Im like five episodes into Umbrella academy

>Comic: The young Academy kids fight the cyborg zombie Gustave Eiffel, as his Eiffel tower (secretly a spaceship) starts throwing people to their deaths.

That's not weird, it's just shit.

its a tv show, there are always a fuck load of people involved.

They litterly refer to that though:
After Allison tells an umbrella academy story her daughter asks the story about the Eiffel Tower.
Making the Eiffel Tower scene live action was definitly just way to expensive. Definitely for something that isn't even relevant to the plot.

i wish there was more new fantastical shit in season 2. its pretty cohesive and well written. cinematography is excellent but its still just the same group of people with powers and time bureaucrats. hell the gimmick of the new mooks they fight is just "Swedish". there are at least over thirty people with powers born on the same day as the seven and we see none of them.

Im disappointed that they weren't all kids this season but whatever.

It's pretty good, IMO.
The best comics adaptation I'v seen so far, but I've yet to see Stargirl and Doom Patrol. (I don't count Batwoman, Krypton and Pennyworth because it looks like shit)
Umbrella > Zombie > Daredevil > Cage > Titans > Lightning > Jessica > Flash

theres also a sea monster fight they refer to in previous tense.

>I have no idea how credits work

The first four of those writers are credited for all 20 episodes. Blackman gets (created by). That's down to WGA rules:

>There are two ways a writer becomes eligible to seek "Created by" credit on an original series:

>a. a writer writes a format for the series; or
>b. a writer receives "Story by" or "Written by" credit on the pilot episode of the series.

Slater gets "Developed by". Again:

>In the case of an original episodic series, a writer who has performed writing services on the program may be eligible for "Developed by" credit under the following circumstances:

>a. The writer is eligible for, but does not receive "Created by" credit on the series; or
>b. The writer receives "Teleplay by" credit on the pilot (but not "Story by" or "Written by" credit); or
>c. The writer has otherwise contributed to the "distinctiveness and viability" of the series.

Way gets a "Characters" credit. Again, this is down to working on the pilot episode on the characters used for the rest of the series. This is because Way originated the characters in the comic book he wrote. There's no serious suggestion by crediting him that he actually wrote anything for the show, but the way credits work he must be credited on every episode because he is eligible to be credited and he has chosen to be credited. He was not eligible to write the entire series by himself - assuming he even wanted to - because he doesn't have the relevant experience.

With Slater and Blackman, you really need to go into the differences between "created by", "story", "teleplay" and "written by" credits to understand why those different credits can exist.

The rest of the episodes have a maximum of three writers each. Lots of writers - especially younger writers - work in teams now and are credited as teams, because they're encouraged to do so by their managers/agents. Writing teams are nothing new or unusual or creatively problematic.

Attached: Auteur Theory.jpg (571x730, 73.56K)

There are 20 episode and 8 directors between them. Each episode has 1 director, working under instruction from the producers. This is how all film and television works - the directors are hired on the basis of their experience to direct the production on behalf of the producers.

Who are the producers?

In this case you have the four writers (Way, Bá, Slater, Blackman) who worked on the pilot. These are executive producer positions and likely don't involve any great input beyond the pilot, though they may be consulted for advice.

The other six EPs are probably a mix of the people who financed it, or their representatives (financial people from the studio). They get a credit because they worked on the show. They almost certainly had no direct creative input beyond saying how much money there was going to be available.

The five non-executive producers are the people who worked on the day to day financial planning for the show - budgeting, working with directors to determine which scenes could be afforded and which could not, etc etc. This work needs doing on any production. It is simple division of labor.

>cinematography

These are people with technical degrees. Don't talk to them about optics unless you want a conversation about math. They are there to say what it is and is not possible to film.

>Editors

These people are responsible for cutting hundreds of hours of footage down into something watchable. They work under supervision of the director, who is in turn under supervision of the producers. This is division of labor, and entirely necessary because there are hundreds of hours of footage to watch just to select which takes of which scenes will be included.

Division of labor is necessary - especially in television - if you want to see projects released within a normal human lifetime.

What's the bait?

>they refer to it
Oh gee that's just grand who doesn't tune into television shows to be told about something they weren't shown?

I'd argue there isn't a cook among them.

Yeah, nothing has ever happened off-stage/screen in the history of drama.

WHEN I WAS

JUST A LITTLE GIRL

people tuned into Quantum Leap for like five years and it never showed time travel, just a guy in a morph suit standing over a smoke machine, then every week he'd wake up in a different body

critically acclaimed show about time travel

It’s almost like it should’ve been an animated series instead or something.

That's not the same at all. In fact I'd argue that showing the time travel as opposed to the story that resulted from it would be similar to what they did here. Fighting the Eiffel Tower is a story not a reference. There's also the fact that it wasn't just a reference to begin with.

Not really relevant to what I said. This is an adaptation that specifically chose to reference a pretty iconic moment of the comic while not adapting it.

show don't tell its lost in the COONSOOM era

time travel is literally the plot of Quantum Leap, it's so central to the plot that without time travel the show has no premise at all

it is never shown

the equivalent here would be calling the show Umbrella Academy but then just telling compelling stories about historical events and personal crises set in a world where the Umbrella Academy happens to exist and is occasionally referenced in dialogue

what you have done is mistake special effects for storytelling, and mistake slavish adaptation from one medium to another for good storytelling

>time travel is literally the plot of Quantum Leap, it's so central to the plot that without time travel the show has no premise at all
Not at all. It's an excuse to do the plots they want. Have you ever taken a writing course?

>what you have done is mistake special effects for storytelling,
No you're just discounting that part of the plot because you don't think it mattered. By this same logic they don't need to stop a bank robber at all.

This is a tv SHOW not a tv TELL. Why adapt something you cannot adapt?

>and mistake slavish adaptation from one medium to another for good storytelling
As opposed to you mistaking a meaningless reference for good storytelling?

Why are there so many retards here lately?