Are American tv shows stuck in Act 2 for their entire runtime between season 1 and final season?
Season 1s are great, setup, some payoff, a bit of lead into the overarching story. Then season 2 to X. The heroes win and then lose in the final episode, cliffhanger to next season. People get bored. Final season is announced and they wrap up the show.
Think we need more specific examples of what you’re watching, but I don’t think it’s just “American tv“—watched plenty of anime that is guilty of what you’re describing.
Plot creep is real, just look at any webcomic that’s been going for more than 3 years. Looking at you (lovingly, c… years ago?) Questionable Content.
Depending on the anime, but they usually have Arcs, which would be a named Show on its own. Then the second arc is the sequel. But usually the characters are pretty different at the end powerwise. I guess the equivalent is a character growth in a drama and some reversion to their original unimproved selves are common
Some shows do a better job than others of having a satisfying arc in every episode. The Boys comes to mind in the sense that every single episode has a cool, self-contained story that gets resolved by the end of the episode, as well as an overarching story that spans the season.
Funnily enough, The Boys came to my mind as a negative example. It feels like every season hints at big things coming, but then the finale just kinda resets everything without those big things actually happening. And then the next season starts with them having to get the gang back together again.
I largely enjoyed the most recent season but the finale killed any excitement I might have had for the next season. The finale really avoided resolving anything at all, and basically undid as much as it was possible to undo.
I agree with your assessment of the most recent season finale, but I would say in general every season has done a good job of having something cool happen in every episode. Like in the sense that each episode has a complete narrative arc. That’s not to say that the whole show doesn’t tease you a bit, but the individual episodes still have satisfying stories.
Showrunnners are never absolutely sure how many more seasons they’ll get. If a show is popular, they could end up having to continue it after a conclusion. Or the show could be popular but corporate priority could be elsewhere, and they’ll be forced to wrap up promising storylines quickly. Even for shows that announce they have plans for a beginning, middle and end, it’s possible that they’ll be cancelled before end planned ending, or else have to stretch after the ending has been reached. Safer is to try to just coast along, being non-committal about major plot elements, until something happens that pushes the show to resolve things.
Ultimately, the primary satisfaction of storytelling comes from the story ending.
You can do that episode to episode, season to season, etc. I feel like the best shows balance by having plot archs and character archs that can happen independently of each other. That way each episode or two can close one kind of arch while opening another. Because they are different kinds of problems, they’re less likely to conflict, giving you the sense of closure you crave while also creating a sort of cliffhanger.
That’s really hard to do well though, especially over time. And usually expensive.
A lot of shows start with 2-3 seasons of concepts in mind, and hope to get picked up for more. At that point it gets exponentially harder to go on without detracting from what you’ve already built.
I’m glad that most streaming platforms are starting to see value in shows with a fixed ending in mind, it just makes for better storytelling.
I’m not sure what you mean by that, but it’s a banger cartoon with amazing characters that comes full circle in such an immensely satisfying way. Top tier animation and writing.
I always found East Bound and Down jarring in some respects, the jump from the US, to Mexico, to Myrtle beach at the time felt all over the place, but in retrospect it gave every season of the show a different world to play in. I rewatched it during Covid and really enjoyed it moving around and even though some people like different venues for the show as a whole I feel it made the shower stronger.
Once they realize they have a potential cash cow on their hands they do whatever they can to ensure that they can milk it as long as possible. S1 has no gaurentee of being a hit when its made so show producers put their all into crafting an enjoyable show. Once it becomes purely about extending its life as much as possible. Usually turning the story to crap in the process. I call this 'the Dexter effect"
You see it pretty clearly with Stranger Things. In S1 each character has a specific purpose or role they fill in the story to back up the themes the show wants to explore, and they excel at that role. S1 is great, and they weren’t expecting to get an S2. But they did.
Now those same characters, with their specific roles? Well now they need to change (because you’re telling a different story), and they aren’t a super great fit for the new roles they have to play. It still kinda works, but the show’s themes become muddled and you’re banking a lot on the audience’s love of the characters now. Still a success.
Now we get to S3 and we have to change the characters’ roles even more! Entire storylines from S2 have now gone to waste, and many characters are far from their initial roles and don’t feel as interesting or compelling as they used to be - because they were never meant to get this far. They’re cogs jammed into new and unfamiliar spaces to try and get this machine to keep running. And it lurches and jerks its way forward, but it’s a far cry from the efficient, effective show it was in S1.
S4 was less of a mess than S3, and the worst parts of S4 were the cleanup from S3 — namely, the Hopper/Russia plot.
S4 could have leaned much more into the “Satanic Panic” theme. Dig into the “spiritual warfare” literature of the period — Frank Peretti’s This Present Darkness (1986) or the Mike Warnke “Satan Seller” scandal (exposed in 1985).
Stranger Things doubly suffers because it's horror. In the first season, neither the characters or the audience know what's going on. The monsters are new and scary. The concepts are new and scary. The first season is incredible because it's all unknown, and because there's an almost cosmic horror quality to it.
