a 'typical Star Wars protagonist'. Well, Leia also turned out to be sensitive to the Force in the end. Is this how SW creators validate women - by granting them this manly privilege to hold the lightsaber and use the Force? These women have personalities of their own, they don't need to be turned into a padawan.
I think, in Star Wars Rebels, Sabine has way more personality than in Ahsoka. We see her as this colorful, vibrant Mandalorian, who's an artist, and knows a lot about weapons and explosions. None of this is shown in Ahsoka, where she's just this quiet, dramatic Jedi.
I began thinking why they could have done so much with her bright personality - explore her Mandalorian background, show her paint or blow up shit - but they decided to go simply with putting her in the shoes of a typical SW Jedi protagonist?
My assumption would be that this series probably hasn't had a budget big enough to explore creativity to the fullest. I've done no research, so it's just assumptions but I asked ChatGPT to compare the budget of Ahsoka and Andor (below). Well Andor was for sure more expensive. I read some criticism about Ahsoka regarding the undeveloped plot and boring choreography of the lightsaber fights. Hmmmm.. guess why.... maybe because we didn't have the budget to develop it????
Does that mean that Lucasfilm/Disney and the film industry in general just refuses to give sufficient funding for productions involving representation of women? The audiences should enjoy women on screen but get a flat plot with boring fighting scenes? No, I'm not gonna just "enjoy women" play boring parts. I wanna watch women with personalities, doing cool shit, facing interesting and meaningful events fostering their character development.
This filmmaking masters program better fucking accept me because we as a society have a lot to do regarding women in cinema.