Is it Possible to Resurrect TGIF?

ABC held a strong tradition of family-friendly programming from 1985-2000, eventually earling the TGIF branding in 1989.  Long successful due to hit shows such as Full House, Family Matters, Boy Meets World, Step By Step and Sabrina, the Teenage Witch, the franchise folded in 2000 as Boy Meets World and Sabrina left the schedule.  A brief revival effort came from 2003-06 anchored on the successful George Lopez Show, though a lineup littered with duds led ABC to reformat again.  The closest to Friday success came with relaunching sitcoms in the 8:00 hour from 2012-17, and again from 2018-present.

Could ABC reignite the magic again?  Their sitcom pallet certainly offers compatible family-friendly choices to populate.  And Fridays have become the latest hotbed for television.  No longer a wasteland to dispose of aged or decaying shows, networks are getting competitive with this evening.  CBS houses a sturdy lineup of quality procedurals which regularly win the evening.  NBC houses longstanding dramas at 8:00, followed by progressive reporting on Dateline.  FOX phoned it in with WWE, and ABC holds American Housewife and outgoing Fresh Off The Boat to lead into 42-year old 20/20.  These networks deliver sturdy for the evening save for ABC struggling to schedule strong pieces in the 8:30 timeslot (for a comprehensive history of its clunkers, click HERE).

TGIF returning is possible, although likely not in the next season.  ABC needs all sitcom hands on deck in its other evenings with longstanding shows such as Fresh Off The Boat and Modern Family bow out after 6 and 11 seasons, respectively.  Save for The Conners and an aging Goldbergs, the Tuesday and Wednesday lineups underwhelm.  Tuesdays feature The Conners outlying a sea of middling shows.  Wednesdays are in tatters with The Goldbergs losing steam, its sophomore spinoff Schooled is also struggling and capped at 13 episodes, Modern Family is bowing out and Single Parents just exists.  Fridays still have American Housewife belting out competitive ratings, and Fresh Off The Boat ready to sail on next week.

In order to successfully colonize Fridays again, ABC needs to locate a compatible, established hit next door to American Housewife.  The network has long treated Fridays as a disposal ground vs. a place to repurpose capable players.  Moving Last Man Standing and American Housewife made excellent examples of moving capable players, vs. 2018's blatant shelving of aged Fresh Off The Boat and declining Speechless in the 8:00 hour.  Once ABC succeeds in two back to back hits, they hold room to expand deeper into the 9:00 hour, used as overlay coverage for 20/20.  Repopulating its sitcom roster with strong players is priority, as the drama department on ABC performs weak.  Reality TV is relegated to Sundays and Mondays, and 10:00 slots tend to be show killers.

Which existing shows may make companion pieces for a TGIF branding?  American Housewife fits the bill perfectly with its premise, and "ish" factors Black-ish and Mixed-ish take the crown as well.  Bless This Mess is compatible with American Housewife, which has been used to spackle together ABC's tenuous sitcom nights.  Perhaps parking Black-ish and Mixed-Ish in the 8:00 timeslot may hold well, leaving AH to return to Tuesdays and Wednesdays to help rebuild weak lineups.  New players are needed in the deck to generate sitcom life as most are aged.  In an era of no megahits like Big Bang Theory and Modern Family, ABC will need to compromise and locate cost-effective sitcoms which will likely belt out 0.4-0.6 ratings in the 2020-21 season.

ABC has struck lightning several times in the past, and TGIF remains a strong piece of its legacy.  With proper planning, it could reign again with consuming laughter.  The network will need to work on developing quality showings, as well as not treating the evening as a disposal ground for clunkers.  That is what 10:00 timeslots and Sundays exist for.

