Executive Meddling - Television Tropes & Idioms

alt title(s): Meddling Executive

Krusty: Folks, I've been in showbiz for sixty-one years, but now these jerks have sucked all the fun out of it. I don't need twelve suits tellin' me which way to pee!
Male Executive: Uh, for "pee," could you substitute "whiz"?
Lindsey Naegle.: I don't know, that could upset the Cheez Whiz people.
Male Executive: I was just thinking that.
Krusty: I can't take it anymore!

— The Simpsons, "Day of the Jackanapes

Now, in fairness, this storyline was an editorial mandate. In fact, most of these turns to evil were editorial mandates, further proving that editors aren't writers, so they should stop pretending they are.

— Linkara, Top 15 Worst Heroes Becoming Villains

What network executives do to justify their jobs: Interfere in the creative process that produces television shows.

Creating a successful work of fiction, television shows in particular, is — whether the execs want to admit it or not — a crapshoot. They don't really understand what makes a hit. Nobody does! You can never predict what the audience will like until they actually see it. As a result, executives tend to be both conservative and imitative, trying to make every new show like one or more previous shows that were successful (see X Meets Y).

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 "less risky" or "more appealing to the audience" — in other words, garner 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."

Usually this guts the chosen show of whatever was unique and interesting about it just as it was hitting its stride and gathering an audience who appreciated its differences and direction. Sometimes it can even sink a show. In the absolute worst cases, Executive Meddling can lead to severe Adaptation Decay, involuntary Character Derailment or even Writer On Board. It can even result in Too Good To Last (or Screwed By The Network) if an executive somewhere in the chain of command takes a particular dislike to a series. Writers and directors may strike back in the form of Writer Revolt.

Sometimes this is the result of executives' apparent belief that television audiences consist entirely of superstitious low-grade morons who will flee from anything the least bit unusual or depressing. When the results are not what they expect, it results in rounds of finger-pointing and denial.

Network executives also meddle in shows for ego gratification and for the delight in exercising power. If a show they "improved" becomes (or stays) a hit, they will then take all credit for the program's success.

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

Executives aren't always wrong. (But, well, since when does someone doing their job right get any attention?) The prevalence of this trope leads people to think any retools or "Jump The Shark" ordeals are a result of outside influences. When it isn't, it may be a result of problems from within like Creator Breakdown, Protection From Editors, Writer On Board or Author Filibuster—things that a responsibly meddlesome executive can prevent from ever coming to pass. (Quite often whoever you think is responsible is merely Misblamed.)

See also Viewers Are Morons, Creative Differences, Executive Veto, Obvious Beta, Media Watchdog, and Moral Guardians. Compare What Could Have Been and Development Hell / Vaporware. Contrast with Getting Crap Past The Radar.