Can I Get A Witness?

So we pitch Show A to That Network and they take a pass, saying that it's not really on-brand. The Head Honcho says that what she wants is Show B.

So I get to work on Show B, thinking, well, actually, this isn't really on-brand, as described by them. But it is like another show we do for them that gets high ratings, and if that's what Honcho wants, so be it.

We then pitch Show B to them. Honcho isn't there, but her main people are. They tell us it's not really on-brand. But if we made it more like Show A, it might be more on-brand.

Huh?

Does anyone remember the last couple conversations? Were there any witnesses to those meetings?

Does anyone know what the freaking brand is? And do you talk to each other?

I choose to ignore the fact they're now asking for the show they declined and instead gently remind them that, as is, it is exactly what Honcho asked for. They say they'll look into it. But I don't think they'll greenlight it. I bet Honcho forgets she even asked for it.

Of course, if I do what I want to do and point out the mixed messages and ask them to please get their shit together so I know what they really want, they’ll think I’m telling them how to do their job and I might not get that next meeting.

The many layers of swirling ineptitude make me dizzy. And not in the good way.

What does this mean to us as writers?

Nothing.

Well, maybe another reality check to slap you upside the head and reiterate that it's a weird world out there, especially in tv and film.

But we can't do anything about it.

Sure, I'll reversion Show B so it's more like Show A and hope they remember this time that that's what they asked for. But there's no guaranteeing they will.

That's the nature of it kids. That's what we do.

So all we can do is create good stuff and try to get it in front of the right people... then hope they know what the fuck they're doing.