HBO’sGossip Girlreboothas recently joined the long list of shows axed in 2022. At a glance, it may seem that the show’s cancelation was doomed from the start. The show opened to tepid reviews, with many critics analyzing the legitimate issues with the acting and the storylines. Others slapped the lazy “woke” label onto the show pejoratively, condemning the series before it even premiered.
Season 1 saw the show make an effort to be socially conscious in ways the original could never be. Joshua Safran, the creator of the reboot, states that his ideal ‘Gossip World’would be more diverse, making an effort to include queer creatives behind the scenes and on-screen to cater to a younger, racially diverse audience.
Despite enabling factors from the large budget and the premiere time, many fans lamented over the series’ quick conclusion because of the increase in quality compared to season one. Even critics seemed to take note of the Safran-inked reboot’s attempts to improve. Following the premiere of the first episode in December, fans and critics alike rejoiced in theexciting season two storylines and improved characterizationcompared to the show’s initial season.
The show’s cancelation has inspired conversations across social media about the lack of investments in shows with potential or allowing the show to improve. This decision is one example of a recent trend leaving media fanatics frightened. Slashing shows, each case with a variety of quality and popularity, became a natural phenomenon in the late 2010s leading into the 2020s.
Streaming sites such as Netflix were once lauded as the platform that gave canceled shows a second life. However, even it has faced criticism for canceling popular series such asThe OAas well as the controversial axing ofFirst Killearlier in 2022. As the decade persists, there is growing anxiety surrounding the dependability of major studios in the eyes of consumers.
A Healthy Dose of Criticism
While many can agree that canceled shows may not be the best shows, it is worth interrogating why that is the matter. Of course,shows can be canceledfor their dip in quality or overall mediocrity. The mixed reviews thatFirst Kill, Gossip Girl,andthe First Ladyreceived were warranted. With cringe-worthy scenes, confusing plots, and questionable writing, no one is saying that these shows were immune to criticism.
First Kill’sconfusing plot was particularly critiqued for prioritizing exposition over the romance that many were met with following the show’s initial announcement. That, coupled with the supposed lack of chemistry between leading cast mates Imani Hook and Sarah Catherine Lewis (and Netlix’s reputation for prioritizing quantity at the expense of quality) was all that reviewers needed to disregard the show altogether. Similarly, the latestGossip Girlreboot and the Viola Davis-ledThe First Ladyreceived criticism for their cringe-worthy moments.
However, this healthy dose of criticism does not come without its faults. The criticism that the aforementioned shows have received is not unique to said shows. Moreover, critical acclaim does not serve as a guarantee for success. Netflix’sDead End: Paranormal Parkwas met with critical acclaim for its dedication to providing viewers with great representation alongside exciting storylines. Moreover, HBO Max’sLegendaryhas been lauded for its authentic portrayal of queerness, and more specifically, ballroom culture. Nonetheless, the show was canceled after the second season despite all signs pointing to the animated series being another profitable niche for the platform.
These decisions leave creatives, critics, and consumers alike to consider what allows some shows to evade cancelation while other shows are given little to no benefit of the doubt. Is it truly one simple reason or is there an amalgamation of enabling factors that complicates the renewal process?
The Fear of Failure Dissected
It goes without mentioning that there is a legitimate fear that companies have regarding the media they produce. Both the company and the consumer are aware that not every story streamed will be a success story. In between the two parties exists a nexus of writers, designers, producers, directors, and many more creatives who love what they do but also need financial compensation. Thus, it is understandable that canceling a show includes more factors than the quality of the show.
It was recently reported thatGossip Girl’s2021 iteration had a budget of $200 million. Similarly, Nickelodeon’s Y2K offeringTainawas reportedly canceled due to celebrity guest stars contributing extra pressure to an already expensive budget. These shows contributed more capital to the show than what the respective studios received from the shows in profits.
However, fans are conscious of financial woes and consider them in their critiques of the media we receive daily. While companies fear financial loss and a stain on their prestige, fans have the legitimate fear of losing out on storylines rich with potential and plots that highlight and humanize underrepresented communities.
