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I really liked your Padlet! I think we hit on a lot of the same topics.

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"We can do it in a way that the consumer most wants it, and get it direct to them, and they can help us fund it." - Jane Epensen
Any media has to interact with consumers online today, but TV has a special relationship with its fans as they can make, break, or resurrect a show

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"Sometimes i feel more like a brand manager than a show runner." - Carlton Cuse
When your'e working on a show week to week its your job in part to uphold the reputation of the show. This is unlike the marketing a movie writer would do since there would be little reason to promote the film after it comes out.

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"some shows are much more suited to a digital presence than others." - Jeff Melvoin
Having an online fandom presence makes it easier for a show to remain relevant, but not every show has this capability.

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"I like coming up with idea, and directing how it comes to life." - Matthew Carnahan
It's far more common for TV writers to also have a chance to input on their project as a director than in film.

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"I would stop production for 30 minutes, and we would sit down, and basically re-write the scene."- Anthony Lapaglia
When there is time TV production allows for small changes to be made on the fly.

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"Usually well get a phone call, and (actors) will say "wow, how am i supposed to do this?", and you say "what do you think?", and that's where the conversation starts." - J.H. Wyman
Show writers have to collaborate with other writers, but another collaborative effort comes into play when actors put their 2 cents into a character.

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"There's a number at which you survive, and there's a number at which you don't survive." - Chris Downey
working on a TV show is unique in that you have to not only get your audiences attention, but retain them week to week. If the show dips in ratings its at risk of being taken off the air no matter how good the writing is.

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Television is enjoying a renaissance these days as the creative people in show business realize that season-long arcs can be a more compelling way to build a story than two hours in the cinema.

The shows also tend to generate a lot of controversy and debate about their high and low points. We pulled data from IMDB user review scores for some of the most compelling, popular, or immortal shows of the the past couple years to try to find when they peaked according to viewers.

On IMDB, registered users are able to give numerical reviews, 0-10, of television episodes. On the following charts, each episode is represented by a diamond. The x-axis is the seasons of the show. The y-axis is the score of each episode.

It's remarkable how one season can change the trajectory of an entire series.

We added a trend-line to the charts to track how the average ratings for the seasons changed over time.

Here we go:

"The Sopranos," which is widely credited with kicking off the small-screen renaissance, had outstanding odd-numbered seasons and slightly less-so, but still-outstanding even-numbered seasons. (In this chart, Season "6" refers to 6a and Season "7" refers to the final nine, 6b)

"South Park" on Comedy Central got its best reviews in its sixth and seventh seasons but remains an animation powerhouse.

We can just admit it folks. It's okay. The fourth season of "Arrested Development" kind of sucked compared to the masterpiece that came before. Now the healing can begin.

"It's Always Sunny In Philadelphia" won our hearts with a bold and unprecedented first season, but according to IMDB has become more erratic since.

After a rough first three season, "Seinfeld" hit outstanding quality for six seasons running. The eighth season is Peak "Seinfeld."

"Breaking Bad" will not stop getting better. It's remarkable.

"The Simpsons," the journeyman of the group, peaked in season six and really started to decline in season nine, as thousands of loud, drunken arguments across America have by and large confirmed. Still, it's held steady for over a decade, which is nothing to sniff at.

"Battlestar Galactica" had a rocky third season but finished strong. Also, ardent fans of the series can actually see the reviled "Black Market" episode - in season 2 - from this chart alone. Just abominable.

"Dexter" has had a rocky ride, but the second through fourth seasons are made up of some of the best stuff they'd ever done.

"Family Guy" has seen a bit of a dip in quality recently according to IMDB, but the show has pulled off almost a dozen seasons of solid performance, which is an achievement to say the least.

"Friends" was a consistent performer for years and peaked right at the end.

"Mad Men" peaked in Season 4 and you know it.

"Futurama" has come back from the dead with remarkable regularity, so the show's sustained performance is stunning. Still, budget cuts, years off the air and a writer exodus hollowed out the new product on Comedy Central.

You may be shocked that "Grey's Anatomy" is still on the air, let alone doing some of the best work they've ever done.

This chart does not do justice to the roller coaster that was watching "Lost" in real time.

