History Main / ExecutiveMeddling

* ExecutiveMeddling/AnimatedFilms

* ExecutiveMeddling/{{Film}}

Sometimes Executive Meddling exists in one show in order to promote an entirely different show on the network (or some other event or thing the network wants to promote). This usually manifests itself in the form of the CrossOver and ProductPlacement, among other devices.

As one person rarely has the financial resources to create and more importantly distribute their own television shows, movies, comics, etc., entertainment is generally produced by corporations. They are the ones that put up the money to see your favorite book turned into TheFilmOfTheBook. [[note]](While an actor gets paid for their services, they're ultimately free agents; Only rarely are financially invested in their work's financial success. Directors, too, exist in a similar situation.)[[/note]] But if what the television network or studio doesn't actually turn a profit [[MoneyDearBoy so they can pay their corporate bills]], the business folds and is likely to take the show with it. So what can you do?

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 or outmoded, in order to make it "[[MoralGuardians less risky]]" or "more appealing to the audience." "More appealing" often translates into "more action-oriented" or "sexier" or, in the immortal words of Woody Harrelson as Steve Martin's producer in ''Film/LAStory'', "more wacky, less egghead." In many cases, executives are willing to risk [[ViewersAreMorons underestimating viewers' intellects]] and [[ViewersAreGoldfish attention spans]] to avoid confusing them, and pander to the LowestCommonDenominator in order to garner good ratings. However, pushing too hard for tried-and-true formulas and blandly inoffensive writing can result in a show [[SoOkayItsAverage so lacking in distinctive qualities]] that it might have poor chances of maintaining enough audience interest to turning a profit.

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 or outmoded, in order to make it "[[MoralGuardians less risky]]" or "more appealing to the audience." "More appealing" often translates into "more action-oriented" or "sexier" or, in the immortal words of Woody Harrelson as Steve Martin's producer in ''Film/LAStory'', "more wacky, less egghead." In many cases, executives are willing to risk [[ViewersAreMorons underestimating viewers' intellects]] and [[ViewersAreGoldfish attention spans]] to avoid confusing them, and pander to the LowestCommonDenominator in order to garner good ratings. However, pushing too hard for tried-and-true formulas and blandly inoffensive writing can result in a show [[SoOkayItsAverage so lacking in distinctive qualities]] that it might have poor chances of turning a profit.

As one person rarely has the financial resources to create and more importantly distribute their own television shows, movies, comics, etc., entertainment is generally produced by corporations. They are the ones that put up the money to see your favorite book turned into TheFilmOfTheBook. [[note]](While an actor gets paid for their services, they're ultimately free agents; Only rarely are financially invested in their work's financial success. Directors, too, exist in a similar situation.)[[/note]] But if what the television network or studio doesn't actually turn a profit so they can pay their corporate bills, the business [[DeaderThanDead folds]] and is likely to take the show with it. So what can you do?

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 "[[MoralGuardians less risky]]" or "more appealing to the audience" -- in other words, garner [[MoneyDearBoy 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 ''[[Film/LAStory L. A. Story]]'', "more wacky, less egghead." Often the executive wants to reach the LowestCommonDenominator for better or worse. Far too often this can edge over into [[ViewersAreMorons denigrating viewers' intellect]] or that their memory is comparable to a [[ViewersAreGoldfish small fish species.]] If you stick too closely to what "works" it can be hard to stand out from the crowd. Which can be the [[SoOkayItsAverage surest death sentence of all.]]

In the end, the bottom line... ''is'' the bottom line; it is the Company's best interest to see that their money is well spent, budgets are kept, and the show gets finished by [[CosmicDeadline Sweeps week.]] So no matter how [[SoCoolItsAwesome brilliant]] that last episode was or how insightful the protagonist's [[MindScrew dream]] was about the [[ContemplateOurNavels nature of man]], if nobody watched it and the advertisers are complaining that revenue is down, [[MoneyDearBoy survival]] means you have to [[ShootTheDog put Old Yeller down]]. Often this means [[ExecutiveVeto vetoing ideas]], or dictating that certain elements be added in. So when the organization [[TheManBehindTheMan 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.

