Let’s dive into some Friday Questions.
The Bumble Bee Pendant has a question about the recent cancellation of LAST MAN STANDING:
Ken, so Tim Allen went on Twitter today (Tuesday) and said, "Stunned and blindsided by the network I called home for the last six years. "
We all know it's business, and its about money, but why would ABC burn a bridge, especially of an A List Star like Tim Allen? Why not be upfront, etc, and at least giving him some bullshit, rather than blindside him?
The Next time he or someone else has a product to share, ABC won't be their first choice.
Two truths: 1) Tim Allen is not an A-list star. Not anymore. Tina Fey is an A-list star. 2) Networks don’t care that they treat people poorly. Not anymore. Once they’re done with you they move on. I would not be surprised if some of the LAST MAN STANDING cast and writing staff found out about the cancellation on social media sites, not from phone calls from the network. You work on a show for six years and learn you’ve been dumped on Twitter.
And trust me, ABC is not alone. When a network wants to be in business with you you’re their best friend. They can’t do enough for you. HAMILTON tickets? You’ve got it. Room on the corporate jet? What time do you wanna leave?
Then they cancel your show and you have to walk home from New York.
Melissa Agar wonders:
I read today that Fox is bring New Girl back for an abbreviated season and that it will involve a time jump. Several shows in recent years have utilized this device -- Parks and Recreation, Jane the Virgin. I'm wondering what you think of the device. What challenges does it pose to a cast and staff?
I think it’s an interesting idea because it shakes up the show a little, and hopefully opens the door to new stories. It’s sure better than the reverse. On MASH we were stuck in this cosmic limbo where we couldn’t really do any time jumps. And trust me, by season seven it was very difficult to keep coming up with fresh stories that hadn’t been done.
Another advantage to the time jump: If you want to make some cast changes they're easy to explain away. A line or two to cover the character’s exit and that’s it. You don’t have to do an episode showing his departure.
I listened to your podcast through my ROKU device on my TV..through the TUNE IN app...works great! I did have a random question...how much did you have to pay to make your own theme song for the Podcast?
You mean my jingles? It helps to have a close friend who owns the largest and best jingle company in the world, Jam Creative Productions. We worked out a deal. A big thanks to Jon and Mary Lyn Wolfert. The singers were amazing and here I am with them:
Was there ever an episode where Norm entered the bar and the writers forgot to add the "NORM" greeting?
There have been episodes where Norm entered with other people and on those occasions we didn’t do an official “Norm entrance.” Usually they sang the theme from "the Magnificent Seven."
There may have also been a time or two when the bar was empty when he entered – so no, no “Norm entrance” on those.
Brad Apling wants to know:
It seems that bringing a TV show to the tube is complicated and getting more so in respect to, say, 30 years ago (which really isn't that long ago). So, it begs the question: Is there any encouragement for new writers to pursue the TV industry or is it a matter of numbers [some live, some die so might as well keep writing and trying]?
It is way easier to get a show picked up now than when I broke in. Back then there were three networks. If your pilot didn’t get on you were toast.
Now there are many networks, and streaming platforms, and premium cable channels. Shows can now be niche. So I would think for a writer this is a way more exciting time. Lot more buyers and opportunities.
What’s your Friday Question?