Recycling ideas has become common practice in the television and film world. We’ve become all too familiar with reboots, spin-offs and sequels. Even more, many — myself included — return to the “comfort shows” we’ve watched before but come back to again and again. Instead of trying a new show, we often opt for the comforting option. Do these trends stifle creativity or embrace it?
Production studios tend to greenlight stories with proven success, favoring shows with common, well-liked tropes or established A-list talent. It can be risky to invest in something new, especially when productions require millions of dollars in funding. Streaming has further complicated production decisions as revenues now depend on subscriptions alongside viewership and advertisements.
Older shows have also seen renewed interest as they resurface on streaming services. Shows like Sex and the City and Younger have become available on Netflix in the last year, generating social media attention and compelling both new and returning viewers to tune in. Perhaps the most striking example of this phenomenon came in Summer 2023 with Suits.
Originally airing on USA Network from 2011-2019, Suits had 57.7 billion minutes of viewing by the end of 2023 — Neilson’s highest total in its year of releasing streaming viewership. Suits was initially only on Peacock, but once it hit Netflix, its weekly viewership had a tenfold increase.
I was among those who started watching the series when it hit Netflix. The only thing I really knew about the show before was that it stars Meghan Markle. The show weaves witty legal jargon with a fast-paced rhythm, but what makes it most compelling are its character-driven plots. While the premise — genius Mike Ross pretends to be a Harvard Law graduate — drew me in, the relationships led the series’ nine seasons forward. The fast pace made it a binge-worthy watch, fitting the “prestige TV” profile of much contemporary television.
It’s not surprising that this resurgence resulted in new commercials with cast members, online conversations and ultimately, a spin-off series, Suits LA. Suits LA premiered last Sunday on NBC at 9pm ET/PST. It's set in Los Angeles and follows a new cast of lawyers, with a specialty in Entertainment Law.
Viewers should expect a similar rhythm from Suits LA since Suits’ Aaron Kosch is again the creator and showrunner. Gabriel Macht will even be reprising his role as Harvey Specter in a three-episode arc later in the season. However, Kosch has been careful to say that “‘Suits LA’ is certainly not a copy of ‘Suits.’” After watching the first episode, I can safely say Korsh is right, but not in a good way. Suits LA’s pace falls flat against its predecessor and lacks the engaging character relationships that drove Suits to success.
Suits LA tries to blend the old with the new: We get the familiarity of the Suits universe, but with new locations, plotlines and characters. It's a safer option for studios who value proven concepts as opposed to picking up totally new ideas with new writers. It also seems perfect for us as viewers — we’re nostalgic for old TV but we also often want a fresh perspective. Suits LA’s lackluster pilot then raises questions. Should we invest in safer options and should we hold spin-offs to the same expectations as the originals? Do we try to blend nostalgia and innovation, or is it doomed to fail?
While I try to pick new shows to watch, I also frequently find myself reverting back to my favorite comfort shows. Similarly, reboots and spin-offs offer an enticing semblance of familiarity. It’s important though to not lower the standards of evaluation for these series just because they’re behind a brand name. Suits LA, or shows like Gilmore Girls: A Year in the Life or How I Met Your Father, simply fail to capture their original series’ feel.
It is nearly impossible to recreate something and many will be let down by reboots like Suits LA. The plot is entirely different with no fraudulent lawyers, NYC backdrop or Mike-Harvey duo. Sometimes spinoffs and the like can succeed, but when even a showrunner like Aaron Korsh can disappoint us, failure seems most likely. Familiarity has its appeal, but it comes with the danger of tarnishing the worlds we have already grown to love. In an era of rising formulaic storytelling techniques, recycling television may be the most dangerous industry trend yet.
Gillian Lee is a senior in the College of Arts & Sciences. She can be reached at gl386@cornell.edu.