** ExecutiveMeddling/AnimatedFilms

[[quoteright:314:[[Magazine/{{Mad}} http://static.tvtropes.org/pmwiki/pub/images/madexecturive_1108.jpg]]]]

%% Source: http://theinvisibleagent.wordpress.com/2009/01/24/mad-magazines-mad-men/

In the end, the bottom line... ''is'' the bottom line; it is the Company's best interest to see that their money is well spent, budgets are kept, and the show gets finished by [[CosmicDeadline Sweeps week.]] So no matter how [[SoCoolItsAwesome brilliant]] that last episode was or how insightful the protagonist's [[MindScrew dream]] was about the [[ContemplateOurNavels nature of man]], if nobody watched it and the advertisers are complaining that revenue is down, [[MoneyDearBoy survival]] means you have to [[ShootTheDog put Old Yeller down]]. Conversely, sometimes [[AuthorTract there's a reason no one watched it]], and the decision to intervene would be reasonable even without profitability being a factor. The latter is not often heard of though, since writers are unlikely to complain when the executive meddlers get involved in way which causes their "work" to end up being considered a masterpeice.

Often this means [[ExecutiveVeto vetoing ideas]], or dictating that certain elements be added in. Sometimes, this involves intervening in a way that involves playing it safe. This can involve [[FollowTheLeader stock plots, borrowing from other shows, or following genre related trends]]. Other times, [[ProtectionFromEditors it's the simple process of recognizing bad ideas where they exist]].

This is not to say that the negative sentiment against Executive Meddling is completely unwarranted, however. At times, meddling is because the executive wants the show dead for one reason or another. This [[SpringtimeForHitler can backfire]] and the executive either eats crow, gets replaced, cancels the show ''anyway'' (ratings and revenue be damned), or [[SmallNameBigEgo gets an ego]].

But focus on such things often loses sight of when it actually helps out. For example, it could have been ''through'' ExecutiveMeddling that a work [[NoExportForYou gets a localization in the first place]], or [[SavedFromDevelopmentHell saved from a troubled production]]. It's also possible that an executive is a fan of a work's genre, and decided to join in on it because they can spot any flaws before they happen and guide the writers away from them, using an ExecutiveVeto to tell them not to, which can result in the network accepting the show when they otherwise wouldn't.

Its important to remember that Executive Meddling isn't always a bad thing. The results [[TropesAreTools are as likely to be good as they are bad]], but are seldom depicted as such by writers; restrictions breed creativity, and frequently the executives are responsible for separating the bad ideas from the good ones and greenlighting the good ones. Or they may have noticed that something doesn't make sense or won't work for the target audience. 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 when does someone doing their job ''right'' get any attention? ([[ChirpingCrickets ....]])

* ExecutiveMeddling/{{Advertising}}

The results [[TropesAreTools are as likely to be good as they are bad]], but are seldom depicted as such by writers; restrictions breed creativity, and frequently the executives are responsible for separating the bad ideas from the good ones and greenlighting the good ones. Or they may have noticed that something doesn't make sense or won't work for the target audience. 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 when does someone doing their job ''right'' get any attention? ([[ChirpingCrickets ....]])

In the end, the bottom line... ''is'' the bottom line; it is the Company's best interest to see that their money is well spent, budgets are kept, and the show gets finished by [[CosmicDeadline Sweeps week.]] So no matter how [[SoCoolItsAwesome brilliant]] that last episode was or how insightful the protagonist's [[MindScrew dream]] was about the [[ContemplateOurNavels nature of man]], if nobody watched it and the advertisers are complaining that revenue is down, [[MoneyDearBoy survival]] means you have to [[ShootTheDog put Old Yeller down]]. Often this means [[ExecutiveVeto vetoing ideas]], or dictating that certain elements be added in. So when the organization [[TheManBehindTheMan 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 "[[MoralGuardians less risky]]" or "more appealing to the audience" -- in other words, garner [[MoneyDearBoy 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 ''[[Film/LAStory L. A. Story]]'', "more wacky, less egghead." Often the executive wants to reach the LowestCommonDenominator for better or worse. Far too often this can edge over into [[ViewersAreMorons denigrating viewers' intellect]] or that their memory is comparable to a [[ViewersAreGoldfish small fish species.]] If you stick too closely to what "works" it can be hard to stand out from the crowd. Which can be the [[SoOkayItsAverage surest death sentence of all.]]

