I think they’re finally waking up to this truth, at least on this little island: I believe there are a lot less ‘black comedies’ in funded development than there used to be.

Quirky is not a genre!!!

If you don’t believe me, go to your local Blockbuster and look for the shelf marked ‘quirky’. (While you’re at it, look for the shelf marked ‘coming of age’.)

If a script is funny (or scary, or thrilling), then quirkiness can add to that. If a script isn’t funny, calling it a quirky comedy isn’t going to save you. (‘Black comedy’ is another one. Not funny? No worries mate! It’s a BLACK comedy!)

On another note, when anyone writes or says ‘more unique’, I reach for my revolver. Things are either unique or they’re not.

Must get back to that quirky coming of age script I’m working on

Popular shows in Australia that are quite traditional include:
Home and Away
Packed to the Rafters
Neighbors
And a whole heap of other dramas that I lose track of because all the scenes of people having heart felt conversations on the beach start to blend together.
Traditional cop dramas include:
City Homicide
Rescue Special Ops
Rush
Sea Patrol
. . . . and the list goes on.

There are fair amount of by the numbers shows in the US too, but ever since Lost hit such high ratings people have been going out of their way to add at least one quirky touch to otherwise traditional shows. (Actually I think it really started as a slow burn after the X-Files and Lost just added some sparks) After all, putting traditional characters on an island where a lot of weird shit happens certainly worked.

A few years ago that brought about the start of Heroes and the not so successful runs of comedies Chuck, Reaper, and Pushing Daisies (the best of the bunch IMHO).

The dramas are more traditional but everything has at least one twist, like Flashforward, Fringe and the re-vamp of V (the original mini-series was much better). And US audiences are so hooked on the twist now that I don’t think they recognize when they are being fed the same story just with an extra bit of quirkiness in it.

The surprise ratings success Castle (I love you Nathan Fillion but . . .) is just Law and Order SVU if Vincent D’Onophrio’s character was a funny, quirky, playboy author. And runaway hit success Glee really wants to be Freaks and Geeks with singing (but falls desperately short on story and humor. I think it’s success is due to our nostalgic attachment to those songs, but that’s another post).

Yes, at their core these are all traditional shows but US audiences clearly crave something that is “familiar but different.” So what makes you think American’s get weirded out so easily?

Totally agree on Burton. Edward Scissorhands was quirky in its execution but beautifully classical in its story. I should watch it again, but isn’t it somewhat like the Hunchback story?

Mars Attacks. Seemed too quirky at the time. ;)

But I’m surprised with your comparison US/AU. I would have expected quite the opposite. Aren’t Americans ‘weirded out’ more easily?

Keen to hear what shows you have in mind.

Tom,

My gut instinct was exactly that and I first intended to write the post from this approach.

Then I thought about it for somewhat longer and decided not to over-generalize.

Sometimes, there really is merit in quirkiness, if used properly. (see my update on The Joker)

Thank you for your point, though.

Most quirkiness I read in newbie scripts IS shit. ;)

Here’s a question: What about quirkiness on TV? Do you think the same rules apply? In that respect I’ve found Australian shows quite traditional where American shows seems to thrive on at least some degree of quirkiness. If anything, I think a lot of new shows in the States have taken the formula of a more traditional sit-com or drama, added a quirky twist, called it original, and then been renewed season after season.

(He was an Aussie, too)

When I think of quirks that works (ahem), I think of Charlie Kaufman. Sure, the stuff in some of his scripts is wildly imaginative and non-realistic, but it’s rooted in universal and very human emotions, desires and fears.