"The Office" got pretty unbearable after season 5. However, it's widely acknowledged that they pulled off one hell of a finish.

HBO's "Six Feet Under" started strong, lagged in the middle, but really pulled it off in the final season.

"The West Wing" was awesome, and then Sorkin left, so it stopped being quite as awesome.

The third and fourth seasons of "The Wire" were absolutely its strongest. Season two's "Longshoremen" and season five's "Baltimore Sun" subplots were considerably weaker stretches.

UPDATE: By request, here's "24."

And here is "Saturday Night Live." SNL has had an excellent track record over the past couple of years following a particularly rough patch.

Walter Hickey / BI, data from IMDB

And by Reddit request, Weeds. Looks like a clever concept will only take you so far.

Walter Hickey / BI, Data from IMDB

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Here's The Season When Your Favorite TV Show Peaked

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Television is enjoying a renaissance these days as the creative people in show business realize that season-long arcs can be a more compelling way to build a story than two hours in the cinema. The shows also tend to generate a lot of controversy and debate about their high and low points.

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'the network was up my ass through the pilot process, and really micro-managing every detail. Not that that f*cked me up, but that's when they felt like they had there say." -Kert Shutter
Writing for cable TV offers much more freedom creatively than writing for a TV network or movie studio. In these cases the network or studio will be more likely to change things or give notes about a script.

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"Life is serialized, life is not procedural." - Damon Lindelof
Television that is written in a serialized style with an over arcing story can be more appealing to audiences than one off stories told in films.

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"Its finding a new clue path that they haven't done before, that's where they spend a bulk of their time." - Chris Downey
When writing shows like crime dramas that feature a similar conflict every week, the challenge in writing is more so finding a new factor to effect existing story engines rather than a new story to tell.

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"The more episodes you write, the more stories you've told and cant tell again." - Bill Prady
A huge challenge that comes with writing a series is always maintaining a stream of story ideas to write about.

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"There are two approaches you have to be careful about when writing TV, and one is to have no idea where your show is gonna go." - Shawn Ryan
In film writing you have a beginning, middle, and end from the moment your'e done writing. In TV however, you have to establish character dynamics, and story engines that will carry the show through multiple episodes.

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When looking back at TV's progression over the years, it might not seem like it's that hard to create a great TV show. (A naïve thought, to be sure, but run with me here.) Far more complications arise when one attempts to retain a great show's top-notch quality, as evidenced by damned near every show in existence. As sad as it is, we should probably be thanking our lucky stars when brilliant shows are canceled too soon, thus not allowing them to later wallow in their own dwindling value.

Here, we're shining a spotlight on ten of the worst offenders, shows that started off fantastic and eventually got lost in the smokescreen of their own wheel-spinning. All of these definitely have their diehard defenders who never lost faith, myself included, but the majority of audiences can usually agree on where things went wrong with them. And let's kick it off with the biggest smoke monster of them all.

There will be spoilers, so be warned.

Point of No Return: Nikki and Paulo

While some people never bought into the resolution-less myths and legends that Lost rained down on viewers, this show was about as close as many people got to a small screen religion, and was one of the first TV series that spawned rampant Internet speculation. But despite some nice temporary reprieves, Lost could never fully recapture how blissfully ominous its first two seasons were, collapsing beneath its own mysteries, flash-forwards and myriad other plot contrivances. By the time the gang reached the Temple, the head-scratching had turned to head-bashing, and I think we can all agree that the finale was about as delicate and graceful as a drunken elephant ballet.

Point of No Return: Rita's death

For me, Dexter was never as good as it was in Season 1, but still I hung on. A victim of far too many Miami-based serial killers, Dexter hit a secondary high point when John Lithgow joined the show as the layered psychopath Trinity Killer, who killed Rita and changed Dexter forever. (Mostly by turning him into an awful single parent.) The show took too long in introducing Deb to Dexter's Dark Passenger - a description that made me cringe harder with every utterance - and still ruined their relationship, which was basically the only relationship that mattered by that point. And it's best just to forget that the abysmal Colin Hanks character and series finale even happened, lest we all turn homicidal.

Point of No Return: The middle of nearly every season.

