USA TODAY International Edition
These TV shows prove a change will do you good
‘ Mom’ among shows that changed for the better
New characters, growth and plot twists lead to better stories and bigger audiences.
Change becomes “Mom.” ● The popular CBS sitcom ( Thursday, 9 EDT/ PDT), which ends its eight- season run on May 13, is a significantly different – and better – show than the one that premiered in 2013. ● What started as a domestic comedy centered on a single mom ( Anna Faris) juggling home and work responsibilities while struggling with addiction issues and the return of her estranged alcoholic mother ( Allison Janney) evolved into a top- notch buddy comedy focusing on six women whose friendship takes root in a 12- step group. ● The ensemble, which also features Mimi Kennedy, Jaime Pressly, Beth Hall and a brilliant later addition, Kristen Johnston, is so strong it survived the departure of Faris this season without missing a comic beat.
While some shows “jump the shark” – making crazy changes when they run out of ideas, as exemplified by the ridiculous sight of leatherjacketed Fonzie water- skiing over a shark on “Happy Days” – “Mom,” from sitcom king Chuck Lorre, effectively reversed that process, employing creative revisions that helped prolong its run as an entertaining series. ( However, the disappearance of Christy’s kids, while explained, proved awkward.)
In honor of dear old “Mom” as she nears retirement, we revisit some other shows that made midcourse corrections that led to better stories, bigger audiences or both – essentials to a long, happy TV life. ( Listed in reverse chronological order):
‘ The Big Bang Theory’ ( CBS, 2007- 19)
Another remodeling showcase from Lorre, who has shown an impressive ability to revise many of his hit comedies on the fly. The Season 3 arrival of Amy ( Mayim Bialik) and Bernadette ( Melissa Rauch) added two richly drawn, exquisitely flawed characters full of comic potential; gender balance to what had been Snow White ( Kaley Cuoco’s Penny) and the four science nerds; and the opportunity for other characters – We’re looking at you, Sheldon! – to mature, however reluctantly.
‘ Game of Thrones’ ( HBO, 2011- 19)
Stakes matter. This period fantasy violated TV orthodoxy, killing off its central and most noble character, Ned Stark ( Sean Bean), in its first season, warning viewers that no one was truly safe in Westeros. This entry may deserve an asterisk – “Thrones” was just following the plot of George R. R. Martin’s book series – but not every show would have decapitated its most popular character so early in its run.
‘ Lost’ ( ABC, 2004- 10)
This trailblazing mix of fascinating characters and jaw- dropping supernatural twists, known for its signature flashbacks, already was a great series. But the sly introduction of flash- forwards in the Season 3 finale, “Through the Looking Glass,” shocked fans and proved this classic hadn’t lost its ability to surprise and revitalize. Invigorated, the drama moved forward embracing – rather than avoiding – the concept of time travel, producing one of its best episodes ( Season 4’ s “The Constant”) and introducing flash- sideways, which contemplate parallel timelines.
‘ Law & Order’ ( NBC, 1990- 2010)
The right casting can make all the difference, even in Dick Wolf ’ s iconic ripped- from- the- headlines drama, in which the format was the star and no actor was indispensable. But then came Orbach’s seen- it- all New York detective Lennie Briscoe in Season 3, and it was a match made in heaven – or Hell’s Kitchen. “L& O” grew in popularity during Briscoe’s 12 seasons. He had younger partners, but none could match him as the fastest quip on the force.
‘ Alias’ ( ABC, 2001- 06)
This tense, edge- of- your- seat spy drama, which launched Jennifer Garner to stardom, blew up much of its premise in its second season, as Garner’s Sydney Bristow destroyed the shadowy Alliance along with her double- agent status in SD- 6, a black- ops CIA division that was working against the U. S. government. This brave early reboot, overseen by creator J. J. Abrams, didn’t make already high- quality “Alias” better, but helped extend the show’s lifespan by preventing it from drowning in its own brilliantly Byzantine complexity.
‘ Friends’ ( NBC, 1994- 2004)
Everyone talks about Ross and Rachel, the eternal off- and- on couple from this blockbuster comedy. But the unlikely pairing of uptight Monica ( Courteney Cox) and sarcastic Chandler ( Matthew Perry) in the Season 4 finale offered a more beguiling match of equals – sorry, Ross – and helped entice viewers during the later seasons, when shows often lose their sense of intrigue.
‘ Melrose Place’ ( Fox, 1992- 99)
This drama about vaguely earnest young adults living in a Los Angeles apartment complex was a snoozer until the arrival of Amanda, Heather Locklear’s villain with verve, late in Season 1. A conversion to full- on soap- opera crazy, powered by Amanda joyously wreaking havoc, turned “Melrose” into OMG TV at a time when people still talked about programs at watercoolers ( remember them?) in their offices ( remember them?). It wasn’t higher quality, but oh, what a riveting train wreck!