Hello, Hex Squad! Today, I’m diving deep into a pressing question that many viewers are asking: why do modern TV shows seem to fall short of expectations? It’s time we face a tough reality: many television series today leave much to be desired. If you’ve found yourself scrolling through options more than actually watching, you’re definitely not alone. In the past, I used to binge entire seasons in just a couple of days, but the post-COVID television landscape appears to have transformed into a disappointing collection of missed chances and underwhelming storytelling. So, what’s really going wrong in our beloved medium? Let’s explore this together.
Is Budget the Real Reason Behind Poor TV Shows?
Initially, I considered the possibility that budget constraints were to blame for the decline in quality. However, that theory quickly unravels upon closer inspection. Major networks are pouring staggering amounts of money into the production of these shows. Take a look at these eye-opening figures:
- Game of Thrones Season 1: $6 million per episode
- Bridgerton Season 1: $7 million per episode
- The Witcher Season 1: $10 million per episode
- The Mandalorian: $15 million per episode
- WandaVision: $25 million per episode
- The Falcon and the Winter Soldier: $25 million per episode
- House of the Dragon: $20 million per episode
- Stranger Things Season 4: $30 million per episode
- Lord of the Rings: The Rings of Power: $60 million per episode (!?)
And this is just a glimpse into the extravagant spending in the industry. Clearly, the issue isn’t a lack of production funds—these shows boast stunning visuals, exceptional special effects, high-caliber actors, elaborate costumes, and intricate sets. So, what is it that keeps us feeling dissatisfied?
Despite the substantial financial investments in production, I believe the crux of the matter lies elsewhere. It’s not the caliber of the cast, the quality of production, or the aesthetic appeal of the sets or costumes that is causing the disconnect. What we really need to examine is the core element that ties everything together: the writing.
The Central Issue: Poor Writing in TV Shows
At the heart of the problem is subpar writing, which acts like a weight dragging down these otherwise promising shows. Strong writing is the foundational element of any compelling story; without it, even a budget of $60 million per episode can result in nothing more than a glossy facade. Let’s be honest: many recent productions have been plagued by lackluster writing. We encounter uninspired characters, glaring plot holes that are impossible to ignore, and dialogue so dull it feels like it was generated by an AI.
Consider The Umbrella Academy as an example. The first season was filled with sharp, witty, and engaging dialogue that kept viewers glued to their screens. However, by the most recent season, the conversations felt so flat that I almost expected the characters to deliver their lines in monotone. The once-vibrant spark is missing, and the culprit is, without a doubt, the writing quality.
The Disheartening Reality of Writer Compensation
Now, let’s delve into a crucial factor that significantly impacts the quality of writing: the compensation for TV writers. Did you know that many television writers earn as little as $11.78 per hour? The median pay is around $24.29 per hour, which is hardly a sustainable wage in most urban areas. Is it any wonder that the caliber of storytelling is faltering? When writers are struggling to make ends meet, their creative energies are likely diverted elsewhere, resulting in less compelling content for your next Netflix binge.
Writers deserve fair compensation for their talents and efforts. Networks that fail to value their writers are doing themselves a disservice, ultimately risking audience loyalty and goodwill each time they mishandle a beloved intellectual property or new show concept while neglecting the importance of high-quality writing.
The Problem of Disrespecting Source Material
This issue is particularly damaging: when writers lack genuine respect for the source material they are adapting. A prime example is The Witcher. The original creator, Andrzej Sapkowski, crafted a rich, dark, and fascinating universe, and I’ve read a significant portion of the books. So why did the television adaptation deliver a diluted version that even Henry Cavill couldn’t salvage? Cavill was so disillusioned with the changes that he chose to exit the show rather than be associated with the subpar content it became.
Then we have House of the Dragon. Writer Sara Hess openly admitted that she hadn’t even watched Game of Thrones, nor is it clear if she bothered to read the original books. Seriously? If you’re not willing to at least familiarize yourself with the universe you’re writing for, the end result is destined for failure. I found myself particularly frustrated with the episodes penned by Hess, as much of the content she introduced—absent from the source material—felt nonsensical and undermined the story.
And don’t get me started on The Rings of Power. I attempted to watch that show three times and fell asleep each time, despite my love for the Lord of the Rings films. Clearly, the source material isn’t the issue; instead, it’s the uninspired dialogue and the excessive need to consult a wiki just to keep track of the myriad of characters that detracts from the experience.