Gossip Girl Examined
In all its chaotic messiness,Gossip Girldid introduce a new generation to a world centered around a more authentic portrayal of the New York elite. A majority of the cast were queer and people of color, giving way to half-baked but intriguing storylines throughout the series. The best the reboot had to offer was the continued exploration of accountability, namely in how it affected Julien (Jordan Alexander) and her relationship with her father (Luke Kirby).
As paranoia over cancel culture continues to permeate the internet, the showrunners managed to portray the very real-life repercussions that warrant a fierce reaction from many on the internet.
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Through the titular antagonist’s ambition to defame Julien for the actions of her dad, the series makes a point to critique the misogyny that is very rampant during these takedowns. Julien is not a nefarious ‘girl boss’ complicit in her father’s predation but a teenage girl with an easily accessible platform, thus an easier target.
Are Formidable Fandoms a Guarantee for a Fruitful Future?
Shows likeThe Wilds,Gossip Girl,and older examples such asGrand Armynotably garnered fans across social platforms. However, most fans were concentrated on Twitter. Fandom has and will always be conjoined with entertainment. While fandom has exploded into a global online phenomenon, their collective power has resulted in exceptional examples of television shows being saved or reevaluated.
A notable example isOne Day at a Time.The reboot debuted in 2017 on Netflix and has amassed a cult following due to the show’s touching portrayal of a modern-day Cuban-American household. Nominations from the Emmys to the GLAAD Awards reflect the show’s quality and popularity. However, that did not prevent Netflix from canceling the show following the third season.
Luckily, the show was picked up by CBS-owned Pop TV and its fourth season premiered in 2020. Were it not for the pandemic, fans of the reboot would have enjoyed a proper conclusion to the acclaimed series. Similarly, the critically laudedSense8,the classic sci-fi comedyFuturama,and Fox’sLuciferwere some of the shows saved from cancelation withorganized fan petitions.
However, fandom involvement does not stop there. Fans have created engaging theories and proposed juicy storylines, and they are quick to hold showrunners accountable if they catch a whiff of mistreatment on set. Combined with the fervor of fandom and the ambition of creatives, could there be a world in our near future where the film industry creates a sustainable counterpart?
Going Online for Creative Control
As idealistic as it may be, there are several benefits to the cancelation process. For starters, both seasoned and up-and-coming creatives have a better idea of how to navigate the entertainment industry. Everything from how to pitch a show to how the showrunner crafts best utilize time can be refined.
However, the trend that is abrupt cancelation is nothing to celebrate. In uncertain times, creatives could look outside the film industry for inspiration. Despite their bevy of problems, users onapps such as TikTok, YouTube, and Twitter have successfully carved out niche markets. It is worth noting that each has varying degrees of profitability. Nonetheless, many content creators and their fans seem to enjoy the community that comes with congregating on these platforms.
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Furthermore, sites such as Patreon and Nebula are celebrated by creatives. These sites allow creators and their consumers to form sustainable communities. Creators do not have to worry about demonetization while their consumers actively engage and critique their content.
Similarly, the music industry has independent labels that may not compete financially with labels like Republic, Interscope, and Columbia. Nonetheless, several independent labels have platformed lucrative acts including FKA twigs, Radiohead, and Kaytranada. Sony Music also operates AWAL, or Artists Without A Label. The distribution company provides artists with complete creative control, billed as an alternative to a major label deal. AWAL insists that their artists “own their work,” retain creative control, and benefit the most financially.
Studying the Success Stories
While having media that caters to various groups is beneficial, it could be worthwhile to have streaming services that incentivize or help build several profitable niches.
It would also help to look towards thebig TV winners of 2022.The Bearon Hulu, HBO Max’sWhite Lotus, House Of The Dragon,andSuccessionhave impressed and captivated viewers with their multi-faceted storylines, strong writing, and amazing performance skills. WithThe Last Of Usgarnering record-breaking success, it goes to show that when companies put their trust in quality, it pays off. The shows themselves may be exceptions to the rule, however, it is not lost on the consumer that there are plenty of reliable teams with engaging stories to tell.
It is understandable if companies are reluctant to give hungry writers, determined actors, and talented designers the chance to introduce fresh concepts on television. However, there should be more avenues for creatives to create without having their finances or stories jeopardized.
