For about a year, I’ve wanted to write a TV show that’s a “pre-apocalyptic melodrama,” filmed in a post-apocalyptic world in which there’s some residual memory of television, but nobody remembers exactly how TV shows worked or what life was like before whatever catastrophic event changed things. They need to recreate things like the sky and the sun with painted wood and tin and generator-powered floodlights, for example, and things as simple as text messages, fresh fruit, and dogs that don’t eat people are treated as the markers of luxury. We’d get glimpses of the post-apocalyptic reality through pre-show and post-show notices, since people in that world aren’t acclimated to fictional television and need a little bit of a warm-up and cool-down to understand it.
Form Fatigue
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For about a year, I’ve wanted to write a TV show that’s a “pre-apocalyptic melodrama,” filmed in a post-apocalyptic world in which there’s some residual memory of television, but nobody remembers exactly how TV shows worked or what life was like before whatever catastrophic event changed things. They need to recreate things like the sky and the sun with painted wood and tin and generator-powered floodlights, for example, and things as simple as text messages, fresh fruit, and dogs that don’t eat people are treated as the markers of luxury. We’d get glimpses of the post-apocalyptic reality through pre-show and post-show notices, since people in that world aren’t acclimated to fictional television and need a little bit of a warm-up and cool-down to understand it.
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