Fuller House Ending With Season 5

One of Netflix's most popular original comedies is coming to an end. The streaming giant has renewed Fuller House for a fifth and final season, set to air later this year. Fuller House premiered in 2016, airing 57 episodes since then over its four seasons. An episode count for the sendoff season has not been announced, though 13 episode season orders have the most common (only season 3 lasted longer). The series is a revival/spin-off of the iconic 1980s-90s ABC series Full House, and features Candace Cameron Bure, Jodie Sweetin, and Andrea Barber in starring roles, with original series stars John Stamos, Bob Saget and Dave Coulier all featured in recurring roles.

What do you think of this news? Will you miss Fuller House after it says farewell later this year? Let us know in the comments below!

Why Networks Need to Take a Chill Pill With Revivals

Recently, television has been flooded with revivals of 1980s, '90s, and '00s relics, with Gilmore Girls, Will & Grace, Roseanne, and recently Murphy Brown all being dug up form the TV graveyard. All of these shows enjoyed lengthy runs, with the shortest of the above mentioned, Gilmore Girls, running for seven seasons. These revivals have been a mixed bag, both critically and commercially. Many enjoy considerable interest initially. But with so many shows being returning, a line has to be drawn. This needs to end. And here's why.

Oversaturation:

Soon, TV will be as crowded with revivals as the people in this crowd

The more shows that get revived, the less special revivals will be. The shock value will be gone. The excitement just won't be there. Early revivals were exciting because it wasn't something you saw every day. But at this point, just about every show seems to have been brought back from the dead. In a world in which revivals take up half of the TV schedule, nobody's going to tune in just because of nostalgia. Because at that point, everything will be nostalgic. This trend is just not one that can be sustained. Not without plenty of revival failures.

Short Longevity:

Will & Grace has fallen dramatically since its revival premiere (screenshot via Spotted Ratings)

While the show is still averaging well above any other NBC sitcom, Will & Grace has taken a mighty fall in the ratings since it returned to the airwaves. It took a one-point dip in week two and has continued to fall, with a few exceptions, since then. This may well be the truth for all revivals, or it could be a fluke that is contained to just Will & Grace. Still, the networks should think about how long their revivals will be hot commodities after they make anticipated returns. If they'll only be modest players in the long run, is it even worth the trouble of bringing them back?

Acclaim Isn't Guaranteed:

Fuller House received negative reviews from critics

This isn't necessarily a commercial aspect like other points here, but a messy, poorly executed revival just may ruin the public's thoughts not just of the revival, but of the show itself. While Twin Peaks and Will & Grace received acclaim and award nominations for their returns, plenty of others haven't been received so warmly. Despite moderately positive responses from fans, Fuller House received poor reviews from critics. I previously pointed out why the Gilmore Girls reboot didn't work for me, and though it received generally positive responses from critics, I plenty of others didn't care for it. Personally, it ruined my opinion of the original series. If that can happen for me with Gilmore Girls, it can happen to just about any show. Even the previously-mentioned Twin Peaks and Will & Grace received poor reactions from some fans. Though not everyone can be pleased, a poorly done revival can backfire significantly. Just like with any other show, these revivals aren't safe from being rejected majorly. It has to be said: nostalgia simply cannot carry a show. A show also needs a heart and soul.

Risk Factor:

Most revived shows last saw the light of day when these dudes were president

Most shows that are being revived in this recent wave have been off the air for a very long time. Murphy Brown and Roseanne have been off the air for twenty years. Will & Grace was gone for ten. Needless to say, the core audiences of these shows during their original runs aren't the target audience nowadays. If a new show just can't connect with younger viewers, a revival won't work. It's a huge risk to bring something back as old as some of these shows. Not only do they have to stay timely to woo new fans, but they have to stay true to what they once were to please their old fans. It's a tricky mixture that needs a lot of tweaking to make work. No matter how acclaimed they were in their day, no matter how iconic they are, and no matter how famous their stars are, these future revivals can and will fail.

