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When a TV series becomes very popular, creative and/or commercial, a great deal of pressure is put immediately on its showwrunner, writers, and producers to keep their audience engaged. The trick for these creative people is to give viewers more of what they love while also keeping the show from growing old – but how to go about changing significantly over the years, especially for sitting comedy.
When people tuned into a series like “The Dick van Dyke Show,” “the propl,” and “The Bob Newhart Show,” they did not eagerly anticipated the next chapter in an ongoing narrative as they did/do with Modern seating comedy is like “arrested development,” “Beat your enthusiasm,” and “Georgie & Mandy’s first wedding.” Although those older shows involved characters trying to achieve some objectives during several seasons, viewers generally still come back just to see great comed ensembles producing big laughter. And as long as the score was good enough to please the network, all they needed was not to throw a gun in the oily gears.
Yet a myriad of cases throughout the history of successful sitting comedy overlapped overlapping unnecessarily with very special episodes. Sometimes, producers feel the need to produce a serious discussion about an important issue (racism, addiction, elevator morals); At another time, they simply feel like let’s tear with a two -part event that will have everyone in Yapping. When it works, You finish with “Good-bye, Radar” on “M*A*S*H.” When you roll snake eyes, you get the three -part disaster of the “Hollywood” saga on “Happy Days” and collapse Goliath Nielsen’s score.
When the three parts “Hollywood” season 5 “Happy Days” started, the sitcom created by Garry Marshall was the number one show on television. For whatever reason, the series that was full of nostalgia decided that it would be fun Yank to be cast out of the 1950s Milwaukee and set them freely on the capital of Showbiz. It was spectacular unrestricted who built to such a ridiculous (and anti -critical, highlight of the essential transferability of the show) until, later decades, spawning an eumism for the point in a series run where everything goes down the hill.
Yes, this is where “jumping the shark” came from – and literally refers to a moment where the show’s most popular character, Arthur “Fonzie” Fonzarelli (Henry Winkler), throws on water skis and jumps a tiger shark in the Pacific Ocean. If this sounds absurd, it was. Why did the creative people of the series do this, and killed “happy days?”