After Season 1 24 basically became the action thriller equivalent of a house made out of the same set of LEGO bricks, just in a slightly different formation. As far as mindless popcorn drama goes, it's hard to knock later seasons of 24 harder than earlier ones, as they all followed similar story structures, but each season took that much more disbelief suspension to consider that anything in this show could have actually happened to this same set of characters. 24: Live Another Day even switched up the format to make itself seem distinct, but few were fooled. The one part of 24 that never got old? Chloe, obviously.

Point of No Return: Once the show's limitations became blatantly obvious.

More closely resembling the late-1980s Superboy than anything in the modern superhero TV landscape, The CW's Smallville featured nearly 100% less direct ties to the Superman universe, and kept baiting viewers for ten seasons with a lukewarm plotline that still felt like a high school drama even in the years after the characters had moved onto Metropolis. A lot of your favorite DC characters appeared on Smallville in their most watered-down form, and the show's budgetary restraints kept even the most potentially badass sequences on the level of half-hearted fan film. Its 10-season lifespan obviously kept a sizeable audience, but presumably few of them walked away with compliments to spare.

Point of No Return: Season 3 at the latest

I genuinely praise Veronica Mars for being one of my favorite TV shows of the past 20 years or so, and I couldn't tell you what Season 3 of the show was about, mere minutes after using the Internet to remind myself. A series where the characters seemed to remain true to their enjoyable personalities throughout the run - with the possible exception of Duncan "Generic Nickname" Kane - Veronica Mars' continuously clique-heavy Neptune lost itself in a series of increasingly baffling crimes and plotlines. The movie kind of made up for it, but I can't imagine that Season 4 would have righted this witty ship.

Point of No Return: The Season 2 finale

Created by Paul Scheuring, Fox's Prison Break filled its first season with a plethora of enjoyable twists and turns, calculating characters, and a madcap plotline so ridiculous it could only be god-awful or amazing, and luckily it was the latter. It could have been one of the most exciting one-and-done shows ever, but it still managed to be captivating throughout Season 2. But by Season 3, the writers were writing for the show Prison Break Again and Again, with Michael getting sent to the mostly prisoner-run Sona. And then there's the cartoonishly over-the-top Season 4, which I assume even the cast and crew have forgotten about.

Point of No Return: Whatever Season 2 was

When it debuted in 2006, Heroes seemed destined to become the next best thing to anything Marvel and DC had going for it, introducing a plethora of superpowered people, a complex-but-centered plotline, and a dastardly villain in Zachary Quinto's Sylar. And then the Writer's Strike happened, and a shortened Season 2 proved that not even the always enjoyable Hiro Nakamura could save a dreadfully slow-building story that needlessly went into the past. And then those other seasons happened. The upcoming limited series Heroes Reborn will hopefully learn from those earlier mistakes. Is "focused narrative" a superpower that someone can have in this universe?

Point of No Return: Not killing Brody

Though Season 4 of Homeland was a turn in the right direction for the acclaimed Showtime drama, it shot itself in the foot by not shooting Damien Lewis' Nicholas Brody in the head by the end of Season 1. (Or whatever way he was originally supposed to die.) By keeping him and his increasingly grating family around, the show essentially neutered any far-reaching plotlines they might have gone with otherwise, and then gave Carrie Mathison a wedlock child that she hates, which doesn't equal the most intriguing plot point for a show focused on international government intrigue. Season 5's German setting and Carrie's absence from the CIA will hopefully continue to build this show back up.

Point of No Return: The middle of the Carver storyline

If all one wanted out of a TV show was for the most sensationalistic and lascivious programming imaginable, then Ryan Murphy's Nip/Tuck actually got better as it went along. But for everyone else looking for enrapturing storytelling and sympathetic characters, this show absolutely lost its way even before the Carver's disappointing identity was revealed, arguably around the time Ava's storyline got more shocking. The surgeries got increasingly ridiculous, Sean and Christian's behavior got ever more disgusting, and all other characters ceased to matter. Except Liz, of course, but she ended up getting screwed by the writers, too. Can't hate on all those guest stars, though.

