Friday Questions

Closing out the summer with Friday Questions. But first...

HAPPY BIRTHDAY to my gorgeous, talented, amazing daughter, Annie.

Jeff Alexander has the first FQ:

Has there ever been a series (don't need to name names) where a script -- either from freelancers or staff contributors -- got as far as a complete "table read" where everyone admitted that it just wouldn't work? If that has happened, what's the recourse? Is there a "backup" script or is that one sent back to be reworked in a great hurry? I ask because that apparently happened on The Dick Van Dyke Show once -- script name was Art Vs. Baloney by a freelancer whose name is now forgotten. The script was apparently trashed and I honestly don't know what they did to replace it.

Yes, it does happen. And most shows even have budgeted one or two scripts that they’ll eat and never produce.

Hopefully, when that happens you have next week’s script in decent shape so you can polish it up and have it ready the next day. But occasionally you have to shut down for a day or two, and that gets costly.

But let me say this -- it’s one thing if a script bombs at the table. It’s another if a script does well at the table but the asshole star just doesn’t want to do it. He didn’t get enough jokes or didn’t come off looking heroic enough, whatever. That’s bullshit. Beware of working for “stars.” Or should I say “certain” stars?

From Ed:

When you create a series, you obviously come up with the initial characters and premise, but eventually other writers will start contributing their own ideas and stories. What's it like as a show creator to see others take your characters and story in directions that may not have occurred to you? I'd imagine it could be exciting to see your creation take on a life of its own beyond what you'd initially conceived.

I think it’s great. It means the show has legs and can grow in unexpected directions. The hard part is initially getting your staff to write the show in your style. But once they do they begin to add their own contributions and point of view and the show really flourishes.

It’s also nice in that case, that the show’s creator acknowledges his staff’s contribution. Vince Gilligan is a champ at that. He openly credits other writers for some of the best moments and scenes of BREAKING BAD.

Other showrunners are not that gracious.

Keith R.A. DeCandido asks:

I've been on a kick where I've been watching the Sidney Freedman episodes of M*A*S*H. He was such a great character, and Allan Arbus did superb work with him, from his first appearance asking Blake what he's supposed to do with Klinger ("ask him if his seams are straight???") to the finale where he helps Hawkeye with his psychotic break.

I notice that you only wrote one of his appearances, "The Billfold Syndrome," but since you were a story editor, you might know the answer to this more general question: how much research went into Freedman's appearances? I know that Army psychiatrists weren't really as much of a thing in the Korean War as they were Vietnam and after, but were Freedman's cases ever based on actual psychiatric cases in Korea or Vietnam (or World War II or another conflict)?

As writers of the show we rewrote most scripts so wrote a fair amount of Sidney Freedman in our day, uncredited.

If the story required it, we did consult a psychiatrist to make sure we were handling those situations responsibly.

“The Billfold Syndrome” was a real thing and sprung out of the research. When David and I wrote the episode we first spent an evening with a noted psychiatrist who walked us through the entire hypnosis process. I’m very proud of how authentic that episode turned out and that other mental health professionals, upon seeing it on the air, gave it a thumbs up.

And finally, from Sam Stebbins:

Do you think Sunnyside (an upcoming NBC sitcom) is a good example of why sitcoms shouldn’t be given trailers? People in the comments are judging the show based on clips that are most likely only from the pilot. It looks like a potentially funny show with a good premise.

Networks are leading with their chins when they put out these trailers. They leave themselves open for trolls and bad buzz. I’m sure they also lose viewers who might’ve sampled the pilot but after seeing the trailer decided not to bother.

And most of the trailers are horrible, especially the comedies. I can’t think of a single comedy trailer for a new show that I thought was remotely funny or inviting.

That said, I guess the networks feel the value of them outweigh the possible pitfalls. For their sake, I hope they’re right.

What’s your Friday Question, and again, HAPPY BIRTHDAY ANNIE!!!