Conclusion:

The buck needs to stop here

I'm not saying that networks should stop reviving things entirely. I am, however, saying that the frequency at which it is occurring is alarming. ABC alone has two joining its schedule midseason 2018. NBC may very well have two next season. And Netflix already has a plethora of revivals. The networks do, however, have to get it out of their heads all of these revivals will be slam-dunks. That's not a healthy mentality or one that you should have for any show. Maybe, just maybe, the networks can exercise some restraint when it comes to revivals. Because the buck really has to stop somewhere. Otherwise, we'll soon be enjoying new seasons of I Love Lucy and Bewitched, because why not?

An Overdose of Nostalgia? Catch Up On Fuller House's First 26 Episodes Before Indulging Today....

Written Fuller of Himself by Bridger Cunningham


Happy Anniversary, Full(er) House fans!  On this evening 30 years ago, new pilot Full House debuted on ABC's highly-rated Tuesday evening before being moved to the troubled Fridays.  The fledgling sitcom finished in a disastrous 71st place.  The dynamics changed the following season when it tied for 28th place and descended upward to 8th place by the 5th season in the 1991-92 season.  That height was marked by a move to Tuesday as the show managed to remain highly rated through 1994, ending in 25th Place in 1995.  Like the original show's ratings, its revival delivered a ho-hum 1st season followed by an improved follow-up.  The series has received scathing reviews with an oxymoron of observations being both valid and preposterous nature.  But reviewers musk as the valid question -- Why do viewers tune into the revival on Netflix?  Do they desire a relevant, updated continuation, or are they yearning for nostalgia and enjoy following three well-established child characters exploring adult lives?  Let's break down the show's existing delivery --

SEASON ONE

If readers abhor spoilers, this article will do its best to avoid too many reveals, but readers must read at their own risk.  So how did the season begin?  With a 36-minute debut chock with too much nostalgia, an all-too-outdated laugh track and too little shelf space for the bloated ensemble.  Fickle viewers would tune out as the episode delivered as unevenly as a sitcom reunion movie.  However, wise readers should tune into the second episode, as the show finds out what the pilot missed -- character development.  Subtracting the principle adults from the originals not only allows leading ladies DJ (Candace Cameron-Bure), Stephanie (Jodie Sweetin) and Kimmy (Andrea Barber) to explore their adult personalities, but also gives a welcome introduction to DJ's sons Jackson (Michael Campion) and Max (Elias Harger), as well as Kimmy's daughter, Ramona (Soni Nicole Bringas).


The premise works as the one nostalgic element writers succeeded in was having the ladies step into the principle roles Danny (Bob Saget), Jesse (John Stamos) and Joey (Dave Couiler) delivered in the original.  DJ has assumed Danny's uptight yet orderly role as a widow with three boys, Stephanie is a wayward rocker like DJ, and Kimmy is the family outsider delivering outlandish doses similar to Joey.  And best of all, the children have varying personalities.  Jackson is a gawky teenager (channeling Danny's nerdiness), Max is a snarky, wisecracking neatfreak (channeling Danny's other traits), and Ramona is an anchoring element as her parents Kimmy and Fernando (Juan Pablo di-Pace) cannot seem to conduct themselves as adults.  The ensemble's misadventures deliver a refreshing update to the original premise, if they can get an inch from the scene-stealing Nostalgia which overdoses the premise.

Save for Dave Couiler's welcome guest appearance as a babysitter teaching the kids to survive the night without the net, the other cameos from Full House past crowded the 13 episodes.  Danny is now married to a lady named Teri.  A missed opportunity indeed, as powerhouse Eva La Rue was used less than the plants in the Tanner living room.  Danny dated women such as Cindy and Vicky, exploring their relationships with his daughters.  No one knows how Teri interacts with her adult stepdaughter, and more appearances could further their character growth.  La Rue is a class act and would never turn her nose up at additional appearances (she begged soap writers to craft a space for her years after leaving All My Children), so use it or lose it!