Point of No Return: Season 4 and beyond

To be honest, I'm not even sure I could pinpoint when this show lost its already rocky way. True Blood started off with vampires, shapeshifters and Sookie "I'm a faerie-hybrid" Stackhouse, so I guess I should have expected werewolves, witches and more to show up. Really, Tara's mother was enough to make me want to throw my TV out the window, but True Blood just started oozing awful when Eric lost his memory, when Tara turned, and when the Vampire Authority became a major plot point. As far as the show's last few seasons go, a nice supercut of all the good scenes would have been preferable.

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Here, we’re shining a spotlight on ten of the worst offenders when it comes to great TV shows that got increasingly more frustrating as time went by. The shows that started off fantastic and eventually got lost in the smokescreen of their own wheel-spinning.

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"Fall in love with moments, not moves." - Joss Whedon
When writing TV it is easier to draw from relatable situations a character is going through rather than story devices the script contains.

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"we're writing a script every ten days, and after awhile you realize that not every episode is going to be a home run." - Damon Lindelof
It seems as though that writing for TV is not for a perfectionist. sometimes you have to go with work that's not your best.

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"I think there is a renaissance going on in TV, I think its a combination of so much of feature writing has gone down hill, and the middle class of feature writing has disappeared. so i think a lot of the people who feel frustrated come to TV, and go "Oh my god, who gave us all this freedom? Its less money, but i have stories i wanna tell.""  -Robert King
TV writing can present it's own challenges, but it does give writers more time on the same project to tell more stories with the same characters.

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We can all agree that good storytelling is good storytelling; it doesn't matter if it comes from TV, Film, video games, comic books, or theater. There are critical aspects of storytelling that remain the same in every medium. That being said, there are important differences in writing for each an every one of them.

TV and Film are very similar, especially nowadays with shows like Breaking Bad, Game of Thrones, and Narcos turning into something like very long movies, instead of the episodic shows of old, still, there are significant differences between them.

TV shows have two or three distinct structures at play at the same time. They have the structure of the episode, which in one-hour dramas is usually a 4 act one, then they have the season structure, everything that's going on should lead to some sort of culmination at the end of the season. And then ideally, every season should serve the overarching narrative of the whole series.

A series like Avatar: The Last Airbender follows that triple structure, and does so very successfully, with all the characters arcs evolving through different seasons and culminating at the series finale.

Films generally have just one structure, unless they are part of something bigger like the MCU, so its easier for a writer to plot out a movie rather than a whole series.

In film, writers usually have a small set of character and very rarely do they get to develop different arcs for all of them. You see, films are restricted by time in a way TV isn't, so you only have about two hours to tell your tale, which means most of the writers' attention goes into the main character, and maybe one or two secondary ones.

Take Star Wars: Episode IV, for example, during the movie, most of the attention and change is focused on Luke and his hero's journey. The only character to change during the film besides him is Han Solo, who goes from "lone wolf" to a regular member of the rebellion.

In TV you have much more time, which means writers have more freedom to develop the characters and their respective arcs. And not only that, in TV writers have the luxury of a much larger cast, where many different stories and arcs can spawn off.

Take something like Game of Thrones or Orange Is the New Black, both of these series have large casts, and many of the characters in them get to evolve and develop throughout the seasons.

As we can see, writing for TV can be very challenging, one has to keep in mind different overarching structures, a large set of characters, and their respective arcs while writing. For these reasons writers rarely tackle TV shows alone, they have a "Writers' Room" where many writers, led by the showrunner, plan what's going to happen during the season and on each of episodes. TV writing is very collaborative, and even though just one writer might sign the final script of the episode, many others influenced the story and the plot points inside of it.

Movie writing is rarely that collaborative unless writers are dealing with a big franchise, then they might have some writers' room or team to tackle the story of each film. But usually, a single screenwriter takes on the script, and then he does different versions of it depending on the notes he gets from producers and studio executives.

TV writing and film writing are similar when looked from afar, but when you really get into the minutia of each medium, you'll see more and more differences between them.

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3 Differences Between Film and TV Writing

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We can all agree that good storytelling is good storytelling; it doesn't matter if it comes from TV, Film, video games, comic books, or theater. There are critical aspects of storytelling that remain the same in every medium. That being said, there are important differences in writing for each an every one of them.

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"If quality scripts don't come on time you'll be off the air." - Jeff Melvoin
Film writers can call for re-writes and re-shoots, but it is unacceptable to turn in a late script for television.

