Comedy Writers on Episodic Orders, How to Define Tone and the State of the Sitcom in the Streaming Age

Comedy Writers on Episodic Orders, How to Define Tone and the State of the Sitcom in the Streaming Age hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 13, 2026 2:08pm PT Comedy Writers on Episodic Orders, How to Define Tone and the State of the Sitcom in the Streaming Age By Michael Schneider Plus Icon Michael Schneider Executive Editor franklinavenue Latest TV Academy Cancels Televerse for 2027 Emmy Season; Festival Will Return in Early 2028 4 hours ago ‘Castability’ App, Which Offers Actors Critiques from Casting Directors, Officially Launches 5 hours ago Former Netflix Exec Grant Hamilton Joins Weinstein Senior LLP as an Associate (EXCLUSIVE) 1 day ago See All Add us as a Google Preferred Source Comments TV comedy vet Michael Schur (“Parks and Recreation,” “The Good Place”) is worried about the state of the sitcom. As he prepares to launch his latest series, Peacock’s “ Dig ,” he’s concerned about the industry’s focus on “completion rates.” “That’s part of this new kind of ‘tech bro’ ethos that has seeped into our business,” he told the audience at Variety’s annual Night in the Writers’ Room: Awards Season Edition.

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“It doesn’t matter how many people sample the show. It matters how many people end up watching the whole thing.” Related Stories ‘Dune 3’ Cast Says the Movie Takes ‘Departures’ From the Books, but ‘You’re Crazy If You’re Going to Pick Fault’ With It Katseye’s Megan Skiendiel Fronts Rare Beauty and Warby Parker’s New Eyewear Collaboration But in comedy, he pointed out, audiences often take time to bond with characters and understand what kind of people they are before they get in a groove and find them funny.

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Shows like “Cheers,” “Seinfeld” and “The Office” weren’t out-of-the-box hits; it took time for the writers and actors to find their show’s sweet spot — and gel as the megahits they became. “I just wish that we were still in the world where you could fail in comedy for a while and because the failure is the R&D,” he said.

“In the old system, you had a couple months to fail, and now you don’t. Because if people tune out in the first two episodes, the research shows that they never go back.

That’s the part of this that really rankles me as a comedy writer.” Schur noted that his “Parks and Recreation” only found its voice at the end of Season 1, and that’s when the show as we remember it really took off. “We only got there because we failed a bunch of times in a row figuring out how to get to that point,” he notes.

The old broadcast model of 22 or more episodes a season — which only a handful of sitcoms still enjoy — gave comedies room to find their groove, and then created the kind of legendary shows that viewers still go back and binge. “You get to tell a lot of story, and out of 24 episodes, there’s maybe three weak ones,” said “ The Comeback ” co-creator Michael Patrick King.

Even “The Comeback” co-creator and star Lisa Kudrow noted that “Friends” didn’t really take off until the summer after its first season. “Repeats were run after Seinfeld, and that’s when it exploded,” she said.

But now, with most streaming comedies topping out at eight or 10 episodes a season, storytelling has changed. And Schur is worried that the institutional memory of how to produce a hefty load, like those 22-episode seasons, has gone away.

“There’s very few people left who have a muscle memory of how to actually execute that. And I don’t want it to go away.

I think we need it back.” And that’s why the panel was so encouraged by the news — announced earlier that day — that FX’s “ Adults ” had been renewed for Season 3 with 16 episodes. Creators Ben Kronengold and Rebecca Shaw noted that

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