In The New Republic’s “The Showrunner Fallacy,” Craig Fehrman responds to what he considers a troubling development within television criticism. Citing Alan Sepinwall’s The Revolution Was Televised and Brett Martin’s forthcoming Difficult Men: Behind the Scenes of a Creative Revolution, Fehrman focuses on what he terms the “veneration” of the television showrunner, which he argues “does not explain TV’s greatness.”
“But this obsession with showrunners—what we might call the showrunner fallacy—has obscured what makes television so great[,] … prevent[ing] [critics] from exploring the people and pressures that are unique to television—exactly what the medium’s reporters and critics should be working to understand. Instead, they praise or blame the showrunner, succumbing to a kind of narrative simplicity that we would never accept in an Emmy-winning drama.”
It’s an article that touches on two of my interests: the evolution and function of television criticism, and the rise of the showrunner as a primary figure in television production culture. It’s also an article where I sympathize with Fehrman’s argument while ultimately disagreeing with his conclusions: without adding some key qualifiers, the suggestion critics’ focus on showrunners is a fallacy pushes too far to devalue—rather than simply reevaluate—a mode of analysis that holds incredible value within broader conversations of television culture.
The—I presume editorial—“dek” attached to Fehrman’s article online reads “Veneration of TV Auteurs does not explain TV’s greatness.” When I went to post about the article on Tumblr (before realizing I had more to say than would fit in a Tumblr post), this sentence came up to represent Fehrman’s argument, and it helped me work through my primary issue with the piece: in an effort to push us past the importance of the showrunner, Fehrman develops his own logical fallacy where he elides the centrality of showrunners within his view of television production culture to make a point.
Cultural Learnings 