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"Quality scripts on time." -  Jeff Melvoin
TV writers are under intense time deadlines to create quality scripts! Good righting can save a show, and bad writing can deflate it.

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"your'e heading 4 different directions at the same time," "your'e in a constant feeling that your'e not doing a good enough job." - Mike Royce
Show runners have to be on their feet all day going from sets, to writers rooms, and to meetings. This job will never have you sitting in one place.

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Production turn around is a nightmare in TV

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Production turn around is a nightmare in TV

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Unlike film production which can take months of shooting and post production work, TV production crews have to pump out new episodes each week. This means each member of the Show runners team has to perform their responsibilities on a much smaller time table, and more often than their film counter parts.

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Show runners have to be the bad guy sometimes

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Show runners have to be the bad guy sometimes

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"You know things are going well on your show if everyone is a little annoyed with you." - Hart Hansen
Its up to show runners to ensure that everyone on a project is on top of their responsibilities, and this doesn't always make you the most popular person.

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"The age of writers and show runners being anonymous is over." - Steven S. DeKnight
The state of media puts modern show runners in the public eye just as much as actors for both praise and scrutiny.

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The legendary Jean-Luc Picard is back on our screens and that's a good thing. In fact, that's a great thing, but having such an enormous, impassioned audience - every single one of them with an opinion - is a tough crowd to cater for.

From the moment it was first announced that CBS was going to bring " Star Trek" back to our screens in November 2015, fans had reason to be excited once again. After all, it had been over 10 years since we last saw a new episode on our televisions, and even then, that was the soul-crushingly disappointing series finale of the underrated "Enterprise" in May 2005.

During that time, Disney bought Lucasfilm and breathed life back into " Star Wars," plus fans of that franchise at least had a couple of animated series to keep them going until December 2015, when "The Force Awakens" arrived on cinema screens. And "Star Wars" fans are a demanding bunch too, as was seen when the polarizing final sequel "The Rise of Skywalker" was released at the end of last year.

The reaction resulted in the widespread adoption of a new term, "toxic fandom." It can be generally summarized as a state of possessiveness and entitlement that leads to a feeling of superiority among a fan community. Even though the concept had existed for a long time prior, this was the first time it had been seen on such a scale.
Video:

(Image credit: CBS)

Heather Kadin, Alex Kurtzman talk 'Star Trek: Picard' and 'Discovery'What makes a 'Star Trek' Fan? Costumed Trekkies share stories
Toxic fandom can take two forms: Fans may rant that any change is bad and nothing will ever be as good as the original, or they may refuse to acknowledge criticism even though it's supported by reasonable argument.

It's sometimes easy to overlook weak dialogue, poor writing, excessive exposition, too much technobabble, uneven story flow or a plot that strains belief, simply because we're overwhelmed to see our favorite characters back on our screens. It's important to maintain standards for writing, storytelling and production... - now more than ever, because we have to pay for the streaming service to watch our favorite shows. These shows are big business, each episode costs upwards of $8 million, and we're paying for it.

Space.com spoke with "Star Trek: Picard" executive producers Heather Kadin and Alex Kurtzman about this at the series premiere in Hollywood on Jan. 13.
Related:

(Image credit: Frank Trapper/Corbis/Getty)

The 'Star Trek: Discovery' cast is full of Trek fans
"We always read feedback. I think it's invaluable," said Kadin. "I think to read feedback and obviously, if one person has a specific reaction to one thing, yes, that's that one person's opinion and is a point taken. But I think there's a lot of value in seeing that a group of fans react to a decision we've made in a positive or negative way, because I think ultimately there are people who have been fans of this show for 50 years ... and who feel an ownership of this show beyond what we're doing with it.

"So I think to not listen to those reactions and listen to those criticisms, positive and negative, would be to do our own selves a disservice," she said.

"The fans have kept 'Star Trek' alive for over 50 years. Their voice has actually been the most pervasive of all, and I think it truly belongs to them," Kurtzman added.

"That's not just lip service. We really do pay attention to what they say and we end up either tacking in certain directions based on that input. But I think hearing [criticism] is part of the conversation. If you're a fan, there's always going to be debate about 'Star Trek.' I think generally 'Star Trek' fans are a really good bunch," he said.

