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 Wednesday, February 22, 2012
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The Problem with Television is that once you write a script for your favorite show, the characters and story arcs have already changed. I wrote the episode for Ally McBeal before it got really weird...really weird. And then by the time I finished my Family Guy episode, Chris had made peace with the Evil Monkey and Cleveland got his own show. It's just for this sort of reason that industry experts suggest that to break into television, you write for a show that's "something like" the show you really want to write for.
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At the time, there was nothing quite like Ally McBeal on television. It was unique and interesting, and had Calista Flockhart. You just wanted to grab her and squeeze her and scrunch her cute little face...but then Han Solo came along and did that and it just sort of felt icky. And then, again, her show just got weird. All that talent on screen flailed about, like the cast was trying to do their very best while hiding the fact that they were thinking seriously?
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I suppose if I really wanted to write for Family Guy, I should just write spec scripts for The Cleveland Show--a show that seems unnecessary and redundant, but hey, kudos to Seth MacFarlane! Keep them money streams flowing.
What's next, Seth? The Quagmire Chronicles, maybe? Glen finds himself suddenly married in some podunk town in the Northeast, perhaps? To live with his three illegitimate children? Two teens and a precocious toddler, maybe? Live with their talking Vietnamese pussy cat, Mr. Seaman? (Hey, this is Quagmire's show, after all.) Something like that, Seth? Glen escapes the pressures of family life by hanging out at the bar with all his wacky new friends?
Yeah, you just keep working on that, Seth. |
Other industry experts say the problem with television isn’t “how to break into it” but rather, “how to break out of it.” Whiny bitches…I’d gladly have that problem.
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| The Family Guy - The Ripple Effect >> |
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