When TV Becomes Trivial - Analysis of The 100 S5

"I'm going to write because I cannot help it," -Charlotte Bronte

As you all well know, my favorite hobby is analyzing stories. And, of course, I like to analyze the content I'm consuming. 

Is anyone surprised?

Anyway, Season 5 of my third favorite tv show - The 100 - has been airing for the past month, and I've been noticing a trend that's concerning. It has also plagued The CW's Riverdale. It could be that these two shows come from the same network, but alas. It's still a problem. 

Season Five picks back up at the very end where Season Four left off, with Clarke radioing Bellamy, and a mysterious ship appearing in the air. And from there, there's only about a one episode interlude of establishing both where Clarke is on earth and where Bellamy and the others are in space. One other episode is spent on Octavia in the bunker, but otherwise, the episodes plunge right back into the thick of the plot. 

And already, we have a problem. This season's conflict arises when a group of prisoners come down from their mother ship to fight for the last habitable spot on earth - well, North America at least. 

And my question is this: why focus on this when there are six years worth of quality material that is just skipped over? The stories within the six years are far more interesting that just watching our heroes defeat yet another villain. Imagine all of the things that happened to them over six years that changed them and shape them into who they are. Skipping all of this time and just breezing right past all of that good character material is just a disservice. 

This is, unfortunately, a pitfall that many tv shows fall into. Once Upon A Time and The Walking Dead, to name a few. And it all culminates to the fact that the writers start writing for the thrills and stop writing for the characters, which is a one-stop-shop to failure. The characters of The 100 feel disconnected from who they were, which is a tragedy. But it would be less of a tragedy if the writers spent more time developing who they had changed into. 

However, I think this is a systemic problem with television though. The writers can't see a permanent end in sight because they never know if the show is going to be renewed, and if they do, it's probably too little too late to fix all of their problems. When you can't see a permanent end in sight, meaning something that overarcs through the whole series, it all feels . . . trivial. Like nothing matters, and all of the characters seem to reset at the beginning of another season. 

The problem when tv shows drag on and on, like The 100 is gearing towards, is that it starts writing for the thrills and not writing for the characters. The writers think they need to keep the watchers hooked with big reveals and plot twists, but all they really need is solid characters with growing arcs. I'm afraid that this is what The 100 is becoming, because jumping right back into the action without giving these characters time to develop - or even breathe - makes all of the other time we spent with them in past seasons feel wasted. It all loses meaning when the writers forget to focus on the most important part of the story. 

The 100 is a good show. It has strong characters, heartbreaking arcs, and interesting and complex themes and morals. Don't let stats, viewership, or the uncertainty of renewal draw your focus away from what really keeps viewers: the characters. I'm looking at you, Jason Rothenberg. You can do better. You have done better. 

~The WordShaker