Writers Prioritizing Ego Over Substance
What’s even more problematic than writers who misunderstand the material? Those who believe they can enhance it. There seems to be an obsession with putting a personal twist on established intellectual properties, and let’s be honest—it’s often detrimental to the final product. This ego-driven desire to leave a personal imprint frequently results in the reimagining of beloved characters or storylines, which alienates dedicated fans and creates fractured narratives.
Here’s a spoiler: it almost never improves the story. In fact, 999 times out of 1000, the alterations make it worse.
Is the Era of Exceptional Television Coming to an End?
For a moment, I nearly resigned myself to the thought that high-quality television might be a thing of the past. But then, I discovered Kaos on Netflix. This show is a brilliant, dark reimagining of Greek mythology that completely captivated me from the first five minutes. Charlie Covell showcased an impressive understanding of the source material, which was evident throughout the series. Kaos managed to accomplish what both House of the Dragon and The Rings of Power failed to deliver: well-crafted storytelling that resonates with modern audiences and features sharp, engaging dialogue.
And can we just take a moment to appreciate Jeff Goldblum as Zeus? Absolute perfection. This show achieved in eight episodes what others struggle to accomplish in sixteen: a captivating, cohesive narrative that allows characters to showcase genuine agency. (Looking at you, House of the Dragon—why can’t your female characters have any agency?)
The Challenges of Short Seasons and Long Gaps
Another significant frustration with contemporary television is the combination of short seasons and seemingly endless breaks between them. It’s nearly impossible to craft a compelling story in just six to eight episodes unless you possess extraordinary storytelling abilities—and most shows simply don’t deliver on this front (with Kaos being a notable exception). What’s worse, these abbreviated seasons are often followed by multi-year hiatuses. By the time the next season finally arrives, I often find myself having forgotten half of the plot.
Can we please bring back the days of 12- to 16-episode seasons? Anything less feels like a teaser trailer stretched into a full season (looking at you, House of the Dragon Season 2). The pacing issues are so pronounced that after watching the last episode of House of the Dragon, I canceled my Max subscription out of sheer frustration. Slow burns aren’t always enjoyable, and a season 2 slow burn that goes nowhere left me feeling cheated of any meaningful content. I should have known better than to give House of the Dragon another chance after the disappointment of Game of Thrones Season 8.
Directing Issues Contributing to TV Show Problems
Poor directing also plays a significant role in the decline of many shows. Viewers are not interested in an entire eight-season slow burn that ultimately leads to a lack of payoff. Long scenes filled with characters sighing, bathing, or staring vacantly into space, instead of offering clever dialogue, simply do not make for engaging television. It’s excruciatingly dull.
Moreover, when audiences need to seek out Behind the Scenes content or listen to podcasts about a show just to understand character motivations, it reveals a severe lack of effective direction. Exceptional directors can convey critical information through character interactions and the writing itself without requiring outside explanations.
I was disheartened to read reports about the House of the Dragon actors pleading for scenes together, such as Aegon and Helaena, or Aegon and Rhaenyra. It’s the responsibility of both directors and writers to facilitate impactful moments that resonate with the audience.
Reflecting on the Game of Thrones Books
I must admit that I read the A Song of Ice and Fire series, known as Game of Thrones. While I can’t say I enjoyed the writing style, I did appreciate the exceptional world-building. However, I also have strong reservations about the portrayal of women in both the books and the television adaptation. I’m weary of narratives that depict women suffering at the hands of men.
Even so, I recognize that G. R. R. Martin possesses remarkable world-building skills and writing talent, despite my discomfort with his treatment of female characters, especially when comparing it to other media like Elden Ring.
My Past Disappointments with TV Series
This isn’t the first time I’ve expressed dissatisfaction with a television series. I was deeply disappointed by the endings of True Blood and the Sookie Stackhouse book series, feeling let down by both interpretations. The disappointment was so profound that I stopped reading anything written by Charlaine Harris, despite previously being an avid fan of her work.
The Solution: Steps to Revitalize TV Quality
For television to make a meaningful comeback, it is essential to prioritize better writing, fair compensation for writers, and a genuine respect for both the source material and the audience.
Writers should be compensated adequately so they can thrive creatively instead of merely surviving. Networks need to stop mismanaging beloved intellectual properties. And for the love of Zeus (a nod to Kaos), let’s advocate for longer seasons that allow for proper plot development.
What are your thoughts on this topic? Do you agree that many TV shows are lacking, or am I being overly critical? Feel free to share your opinions in the comments!
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