Sometimes the meddling is because the executive wants the show dead for one reason or another. This [[SpringtimeForHitler can backfire]] and the executive either eats crow, gets replaced, cancels the show ''anyway'' (ratings and revenue be damned), or [[SmallNameBigEgo gets an ego]]. On the flipside, there are instances where the executives' decisions helped ''create'' the show in the first place. For example, it could have been ''through'' ExecutiveMeddling that a work [[NoExportForYou gets a localization in the first place]], or [[SavedFromDevelopmentHell saved from a troubled production]]. It's also possible that an executive is a fan of a work's genre, and decided to join in on it because they can spot any flaws before they happen and guide the writers away from them, using an ExecutiveVeto to tell them not to.

The results [[TropesAreTools are frequently positive]] but are seldom depicted as such by writers; restrictions breed creativity, and frequently the executives are responsible for separating the bad ideas from the good ones and greenlighting the good ones, or simply noticing that something doesn't make sense or won't work for the target audience. 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 when does someone doing their job ''right'' get any attention? ([[ChirpingCrickets ....]])

In the end, the bottom line ... ''is'' the bottom line; it is the Company's best interest to see that their money is well spent, budgets are kept, and the show gets finished by [[CosmicDeadline Sweeps week.]] So no matter how [[SoCoolItsAwesome brilliant]] that last episode was or how insightful the protagonist's [[MindScrew dream]] was about the [[ContemplateOurNavels nature of man]], if nobody watched it and the advertisers are complaining that revenue is down, [[MoneyDearBoy survival]] means you have to [[ShootTheDog put Old Yeller down]]. Often this means [[ExecutiveVeto vetoing ideas]], or dictating that certain elements be added in. So when the organization [[TheManBehindTheMan 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.

See also MusicIsPolitics, ViewersAreMorons, CreativeDifferences, ExecutiveVeto, ObviousBeta, MediaWatchdog, MoralGuardians, AlanSmithee, GetBackInTheCloset, ChristmasRushed, and PublisherChosenTitle, FridayNightDeathSlot, SweepsWeek, and the DumpMonths. Compare WhatCouldHaveBeen, WagTheDirector and DevelopmentHell / {{Vaporware}}. Contrast with GettingCrapPastTheRadar and ProtectionFromEditors. Many a TroubledProduction is caused by this.

The results [[TropesAreTools can be positive]] if the imposed limitations force writers to think more creatively. 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 when does someone doing their job ''right'' get any attention? ([[ChirpingCrickets ....]])

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 "[[LighterAndSofter less risky]]" or "more appealing to the audience" -- in other words, garner [[MoneyDearBoy 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 ''[[Film/LAStory L. A. Story]]'', "more wacky, less egghead." Often the executive wants to reach the LowestCommonDenominator for better or worse. And far too often this can edge over into [[ViewersAreMorons denigrating viewers' intellect]] or that their memory is comparable to a [[ViewersAreGoldfish small fish species.]] And of course if you stick too closely to what "works" it can be hard to stand out from the crowd. Which can be the [[SoOkayItsAverage surest death sentence of all.]]

Sometimes, though, the meddling is actually because the executive wants the show dead for one reason or another. Of course, [[SpringtimeForHitler it can backfire]] and the executive either eats crow, gets replaced, cancels the show ''anyway'' (ratings and revenue be damned), or [[SmallNameBigEgo gets an ego]]. On the flipside, there actually are instances where the executives' decisions helped ''create'' the show in the first place. For example, it could have been ''through'' ExecutiveMeddling that a work [[NoExportForYou actually gets a localization in the first place]], or [[SavedFromDevelopmentHell saved from a troubled production]]. It's also quite possible that an executive is a fan of a work's genre, and decided to join in on it because they can spot any flaws before they happen and guide the writers away from them, using an ExecutiveVeto to tell them not to.

