(K. Brent Tomer),
ENDINGS are bittersweet. We have all wished that a book, film or television series could last a little longer; that Monica, Ross, Rachel, Joey, Chandler and Phoebe would frequent Central Perk one more time, or that Jack Bauer would foil another terrorist plot. Multiple seasons and reboots may give the fans what they want (the first episode of Netflix’s recent “Gilmore Girls” reprisal, nine years after the last season, was streamed nearly 6m times) but they are usually a bad idea. Creativity is hampered—stories and characters are stretched into absurdity—as is the viewing experience. Why do executives and viewers continue to fall into the trap of never-ending narratives?
The obvious reason is money, and to ignore the business side of this creative industry would be naive. It is likely that some die-hard “Gilmore Girls” fans subscribed to Netflix simply to catch up on the lives of Emily, Lorelai and Rory. “Fantastic Beasts and Where to Find Them”, the first of five Harry Potter spin-offs, took $75m at the American box office and £15.3m in Britain in its opening weekend. “Star Wars: The Force Awakens” (2015) has grossed more than $2bn worldwide….Continue reading