Jesse and Rebecca also suffer from being downgraded plot props with little development.  The problem is this season failed to divulge developments the previous principles experienced in the last 20 years.  How did Danny fall in love with his beautiful 2nd wife (or perhaps 3rd?).  How did Jesse and Rebecca manage to make their marriage last so long?  Only Joey's backstory developed in the 2nd season.  Plus, Steve Hale's (Scott Weinger) return lacked the excitement and passion from the first run, as his story played out by season 7.  Having him return in a forced romance with DJ failed as Weinger and Cameron-Bure no longer hold the same chemistry as they did as teenagers.

A Welcome Progression of Realism

Unlike these characters, DJ, Stephanie and Kimmy's developments in the 20+ year window have fleshed out appropriately.  Solid, sensible DJ became a veterinarian, pursued the conventional family route and was now a widower with three children.  The small dose of character-development she delivered in the pilot disclosed moderate money troubles, a realistic touch as she likely has mounds of student debt, raising a family in America's most-expensive region of the country.  Stephanie's finances are graver, as she has adopted a freelance musician's lifestyle with a load of maxed-out credit cards.  Kimmy delivered the highest helping of relevance as she became a party planner, channeling her eccentricity into a wise career.  She just ended a volatile, mixed-up marriage and is figuring out how to parent a teenage girl.

The three women taking shelter in Danny's profitable home (in one of San Francisco's priciest neighborhoods) is believable as all three desired to allow the four children to experience their childhood in their same neighborhood they grew up in.  Set design is impeccable, as the Tanner House was resurrected to precision and housed to to appropriate occupants.  The one plot point dwelled on (and viewers would appreciate if it was dropped) was the obsession over Michele not being present.  Everyone gets it.  Mary Kate and Ashley Olson continue to refuse a return engagement as they are happier not acting anymore.  It is time to focus on who is is here vs. who is not, as there are plenty of characters to love on screen.

Amazingly, John Brotherton managed to squeeze enough notice in this bloated cast to develop a welcome presence as newly relevant character in veterinarian Matt.  And Carly Rae Jepsen's update to the iconic opening matches the tone of the original and the right delivery of nostalgia vs. the forced doses this season exhibited.

SEASON TWO

A tantalizing trio, or nauseous nostalgia?

After an all too trite closing hook from Season 1, Season 2 continued to develop the newer characters and the three ladies.  Juan Pablo di Pace was upgraded to a series regular as Fernando, filling a void of leading male performers from the first 13 episodes.  di Pace toned down the flamboyance enough to develop great chemistry with Harger's Max, who enjoys pestering and needling his household's freeloader.  Their foil complex enriched the premise and created a welcome distraction from the monotony of the Steve/DJ/Matt triangle.  The gentleman augmented the already-bloated cast with new girlfriends DJ doppelganger CJ (Virginia Williams) and Crystal (Gianna DiDonato).  Adam Hagenbuch entered the fold with great chemistry with Sweetin, albeit he retconned the entire Gibler family as Jimmy Gibbler, the never before mentioned character.  Characters mentioned from the Gibbler house in the past were three sisters (mentioned in the first season) and an older brother Ray (mentioned in Season 6).

Fitting.

These additions proved to be distractions, while younger additions with Paco, Lola, Taylor and Rose pleasantly augmented the younger cast.  The writers also receive kudos for integrating a larger helping of Hispanic and Asian supporting characters, two primary communities in the Northern California region.  Characters aside, the pacing of Season 2 delivered memorable developments as the season arced over the holiday season.  Halloween allowed the ladies to exhibit memorable zaniness as DJ delivered a corny party, Stephanie and Jimmy indulged in ghoulishness as zombies and Fernando and Kimmy properly did a sendup to Lucy and Ricky Ricardo.

The cuddly Glastones?  NOT!

