Note: Serious spoilers for a bunch of shows, notably How I Met Your Mother, Roseanne, The Sopranos, True Detective, and Breaking Bad.
Devoting seven years to something is a serious commitment. To Hollywood, seven years of marriage is the equivalence of 25 years to mere mortals in lesser zip codes. Seven years of a vice may easily be called an addiction; seven years of school sees a full turn of your DNA. Seven years is literally the length of time one needs to become an entirely new person.
Seven years is too long to hold onto the same story, same ending, same turns. Sure, many an MFA could argue to me that grand books arose out of more than seven years of imaginings, rewrites, and edits, but I shall counter argue that those novels surely found new pathways by the end. An author grows and evolves with his or her work, expanding into the sunshine of new thought and wisdom.
I have a dear friend in the heady throes of editing her first novel for publication, and having known her for more than seven years, she has had to rewrite much as her knowledge and self expanded.
Do not dare to tell me that television writers do not suffer so.
How I Met Your Mother ran for nine seasons, I realize, but it was in its second when I began watching and when the show filmed its ending. According to Alan Sepinwall of HitFix.com, it was also the ending used in the initial sitcom pitch to CBS. It was always supposed to be Robin.
In Austin Duck’s article concerning the teleology of HIMYM, he asserts that the Robin-not-mother ending completes the circular nature of the show, a common feature of sitcom writing. While I will agree that the show, like many others, is highly dependent on circuitous routes within its plot, as viewer and fan, I disagree with the balance of the ending on several accounts. For a show so devoted to wrapping up loose ends, the final episode created more questions. Examples of the queries I have posed to myself and other fans: Who was 31? Didn’t Ted make Robin get rid of the dogs last time? What killed the mother? How long did that illness last? How often does Aunt Robin come over for dinner? So, is Lily a stay-at-home mom now? Does she still work for the Captain? Does Barney have full custody? Did he marry the mother? But I digress from Robin and Ted.
In “Last Forever: How They Conned Us All,” Sepinwall points out that the relationship of Robin and Ted devolves over the nine-season run, turning toxic and incomplete, thus forcing them together at the end leaves the viewer dissatisfied, as we have been told over and over again all the reasons the relationship will not work. I agree, and I use this as my basis for why endings in television are the new terrible novel.
I love terrible novels. Much like Jonathan May loves to hate-watch television, I truly enjoy hate-reading poorly written or executed stories. That may sound harsh, as I have yet to publish anything, much less anything excellent or terrible. But if I can’t be pretentious on a website, then why the hell do I have a degree in literature?
Bad writing can be bad for many reasons: poor editing, bad grammar, sloppy story lines, lost symbolism… the list is really endless. A terrible novel will need more than just bad writing technicalities… it needs to create holes that it cannot fill, force relationships that do not fit, and waste opportunities for symbolism and allusion. HIMYM suffers from a stubbornness to characterization in forcing its ending. The writers cursed themselves from the beginning by deciding exactly how the story would end. A novelist may not be very successful if they begin an epic novel knowing exactly how the story will end, and refusing to ever back down from the singular scenario. Unless one can throw in some seriously killer Edith Wharton twists (Oh, you want to stay Mattie to stay, Ethan? Oh, really? How badly do you want her to stay…?), the completed work will be stilted and forced. If we consider HIMYM as a novel constructed over seven years, the characters have grown in unexpected ways. Lily’s role of mother not only evolves through action, but through reaction, as she steps away from early childhood education into a role of art curator. On screen, the character evolves even further, as Alyson Hannigan has gone through more than one pregnancy in her real life, even when her character was still childless. The written relationship of Robin and Ted blossomed and died over multiple seasons, with varying stages of “this is the last time; I’m really letting go.” In the final season, final episodes, we as viewers witness Ted giving up the role of finder, of hero, of conquering knight. When faced with a vulnerable, scared bride, he is chivalrous, wise, telling her that she is already with the right man. Smiling, Ted explains that he simply must find the right woman for himself, confirming that it is not Robin. For a sitcom, this moment was bittersweet, tainting the usual “happily ever after” endings of today, but I believe that modern audiences want a storyline that can be real. The idea of Ted abandoning the obsessive thought of Robin is comforting to audiences, assuring us that new chances at happiness are possible when we open ourselves to possibility. Ted’s meeting and short relationship with Tracy was sweet, honest, and felt very real. It was also cut awkwardly short to a “And then she got sick, and that was six years ago that we lost her.” “Dad, you should date Aunt Robin!” (Okay, so that is not how the official dialogue went down, but close enough.)
So, the ending of How I Met Your Mother was stilted, forced, and a terrible novel of television. Great until the last chapter, which weirdly dragged, with a cop-out of an ending.
But I’m not done there. How I Met Your Mother is not alone in its novel terribleness. Other terrible novels of television include Roseanne and the “it’s all a damn dream” ending, The Sopranos meets Tristram Shandy‘s inked out page of an ending, and The Wire.
