Good and bad things about the Middleman - part 1 (the bad)
STUFF THAT BOTHERED ME ABOUT THE MIDDLEMAN
The facts are these: sometimes you just fall in love with a show. The show and you click together in such a way that no matter what crappy work the writers do later, you’re willing to forgive and forget, and just look at the bright side. Lazy writing, flat characters, clichés, nothing will faze you. It’s because something in the show was done so right and you connected with it so much that nothing else matters.
Unfortunately for TV producers, that’s not what happens with most viewers, though. Those have to be seduced and conquered, and several things may get in the way. You may even enjoy the premise very much, but if a whole bunch of things start bothering you, you might just as easily leave the show and never watch it again. And this may explain why a show gets cancelled in its infancy.
My opinion doesn't represent any but my own, but I can identify with those who tried to enjoy the show, but always found something bothering them. Let’s see, a humorous show about a comic-book-like character and science fiction. What’s NOT to like? Apparently this show was made for me. What could possibly have gone wrong? Let’s consider what those may issues might have been:
- The problems started very early, even in the pilot, and the improvements took a long while to come. I’ll list a few of the problems here, and unfortunately the problems preceded the rewards. This can be a real problem with impatient viewers. Possible solution: show the goodies as soon as possible! If the writers had something good in store, present it in the first four or five episodes. Don’t keep something good hidden too long. You may not have the chance to show it after all.
- There were many uninteresting elements that burdened the cool central premise. OK, so we had a comic book character and science fiction. But we also had to deal with bohemian hipsters, ridiculous forms of animal rights protest, art exhibitions, girl talk, and a conservative sense of humor. For somebody to fully enjoy the show I suppose they would have to enjoy all of these dissonant elements, which would be unlikely, or at least not to be bothered by the elements they don’t care about. I had problems with many of those. Possible solution: focus on the sci-fi cases, and go easy in the personal life stuff.
- Too many hipster bohemians. As I said earlier, I don’t particularly identify with these characters, and by that I mean not at all. Possible solution: Add a main character who is more work-driven and a nerd. Reach different audiences.
- Inconvenient political humor. The problem with that is that if you actually believe in global warming (or at least believe we’re screwing with the environment and those problems are somehow our fault) and see people behave like fools because they believe in global warming, then you feel like they are calling you a fool. Also, if you don’t think “communist” is a dirty word that works as a punchline, even if you’re not a communist yourself, that kind of joke falls flat. And if you admire George Takei, a joke associating him with an evil universe is even hard to understand. Possible solution: that’s easy. Make Wendy a liberal and The Middleman a conservative. Let them confront and contrast their views in funny exchanges. When two characters disagree, we have constructive diversity of opinions. When all characters think the same, they become mouthpieces for the writers’ political views.
- Ethnical stereotyping. Unfortunately that happened a lot in the beginning. Even if it was dropped later, that might have been too late. So we began with stereotypical Italian gangsters and stereotypical Mexican gangsters. Possible solution: Americans are very good at making jokes about themselves. Make it a gang about some typically American group for a change. Show that anyone can be a target of their humor, not just foreigners.
- Too much ridiculousness. That’s very subjective, I know. For some people, the more ridiculous, the better, I know, but I doubt that strategy will work with a greater audience. And sometimes the show abused the idea of being ridiculous. A talking gorilla planning crimes in a lab may be funny. Put the same gorilla brandishing a machine gun, wearing shiny necklaces and leading a gang of Italians, is too over the top. Possible solution: If they have to have those extreme ridiculous moments, make them count. Make them fewer so they catch us by surprise when they happen.
- The Middleman didn’t have a nemesis. None of the villains were really impressive, and in the end they were all defeated by MM and WW. Manservant Neville had the potential to be a Lex Luthor figure, but in one episode he appeared he did very little, and in the other, he was actually a nice guy (though that was his mirror universe counterpart). The writers might have been preparing something big for him later. Well, too little too late if that’s the case. Possible solution: make the Middleman lose at least once. Let an enemy escape to come back later. And if there's going to be a big baddie, show him in the first episodes. Don't wait until the show has been cancelled.
- Damned reset button. Often when we had a major development which would imply in character development, things got back to “normal” in the end. MM and WW faced Ida’s death? No problem, they got a new one. MM and Lacey started a romance that would shake the Middleman’s foundations? They broke up, or Lacey was brainwashed to forget all about it. Possible solution: let the chips fall where they may. Put the characters in impossible situations and let the characters learn how to deal with the consequences.
- A comedy in a drama or dramedy format. Traditionally comedies only last 22 minutes on American TV. Shows that last longer normally have real drama elements. Possible solution: make it a real dramedy, with some real, though occasional, dramatic situations. Make the stakes higher. Make the characters’ loss real. Make us think the characters may actually lose something in the battle against evil. Make their negative emotions real and touching, even if the show is mostly giddy.
- Unlikable characters. Personally, I had problems with Wendy. She’s not particularly attractive, and not particularly likable. I liked the Middleman and Ida. I learned to like Lacy when she abandoned her silly protest routines. Other characters added later were good though (Tyler and Pip). But I had serious problems with Noser and Wendy never got me rooting for her. Yeah, I know she’s a strong young female and possible a model for girls watching the show. Possible solution: improve the Lacey character by making her more believable and make her more relevant to the story, other than just being Wendy’s soundboard. Why does Tyler have to be a musician? We already have Noser, who is a musician. Tyler could be a more work-driven character from the beginning and he could even be recruited as another Middleman assistant, or even a spy in Neville's organization. He’s an interesting character, and the actor did a great job.
- A cascade of irrelevant pop culture references. References are nice and we all enjoy them. But too much is too much. So we had a Joe 90. Why? Any connection with the Joe 90 show? No, none. It’s just for us to laugh at the pronunciation of his name. There were many other gags like this. Possible solution: make the references fewer and meaningful to the story.
- Some jokes were repeated to death, and others that should were not. How many versions of the “clueless in front” gag have we seen? And did we have to be reminded every single time that it was an illegal sublet blah blah…? At what point did that stop being funny and was just there because we expected it to be there? On the other hand, MM drank milk. That’s important because it involved the character’s essence. But the writers dropped that completely. Possible solution: use common sense! Invest in the jokes that affect characterization.
- Borrowed style. This is not just me saying. TV.com recommends as “similar shows and movies” Wonderfalls (2004), Pushing Daisies (2007), Better Off Ted (2009), The Unusuals (2009), and The Adventures of Buckaroo Banzai Across the 8th Dimension (1984). And imdb.com adds Eureka (2006), Eli Stone (2008) and Torchwood (2006). Of these, the ones I've found greater similarities with the Middleman were Pushing Daisies, Wonderfalls and Buckaroo Banzai. The thing is The Middleman kind of reminded me of a Bryan Fuller show, with the difference that when Wonderfalls and Pushing Daisies first aired, I had that feeling that it was something fresh and new (even if ideas are constantly reused in the entertainment industry). But because Daisies had first aired a year earlier than Middleman, that novelty feeling was not there anymore. Call it coincidence, bad timing, bad luck, whatever, but The Middleman made me constantly think of Pushing Daisies, Men in Black and Warehouse 13. Possible solution: perhaps restudy the style of the show? Postpone its air date by a couple of years?
Tomorrow: the good stuff. This I enjoyed about the Middleman. And no, it’s not going to be a three-line list.