A sendup to a chaotic holiday found the Tanner/Fuller/Gibler/(Insert Other Family Names Here) household over Thanksgiving.  Save for Michelle, cast members of old and new filed into the house and all perforated the house's edges as everyone decided to crash under one roof (were the hotels all booked that evening?).  The highlight of the episode is everyone finally learned what Joey has been up to since the 90's.  He married a beautiful performer named Ginger (Laura Bell Bundy) and they had four bratty little children named Jerry, Lewis, Phyllis and Joan (all ingeniously named after Joey's favorite comics).

The principle cast, a holiday and a tree.  Enjoy the simplicity.

Christmas delivered a nice wholesome delivery and gave viewers the greatest gift of all -- less cast, more sentiment!  And New Year's Eve delivered the coup de grace to an improved season.  After taking a critical look at the first season's strengths and pitfalls, the second season managed to create a landmark for Netflix next to Orange is the New Black.  The show still garners flack from critics who complain about everything from too much nostalgia to displaying the ladies drinking.  But guess what?  The target audience is not the 8-17 year olds, but rather the 8-17 year olds who watched the original and enjoy seeing where their beloved ladies landed.  Fuller House, like its predecessor, will never attract Emmys, but who cares?  The show is clearly here to stay, as Netflix is using it as a launch for longer episode runs and an experimental split-drop release of nine episodes each spanned twice over the season.  Add Fuller House to your bingelist, as 35 episodes/18 hours of greatness are available to marvel.

1994-95 Sitcom Scorecard -- ABC Claims 1st Place a 3rd Year, The Biggest Laugh UPN and WB Deliver Is Their Ratings

Written With Proof Sitcoms Lead to Network Victories by Bridger Cunningham

Contrary to previous discussions by media outlets, NBC did not lead the networks from 1990-95.  It held 2nd place from 1990-91 and 1994-95, and rested in 3rd place from 1991-94.  In that absence, CBS ruled 1991-92, and ABC reigned the other years.  NBC certainly had the most viable sitcoms launched in the last two seasons, yet ABC rode high on Home Improvement's exhaust.  NBC came in 2nd, followed by a tarnished Tiffany standard landing CBS in 3rd place.  And of course, FOX....  Usually they ended this sentence in last place, yet two new networks emerged in the race called UPN and WB.  Both delivered ratings paltry to 1995, yet would be right at home in 2017.

Seinfeld joined the league of slow-burning sleepers who achieved ratings success after multiple seasons of earned success.  It joined The Facts of Life, Cheers and Family ties in a treasured place in NBC's crown, finally reaching 1st place during its 6th season.  Joining it was newly debuted Friends, who housed the other leading timeslot in Must See TV.  Frasier moved to an uncharted Tuesday, which sank the previous seasons with clunkers like Saved by the Bell: The College Years.  Add Mad About You, Wings and NewsRadio into the mix, and NBC wisely invested in its future.

ABC may have led the season, but it had less shows to carry it through the decade.  Home Improvement and Grace Under Fire burned hot, while Ellen and aging Roseanne registered lowe than the two irons in the fire.  Full House ended its 8th season at 24th place.  Lower than the last three seasons, yet far greater than its shaky 1st season in 71st.  TGIF delivered another stable delivery, while Coach experienced a massive drop due to an ill-fated move to Mondays in a 4th night of comedies.  6 casualties befell the 16 entries, though Sister, Sister was salvaged and shipped off to the fledgling WB.

CBS experienced the largest drop of 23% as its Monday comedies cooled compared to the last three successful seasons.  In a questionable move, the network axed Hearts Affire and Lova and War after three seasons.  9 casualties sliced down the 13 entries.  FOX experienced its showpieces dropping in prominence in age.  Martin and Living Single performed respectively and were salvaged, a fate 8 other shows were not afforded the same luxury.  Further down, UPN axed its two clunkers which shall not be named.  And WB launched three shows which carried the network 5 seasons.

Source: http://fbibler.chez.com/tvstats/recent_data/1994-95.html