However, by the end of the first season, both the characters and audience are experienced. The monster has been revealed and killed and, while it was tense and scary, the characters and audience know what to expect next time. The upside-down has been revealed and, while there's a lot about the idea left to explore, there's and understanding of what it is, how it works to some degree, how it's linked to the real world, etc. Everyone has knowledge and experience. And with knowledge and experience, the horror dissipates.
So where do they go from there? Well all they can do is to make bigger, scarier concepts or to throw more of the same at the characters. More of the same can make for good action - see Aliens - but the horror element just doesn't work any more, and it loses a sense of intimacy that a single monster brings. So the only way to try to maintain that feeling of horror is to go bigger and scarier.
Of course, the issue of intimacy remains. How do you have a huge, scary monster - far bigger and scarier than the first one - while still keeping it feeling both personal and intimate to our characters and having it feel "beatable"? And, well, you can see how Stranger Things struggled with that in season 2.
It’s interesting that you bring up Aliens because it’s a great example of how a character with previous history can fill a new role effectively, exploring different themes than in previous installments of a story.
But it also highlights the need for major changes - Ripley is the only carryover from Alien, and her character wasn’t really fully fleshed out in the first movie, so they had room for her to be whatever they needed her to be in a follow-up. She’s not a bad character at all, but she doesn’t need a whole character arc to fulfil her role. That’s not the case with most TV series because having thin protagonists at the end of a season generally doesn’t make for compelling or satisfying TV.
Aliens also works because they introduce new elements to the horror - the thought that there’s an intelligence directing the Xenomorphs is terrifying, and the threat it poses to life on earth is almost cosmic horror in its scope. You see that Stranger Things tried to take the same tack, but it was bogged down by its own lore and the limitations and having to work with a whole cast of characters who are experienced in fighting this very threat.
Is your objection cliffhanger endings? Those are more common in American media. Or is it lack of plot progression, which is common across all media? Even shows famous for moving the plot forward never stray too far from the start.
In some cases, shows are written to be anthologies of stories. The characters stay similar across episodes and seasons, but the isn’t really an overarching plot. Sitcoms are known to use this a lot. Plot across episodes is mainly done to give writers something new to write.
In other cases, several plot lines are happening at once which resolve at different times. That way, there is always a plot having something happening even if other plots end or hit a resting point. A lot of soap operas did this.
Finally, there can be one overarching plot that gets resolved, but then another plot starts to take its place or the show ends. A lot of modern science fiction is written that way.
@delitomatoes Many sitcoms have an overarching romance arc between two leads that gets stretched out for eternity. I don't know how much I can vouch for "The Office" handling other storylines, but the getting Pam and Jim together 1/3rd of the way through the series, and then not having them constantly breaking up and dating other people and then getting back together (like Friends) was a real breath of fresh air. The show really proved they could survive as an anthology without having the main romantic arc to fall back on. Of course, later on they introduce serious romantic arcs for other characters.
I don’t look at it like an overarching plot so much as anthology. Character A and Character B have chemistry and should be together but it doesn’t happen. It just happens that there are several stories that involve that failure.
A lot of shows tend to lose steam around seasons four and five or so. Actors and actresses come and go and writers struggle to find new ideas so storylines get recycled and repackaged. Breaking Bad handled this perfectly by willing ending after 5 seasons.
It sucks when a show is spinning it's wheels and a significant actor moves on to greener pastures, but you get it. It really sucks when a show rockets off and actors leave because the show has made them into a star who get offered bigger projects to capitalize on their fame. Mucking things up for the thing that made you famous is such BS.
Really great shows have a broader plot premise and are free to build new storylines and character arcs each season. As YoBuckStopsHere said, some great shows build up and grow overtime - think Breaking Bad, Parks and Rec. Both shows start off slower, focus on character building in the earlier seasons. Then they become plot focused later on.
Other shows have the flexibility to create new story arcs so each season almost stands on its own but they still stay within the larger overarching premise, example - The Great, Game of thrones (although they really gave up at the end)
I think good shows have a plan for how to get to the end and mediocre shows do as OP described - have a beginning and end planned and not much in the middle. I don’t think all shows are stuck in Act 2, but it does say something that the ones that aren’t stuck there stand out that much more
You see that a lot for sure. One show that stands out in my mind of continually moving the plot forward is Breaking Bad. The ‘villain’ changes throughout the show, Walt has an evolving relationship with Skylar and Walt Jr, and motives change as well for Walt and Jesse. Completely different show from beginning to end.
SPOILER: it’s a well known fact that season 1 was shortened due to the last writers strike and had that not happened Jesse would have been killed off at the end of the season. This show very well could have suffered the same fate OP prescribes to most shows since Jesse is so pivotal to the shows overall success. So maybe we should look for shows who’s first season is currently being cut short by this writer’s strike and that will be the next great show.
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