The results [[TropesAreTools can be positive]], especially if the imposed limitations force writers to think more creatively. 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? ([[ChirpingCrickets ....]]) The prevalence of this trope leads people to think ''any'' {{Retool}}s or "JumpTheShark" ordeals are a result of outside influences. There is something of a [[DoubleStandard 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"?

Sometimes, though, the meddling is actually because the executive wants the show dead for one reason or another. Of course, [[SpringtimeForHitler it can backfire]] and the executive either eats crow, gets replaced, cancels the show ''anyway'' (ratings and revenue be damned), or [[SmallNameBigEgo gets an ego]]. On the flipside, there actually are instances where the executives' decisions helped ''create'' the show in the first place. For example, it could have been ''through'' ExecutiveMeddling that a work [[NoExportForYou actually gets a localization in the first place]], or [[SavedFromDevelopmentHell saved from a troubled production]].

See also MusicIsPolitics, ViewersAreMorons, CreativeDifferences, ExecutiveVeto, ObviousBeta, MediaWatchdog, MoralGuardians, AlanSmithee, GetBackInTheCloset and PublisherChosenTitle. Compare WhatCouldHaveBeen, WagTheDirector and DevelopmentHell / {{Vaporware}}. Contrast with GettingCrapPastTheRadar and ProtectionFromEditors. Many a TroubledProduction is caused by this.

-->-- [[BitingTheHandHumor The theme song]] to ''WesternAnimation/PinkyElmyraAndTheBrain''

As one person rarely has the financial resources to create and more importantly distribute their own television shows, movies, comics, etc. entertainment is generally produced by corporations. They are the ones that put up the money to see your favorite book turned into TheFilmOfTheBook. While an actor gets paid for their services, they're ultimately free agents; eventually they will move on to another gig. At worst they lose their time and reputation, but only rarely are financially invested in their work's success. Directors exist in a similar situation. A television network or studio, though, is a single entity, and if what it produces doesn't make a profit the business [[DeaderThanDead folds.]]

No matter how [[SoCoolItsAwesome brilliant]] that last episode was or how insightful the protagonist's [[MindScrew dream]] was about the [[ContemplateOurNavels nature of man]], if nobody watched it and the advertisers are complaining, [[MoneyDearBoy survival]] means you have to [[ShootTheDog 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 [[CosmicDeadline Sweeps.]] Often this means [[ExecutiveVeto vetoing ideas]], or dictating that certain elements be added in. So when the organization [[TheManBehindTheMan 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 "[[LighterAndSofter less risky]]" or "more appealing to the audience" -- in other words, garner [[MoneyDearBoy 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 ''[[Film/LAStory L. A. Story]]'', "more wacky, less egghead." Often the executive wants to reach the LowestCommonDenominator for better or worse. And far too often this can edge over into [[ViewersAreMorons denigrating viewers' intellect]] or that their memory is comparable to a [[ViewersAreGoldfish 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 [[SoOkayItsAverage 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, [[SpringtimeForHitler it can backfire]] and the executive either eats crow, gets replaced, cancels the show ''anyway'' (ratings and revenue be damned), or [[SmallNameBigEgo 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'' ExecutiveMeddling that a work [[NoExportForYou actually gets a localization in the first place]], or [[SavedFromDevelopmentHell saved from a troubled production]].

The results [[TropesAreTools 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 "JumpTheShark" ordeals are a result of outside influences. There is something of a [[DoubleStandard 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"?

* ExecutiveMeddling/Pinball

The results [[TropesAreNotBad 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 "JumpTheShark" ordeals are a result of outside influences. There is something of a [[DoubleStandard 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"?

->''"So WesternAnimation/PinkyAndTheBrain [[{{ReTool}} share a new domain]].\\

The results [[TropesAreNotBad 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 "JumpTheShark" ordeals are a result of outside influences. There is something of a [[DoubleStandard 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"?