Why So Many of Your Favorite New Shows Are Exercises in Nostalgia

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Lately, I’ve been giving “The Four Seasons,” Tina Fey’s reunion project following “30 Rock,” a try, not exactly with high hopes to begin with.

The Netflix series features Tina Fey gathering several writers from her ‘TGS’ era to reimagine a film from Alan Alda’s past, with friends like Will Forte and Steve Carell joining in the project. Critics’ opinions were mixed, the pattern of comedy writers shifting into dramatic roles is indeed familiar, and it seemed that the production was aimed at allowing an experienced actor to maintain his income stream without overexertion.

Initially, I had reservations about the show “The Four Seasons,” but as it progressed, it became evident that my concerns were unfounded. In truth, the series serves as a trip down memory lane – even taking it a step further at times, such as when Alan Alda appears as a character’s father. However, don’t let this nostalgia trip fool you; there’s a significant message within its episodes about midlife, that peculiar stage of life where one has achieved much but is unsure about where to channel their remaining energy for further accomplishments – a theme that resonates with Tina Fey’s career but also speaks to a broader Gen X critique.

As a dedicated admirer, I must say that Colman Domingo’s scene-stealing, wink-worthy performances are simply outstanding additions to his impressive portfolio, and it’s something every fan would dream of experiencing! If Tina Fey had used her success from the 2000s to bring this nostalgic show to life, at least it was for a worthwhile cause.

As a gamer, diving into this year’s Emmy contenders feels like a nostalgia trip down memory lane. First off, the return of Max’s The Pitt, with Noah Wyle, R. Scott Gemmill, and John Wells taking us back to the chaos of an emergency room, just like old times. But it’s not just that show; the scent of classic TV wafts from all directions. For instance, Dan Fogelman’s narrative structure in Paradise with its intricate flashbacks seems to suggest a recent binge-watching session of the first two seasons of Lost. The creative minds behind Landman, Taylor Sheridan and Christian Wallace, seem to have inhaled an entire boxed set of Friday Night Lights before they started brainstorming. Similarly, the guessing games in The Studio remind me of Entourage. And with Andor, Tony Gilroy and Kathleen Kennedy take us back to the Star Wars timeline, making it feel like 1977 (or 2015) all over again.

While Apple TV+’s Severance stands out as something remarkably new and different, much of today’s scripted TV leaves me with a sense of déjà vu. The latest season of The White Lotus, despite its hype, at times seemed like an expected continuation of what used to be the most innovative show on television. It’s almost like the series is reminiscing about its own past, and if it were possible for a series to do that, Mike White has accomplished it.

One could interpret this as a potential decline in creativity, perhaps hinting at a lack of original ideas within Hollywood. However, the just-concluded upfronts didn’t seem to offer much of a rebuttal, as the majority of greenlit productions were renewals of established shows or revivals of series that weren’t particularly missed. One of the more intriguing new series announced (in reference to Carell) was a mockumentary produced by Peacock and the creators of The Office, set at a mid-city newspaper, featuring the return of Oscar Martinez and his characteristic charm.

The nostalgic lean in recent times is heavily influenced by the talent pool. A significant drawback of network television fiercely pursuing quality during the 2000s, where you could often watch fresh episodes of shows like 30 Rock, 24, Friday Night Lights, ER, The Office, Scrubs, and Lost in a single week (with The Sopranos, Mad Men, Breaking Bad on cable thrown into the mix), is that it leaves limited space for fresh perspectives. Many of those shows’ original creators still wield substantial influence today, leaving little room for new voices to emerge. And, those who are just starting out in the field often look up to these shows as their formative influences.

A significant portion involves the business sector as well. The era of full-blown cable, which eventually overshadowed network supremacy, and the streaming era that subsequently replaced cable, have collectively struggled to maintain their pace. To put it frankly, none of these three pillars of the television industry are swimming in funds or generating much heat, a situation unheard of at any other point during the last thirty years. Consequently, there’s less likelihood of risky projects being created.

Some of this nostalgia is due to executive cautiousness, a belief that in today’s fast-paced and overwhelming world, it’s safer to offer consumers familiar ideas they recognize. (TV executives might consider reaching out to their counterparts in the film industry to discuss this approach.)

Despite having plenty of reasons for feeling let down, as the Emmys season begins, I’m filled with optimism. The excitement surrounding this TV era isn’t just about nostalgia; it’s more about how this history is unfolded. Although The Pitt shares some similarities with ER, it represents a fresh, innovative perspective – almost like someone reimagined shows from the late 20th century’s serial revolution, using the raw intensity of today’s world as inspiration. Wouldn’t it be intriguing to watch Dr. Robby ask relatives to step aside in such a modern scenario?

Andor offers something unique by crafting an entirely fresh tale of resistance within a setting that feels familiar. In truth, it addresses certain shortcomings found in J.J. Abrams’ initial Star Wars revival a decade ago. The first film reboot, like many subsequent franchise additions, had difficulty justifying its purpose. But now, that has changed.

Meanwhile, Landman delivers top-notch television sets across Middle America, and to make things even better, they’ve managed to secure a memorable appearance by Jerry Jones. Despite some underhanded tricks used by Paradise, I can’t help but feel that there hasn’t been a more captivating show in recent memory. It brought back memories of watching TV two decades ago, but not just in terms of nostalgia – it was as if the pleasure of watching television had been intensified once more.

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Landman provides some of the finest televisions in Middle America, and they’ve even snagged a standout appearance by Jerry Jones. Despite the occasional trickery seen in Paradise, I can’t help but feel that it’s one of the most engrossing shows we’ve had in years. Watching it felt like being transported back to the days when watching TV was an incredibly enjoyable experience.)

This article isn’t about unbridled cheers, and it won’t transform into that as the season progresses. We won’t shy away from criticizing platforms when they make mistakes or showrunners if they opt for an easy solution. However, I find myself swept up by a sense of comfort while watching so much of this season.

Are filmmakers in Hollywood dipping into familiar territory once again? Indeed, they are delving quite deeply. However, the question arises whether they’re running low on fresh ideas. Instead, they’re presenting captivating new twists on classic tales.

Occasionally, when everything seems to be crumbling, it’s comforting to have someone like Liz Lemon step in and put things right again.

Here’s an interesting tidbit I stumbled upon while flipping through my latest issue of The Hollywood Reporter magazine. If you’re not already a subscriber, you might want to consider clicking here to sign up and stay in the loop!

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2025-05-27 19:55