Shut up, all of you. I loved The Wire, and I will argue all damn day that it is far more Shakespearean than Breaking Bad could ever hope to be. Tragic McNulty, the Benvolio-esque Bunk, the shut-the-hell-up-this-is-new-literature showdown between Omar and Brother Mouzone (Michael K. Williams and Michael Potts, respectively)… I love that shit. But the final act of that beautiful play fell flat for me, and left a depressingly Irish-whiskey flavored tang in my throat.
And Breaking Bad! I watched the full run up to the final season in a single summer, with the final season happening in real time. And, I found it less than lackluster. Perhaps it was weak characters, perhaps it was a whole handful of misogynistic men and weak women. But most of all, I really despised the ending. Our final scene of Walter, stripped of his glory as he stumbles among his scientific vats, now worth nothing, tapping the dial fronts of the equipment. Then he falls, a blood stain left across the shiny aluminum surface. Blood loss? Chemical Poisoning? The cancer finally doing him in? We have no idea. (Note: There are not words to express how much I wanted a massive meth explosion in those final moments. I am from the South, and everyone knows moonshine stills and meth labs eventually explode). But instead, we get the soft wailing of an inept police department, with Walter already too far gone to atone for his sins. And what the hell with Jesse just driving into the sunset, just in time to star in Need For Speed? Terrible. The novel equivalent of “To Be Continued” with absolutely no plans for a sequel. Do I have greater hopes for Better Call Saul? Not really. Will I watch it? Of course… that’s irrelevant.
Now, my next television novel that has failed me is really less novel and more first short story in a series. Why are anthologies the new rage? Are we bored with following evolving characters over a span of years, aging and acquiring wisdom with them? Are actors just not willing to commit the time and energy into evolving these characters? I don’t know, but, oh, how I wish I did.
True Detective season one filled a void in my cultural soul that I did not realize was empty. Well, the first seven-and-a-half episodes (There are only eight total.). Being a Southern lady, I devoured the swampy nature, the Louisiana drawls and old-French tones. In college, I randomly attended a lecture series about rural Louisiana Mardi Gras and Easter traditions, strange rituals with masks and pagan origins. I went to find new inspiration for poetry, but the images of those presentations have stuck with me for years. True Detective‘s use of the arcanely ritualistic culture of the backwoods bayou delighted me, and I waited for deep significance of these images to emerge within the show.
Michael Hughes published a great article on io9.com shortly after the first few episodes aired, illuminating a new set of allusions form the writers. In “The One Literary Reference You Must Know to Appreciate True Detective,” Hughes cites Robert Chambers’ The King in Yellow, a selection of short stories published in the late Victorian era, as being quoted by central characters within the episodes, if not contributing to the larger story. I quickly acquired the text from Gutenberg Press and I devoured the stories, exclaiming every few pages as a new revelation or theory was uncovered to me. (Mask of deception! Women in stone! Repairer of reputations!) I watched the rest of the season waiting for Carcosa to come to light, a Yellow King to be crowned, the wave of insanity to mask us all in truth.
The final episode of True Detective season one was thrilling but flat. A “to be continued” vibe was given, but next season has already been announced to have a new cast, location, and story line. We will no longer be traipsing the back bayous in search of pederasts and twig sculptures. I will not be able to find out: How those scars happened? Who else was involved? How did the old black maid know about Carcosa? Why the spiral? Why did Hart’s daughters have a sexual violence storyline but not? Why did the killer have a British accent for only, like, ¼ of his scenes? Why was his dad tied up? I may never know.
I hope we will never reach a point as society where television sitcoms and dramas replace great literature. In fact, I think the two can greatly benefit from one another. What if we, as intelligent minds of the internet, band together to rewrite television history? FAN FICTION. Granted, fan fiction has been around as long as fans have found disappointment with story lines. But I am calling for a new age of fan-fueled fiction, where the endings are reinvented to be stronger, more beautiful.
You see, my aforementioned novelist friend had a terrible quandary after the How I Met Your Mother finale aired. Her sister, a devoted fan, had missed the initial airing, but my novelist friend was fretting over hoer own disappointment. “I want her to see it, but not the last five minutes,” she lamented. “I want her to turn off the television with five minutes remaining, and then read a chapter I’ve written instead.”
She ultimately did not, letting the writers of the show have their ending.
BUT WHAT IF…
…fan fiction reached a new level. What if those of us with the degrees, sources, and talent band together to override what society has deemed as “appropriate endings?” Because I am dissatisfied with television, even when it leads me on for so very long.
When True Detective fell short of my literary expectations, I sought out fans. Now, I don’t know if I am just unable to locate the hidden fan fiction files of the internet, or if there just isn’t anything out there, but the results were very limited. Yet, the theories presented through the five stories I found were intriguing, provocative, and creative. Still not what I wanted as the ending, but it gave me something.
So, a call to all those who fan fictionalize their television serials, write me new endings! Breaking Bad, The Wire, Roseanne, True Detective, How I Met Your Mother… send it all to me! I will read each personally, and with any luck, the best to my mind will be presented on this site.
You can reach Stephanie Feinstein at firstname.lastname@example.org.
Image: New York Times