Executive Meddling: Difference between revisions

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[[File:~~madexecturive_1108~~.jpg|link=Mad|right]]

[[File:madexecturive 1108.jpg|link=Mad|right]]

{{quote|''"So [[Pinky and The Brain]] [[Retool|share a new domain]].

''It's what [[The WB|the network]] wants; [[Lampshade Hanging|why bother to complain]]?"''|[[Biting the Hand Humor|The theme song]] to ''[[Pinky Elmyra and The Brain]]''}}

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No matter how [[So Cool Its Awesome|brilliant]] that last episode was or how insightful the protagonist's [[Mind Screw|dream]] was about the [[Contemplate Our Navels|nature of man]], if nobody watched it and the advertisers are complaining, [[Money, Dear Boy|survival]] means you have to [[Shoot the Dog|put Old Yeller down]]. In the end nobody likes this, so it is in the executives' best interest to see that their money is well spent, budgets are kept, and the show gets finished by [[Cosmic Deadline|Sweeps.]] Often this means [[Executive Veto|vetoing ideas]], or dictating that certain elements be added in. So when the organization [[The Man Behind the Man|behind the creators]] takes a hand in creation you get this trope. The goal of an executive is to try to steer the show into the direction of profitability.

One way in which these traits manifest themselves is for the executive to force changes on a show which he feels is too different or edgy, in order to make it "[[Lighter and Softer|less risky]]" or "more appealing to the audience" ~~-- in~~ other words, garner [[Money, Dear Boy|higher ratings]]. "More appealing" often translates into "more action-oriented" or "sexier" or, in the immortal words of Woody Harrelson as Steve Martin's producer in ''[[L.A. Story]]'', "more wacky, less egghead." Often the executive wants to reach the [[Lowest Common Denominator]] for better or worse. And far too often this can edge over into [[Viewers are Morons|denigrating viewers' intellect]] or that their memory is comparable to a [[Viewers Are Goldfish|small fish species.]] And of course if you stick too closely to what "works" it can be hard to stand out. Which can be the [[So Okay It's Average|surest death sentence of all.]]

One way in which these traits manifest themselves is for the executive to force changes on a show which he feels is too different or edgy, in order to make it "[[Lighter and Softer|less risky]]" or "more appealing to the audience"—in other words, garner [[Money, Dear Boy|higher ratings]]. "More appealing" often translates into "more action-oriented" or "sexier" or, in the immortal words of Woody Harrelson as Steve Martin's producer in ''[[L.A. Story]]'', "more wacky, less egghead." Often the executive wants to reach the [[Lowest Common Denominator]] for better or worse. And far too often this can edge over into [[Viewers are Morons|denigrating viewers' intellect]] or that their memory is comparable to a [[Viewers Are Goldfish|small fish species.]] And of course if you stick too closely to what "works" it can be hard to stand out. Which can be the [[So Okay It's Average|surest death sentence of all.]]

Sometimes, though, the meddling is solely because the executive wants the show dead for one reason or another. Of course, [[Springtime for Hitler|it can backfire]] and the executive either eats crow, gets replaced, cancels the show ''anyway'' (ratings and revenue be damned), or [[Small Name, Big Ego|gets an ego]]. And on the other hand, there are actually instances where the executives actually helped ''create'' the show in the first place. For example, it could have been ''through'' [[Executive Meddling]] that a work [[No Export for You|actually gets a localization in the first place]], or [[Saved From Development Hell|saved from a troubled production]].

Sometimes, though, the meddling is solely because the executive wants the show dead for one reason or another. Of course, [[Springtime for Hitler|it can backfire]] and the executive either eats crow, gets replaced, cancels the show ''anyway'' (ratings and revenue be damned), or [[Small Name, Big Ego|gets an ego]]. And on the other hand, there are actually instances where the executives actually helped ''create'' the show in the first place. For example, it could have been ''through'' '''Executive Meddling''' that a work [[No Export for You|actually gets a localization in the first place]], or [[Saved From Development Hell|saved from a troubled production]].

The results [[Tropes Are Not Bad|can be positive]], especially if the imposed limitations force writers to think more creatively. Not to mention, executives aren't always wrong; just like there are good and bad writers, there are executives that are good at their job and executives that are bad. But, well, since when does someone doing their job ''right'' get any attention? The prevalence of this trope leads people to think ''any'' [[~~Retool|retools~~]] or "[[Jump the Shark]]" ordeals are a result of outside influences. There is something of a [[Double Standard|bias]], as the times where Executive Meddling works are rarely ~~reported -- no~~ one complains when the system works. However, when something breaks, everyone knows about it because people try to stop the blame. After all, what director would say "my original idea wasn't that good, but some guy behind a desk gave me one that worked better" rather than "The guy behind the desk is responsible for that pile of crap because he prevented me from doing my original idea"?

The results [[Tropes Are Not Bad|can be positive]], especially if the imposed limitations force writers to think more creatively. Not to mention, executives aren't always wrong; just like there are good and bad writers, there are executives that are good at their job and executives that are bad. But, well, since when does someone doing their job ''right'' get any attention? The prevalence of this trope leads people to think ''any'' [[retool]]s or "[[Jump the Shark]]" ordeals are a result of outside influences. There is something of a [[Double Standard|bias]], as the times where Executive Meddling works are rarely reported—no one complains when the system works. However, when something breaks, everyone knows about it because people try to stop the blame. After all, what director would say "my original idea wasn't that good, but some guy behind a desk gave me one that worked better" rather than "The guy behind the desk is responsible for that pile of crap because he prevented me from doing my original idea"?

Another example of how Executive Meddling may manifest itself is in a game (be it a show, tabletop, video game, etc) where an [[Obvious Rule Patch]] is released or the rules are updated during the season or mid-season. Some shows didn't cover every loophole and had players abuse it and find perverse incentives. Other times, Executive Meddling helped people actually ''use'' other classes and characters in a game, [[Rescued From the Scrappy Heap|saving them from the scrappy heap]].

Executive Meddling is often the source for [[Enforced Trope~~|Enforced Tropes~~]].

Executive Meddling is often the source for [[Enforced Trope]]s.

Problems can be created just as easily from [[Creator Breakdown]], [[Protection From Editors]], [[Writer on Board]] or [[Author Filibuster]] ~~-- things~~ that a reasonable and responsibly meddlesome executive can prevent from ever coming to pass. Quite often whoever you think is responsible is merely [[Mis Blamed]].

Problems can be created just as easily from [[Creator Breakdown]], [[Protection From Editors]], [[Writer on Board]] or [[Author Filibuster]]—things that a reasonable and responsibly meddlesome executive can prevent from ever coming to pass. Quite often whoever you think is responsible is merely [[Mis Blamed]].

If the show itself escaped executive meddling, but its time slot is changed around and has zero promotion, then it's [[Screwed by the Network]].