"I don't perceive them as toxic, actually. I think there's a difference between debate and toxicity. Debate is essential. My feeling is that if you're at a 50/50 split, you're probably doing well. It's when you're at 90/10 that you're in trouble. So generally, my feeling is that we listen, we try and incorporate what they have to say - and we're writing as fans ourselves, so it would be foolish of us not to do that."

Unnecessary foul language and hateful remarks with no justification are exactly the sort of thing that prompted Wilson Cruz (Dr. Hugh Culber in "Discovery") to recently announce that he would no longer post production updates about Season 3 of "Discovery" on Twitter.

You know what, I'm done. I won't be posting anything else about the experience of production. Way too many people take it as an opportunity to project, justify whatever uninformed theory they've created in their minds, so I'm done. I'll see you at the premiere of multiple seasons February 12, 2020

Social media certainly hasn't helped. Imagine how much worse the outcry would have been when news got out that the character of Starbuck was being regendered in Ron Moore's "Battlestar Galactica." And looked how that turned out: only the best sci-fi ever written for television.

One old article that pops up every now and again claims that fans were outraged over the announcement of casting on "The Next Generation," and while there was some outrage, some quotes from within the article are claimed to have been taken out of context. The article comes from the June 9, 1987 edition of the weekly tabloid magazine "Globe," so yes, it's entirely possible that they were indeed taken out of context, especially when you realize the individual being quoted was none other than Shirley Maiewski, a woman who is often called the "Grandma of Trek" and has been one of the show's biggest supporters since Day One.
Follow Scott Snowden on Twitter. Follow us on Twitter @Spacedotcom and on Facebook.
That's not to say it doesn't exist; a great example is near the beginning of the truly amazing documentary, " What We Left Behind: Star Trek DS9" the cast read out some quite unkind comments and reviews that were written about "Deep Space Nine."

Ultimately, it is still all about opinions and we should all respect that, even if we don't agree.

As someone who has quite strong opinions on science fiction film and television, nothing makes my eyes light up more than when in a queue at a Comic-Con for example, someone offers an interesting and unusual opinion - that's different to mine - and we have the chance to talk about it. Live long, prosper and debate sci-fi responsibly.

When Scott's application to the NASA astronaut training program was turned down, he was naturally upset ... as any 6-year-old boy would be. He chose instead to write as much as he possibly could about science, technology and space exploration. He graduated from The University of Coventry and received his training on Fleet Street in London. He still hopes to be the first journalist in space. You can follow Scott on Twitter @LorumIpsum.

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'Star Trek' showrunner Alex Kurtzman talks about toxic fandom

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The legendary Jean-Luc Picard is back on our screens and that's a good thing. In fact, that's a great thing, but having such an enormous, impassioned audience - every single one of them with an opinion - is a tough crowd to cater for.

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The hard work does not guarantee success

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The hard work does not guarantee success

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"84% of new shows in America fail." - Jeff Melvoin
No matter how much effort is put into a show there is no guarantee that it will take off

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According to the source, 51 percent of TV pilots during the 2018 to 2019 season were ordered straight to series in the United States, up significantly from 36 percent in the previous season. The report notes that the increase can be attributed to the digital projects, and given digital television's popularity, it is expected that the figure will continue to grow each year.

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Share of TV pilots ordered straight to series in the U.S. 2019 | Statista

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According to the source, 51 percent of TV pilots during the 2018 to 2019 season were ordered straight to series in the United States, up significantly from 36 percent in the previous season. The report notes that the increase can be attributed to the digital projects, and given digital television's popularity, it is expected that the figure will continue to grow each year.

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"It's a billion decisions a day, and you're the guy that has to decide what were going to do." - Ali Leroi
Its clear that Show runners working in TV have unrivaled responsibility over their project compared to film making which tends to be more collaborative

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"And yet were expected to deliver a show every 7 days." -Jeff Pinkner
Being a journalism student, I can understand the stress of working by a deadline, but show runners have to deliver projects that include so much on such a short turn around.

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"As shows get more cinematic in their scope and intention, the job has become much more complicated." -Jeff Pinkner
This quote gives the impression that putting together a TV series is much more work now then it has been in past eras of television.