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50 years later, the nuclear family is an abstract concept for many viewers, and so is the sweet, nostalgic view of the world encapsulated in 1960s sitcoms.
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The original series was a send-up and a mashup of the sitcoms and monster films of the day, playing with the idea of a mostly ordinary family that just happened to contain benevolent (mostly) monsters. And two whimsical supernatural shows back to back might be a bit much to swallow viewers need some degree of separation between Grimm and Mockingbird Lane.Īnd this might be a world that isn’t really in the mood for a Munsters homage. It paired it with Grimm on Friday night, which might not have been the best choice Friday nights are rough, especially for premieres, particularly on a weekend when people are likely to be out partying, as was the case with many US viewers on the weekend before Halloween. NBC did make some fatal mistakes with the show, which is surprising, given how much it invested in its development and production. I hope it doesn’t also spell the end of Fuller productions.
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Fuller’s trademark style was in full flower on Mockingbird Lane and it’s a pity we aren’t likely to see more of the show.
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What might seem precious, stagy, and overwrought in a movie seems to work for television, where an hour of whimsy, sharp dialogue, and sweet romance comes across as delightful rather than sappy. His style suits itself particularly well to the small screen, which would make the common solution of crossing over into film somewhat tricky for Fuller. Networks often fail to give him the support he needs, while audiences seem to be reluctant to pick up his shows. It’s sad that audiences and networks alike don’t seem to want to take a chance with it.
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His work is amazing fresh, creative, and fun, as well as markedly different from the standard offerings on television. Fuller’s work tends to be expensive and risky, and the fact that his shows fail to capture the desired ratings is going to make it harder for him to find a network willing to take a chance on him, which is a huge pity.
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With Mockingbird Lane, he took on the 60s classic, and appears to have fallen flat on his face. Luscious sets and costumes, rich use of colour, hypersaturated film, and more conspire to take you into a television dreamland that’s become Fuller’s signature.
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His shows all have a specific look and feel that brands them as distinctly Fuller projects, especially in the cause of Pushing Daisies, Wonderfalls, and now Mockingbird Lane. In shows like Dead Like Me, Pushing Daisies, and Wonderfalls, he showcased his slightly macabre sense of humour, and had the chance to develop a strong production team that’s stuck with him. I’ve always been a big Fuller fan, one of the apparently small loyal core of people who love his work and can’t get enough of it. A costly loss for NBC as well as Fuller, and potentially a bad sign for his future, for no one likes a producer who spends big and delivers small. After spending ten million dollars developing the pilot for Mockingbird Lane, a reimagining of The Munsters, it looks likely the network won’t be picking up the show for series. The talented producer seems doomed to come up with innovative show ideas that bomb big-time on the networks, and his latest experience on US network NBC is a particularly harsh illustration.