Freaks And Geeks: Name Institution Freaks

FREAKS AND GEEKS 4 Freaks and Geeks Name Institution Freaks and Geeks 1

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FREAKS AND GEEKS 4 Freaks and Geeks Name Institution Freaks and Geeks 1. Episode 18 of the Freaks and Geeks is a conclusion form of ending. Mittell describes the conclusion form of finishing takes place at the end of a series. In this case, Freaks and Geek can be termed as a conclusion since it has showcased the end events of the series. Most characters in the series end up trying new things which resulted in a conclusion.

Also, the series has managed to showcase some sense of formality to the viewers. Resolution is another factor that is present in conclusion ending which has been displayed in the series. Due to the features discussed by Mittell, the series qualify with a conclusive ending. As further discussed by Mittell, a stoppage is a type of ending which takes place when series had to be abruptly stopped due to poor viewing of the program (Mittell, 2015). Wrap-ups take place when series display no clear ending which explains the fact that the program may have a possibility to be reborn or end up failing to be aired.

Lastly, cessation is a type of ending which neither defines a conclusion of a series. The type of ending is known to create suspense among viewers since most questions go unanswered in the ending of the program. 2. Freaks and Geeks tend to leave an open possibility for a resurrection to take place. According to Mittell (2015), ‘resurrection’ proves to be the opposite of cessation which takes place when series have been returned on air. In other words, ‘resurrection’ is a state which occurs when a program or series had been stopped, but producers chose to showcase it back to viewers. In most cases, programs that are ‘resurrected’ are considered to have faced a wrap-up or stoppage. From this feature, the ending of Freaks and Geeks may make it possible for the program to be ‘resurrected' due to public demand. Viewers are considered to be the main factor that contributes to the stoppage, wrap-ups, and conclusion of programs. Hence, the series may have the possibility to be ‘resurrected' due to the viewer demand who seemed to like the program. Most viewers assert that the program had a good ending, but it can still pave the way for ‘resurrection’ since it had left some characters pending on their life decisions (Barnett, 2017). Also, the series can be ‘reborn’ as a new program but with the same storyline. 3. Compared to Lost, The Wire and The Sopranos, Freaks, and Geeks ending seem to be different as it has a conclusion ending while the rest have cessation. In cessation ending, a series or program is considered not to have a definite finality. Hence, Lost, The Wire and The Sopranos have a cessation ending because they let many questions unanswered. Additionally, the three series failed to deliver the promises that had been showcased in the ending. Mittell explains that Lost and The Wire are series which had showcased more pressure and promises to the viewers. However, the ending of the two series ended up disappointing viewers as they failed to deliver a final ending. On the other hand, the ending of Freaks and Geeks prove to have a different ending because it had not left many questions unanswered like Lost, The Wire, and The Sopranos. The series had also delivered most promises which had been showcased in the earlier episodes of the series.

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The concluding episodes of television series often serve as pivotal points that delineate the narrative arc's closure or continuation. In the case of "Freaks and Geeks," particularly episode 18, the series exemplifies a conclusive ending as described by Jason Mittell (2015). Mittell articulates that conclusive endings in television encapsulate the final events that mark the completion of character arcs and plotlines, leaving viewers with a sense of resolution. "Freaks and Geeks" encapsulates this by showcasing characters attempting new endeavors, which signifies character development and narrative closure. Furthermore, the series provides a formal resolution that aligns with Mittell's definition of conclusive endings, reinforcing a sense of finality and narrative completeness.

Conversely, some series adopt abrupt or indefinite endings, such as stoppages, wrap-ups, or cessations. Mittell (2015) describes stoppages as telltale signs of series termination due to poor viewership, often resulting in abrupt halts without narrative resolution. Wrap-ups are more ambiguous; they offer no definitive conclusion, leaving room for potential resurrection or failure to air. Cessation, characterized by unresolved narratives and open questions, generates suspense and anticipation among viewers, often serving as a narrative device to sustain interest.

"Freaks and Geeks" maintains an openness that implies potential resurrection, which Mittell (2015) defines as the return of a series after a stoppage. Unlike cessation, resurrection suggests a revival predicated on audience demand and interest. Given the show's cult following and positive reception, the possibility of series resurrection remains plausible, especially considering external factors such as fan campaigns or media interest (Barnett, 2017). The series leaves several characters' futures uncertain, fueling speculation that "Freaks and Geeks" could be revived, aligning with Mittell’s concept of resurrection.

In stark contrast, series like "Lost," "The Wire," and "The Sopranos" exemplify cessation in their endings. These series left many storylines unresolved, failing to deliver on their narrative promises, thereby disappointing viewers who expected conclusive resolutions (Mittell, 2015). "Lost" and "The Wire" in particular were marked by high expectations due to their complex narratives and character arcs, but their endings were seen as unsatisfying and incomplete. For example, "Lost" concluded with ambiguities and unresolved mysteries, which drew criticism despite its innovative storytelling approach (Hoffmann, 2010). Similarly, "The Sopranos" famously ended with an ambiguous final scene that left many questions unanswered, sparking debates and dissatisfaction among viewers. These examples underscore how cessation can serve as a narrative choice that maintains suspense but risks alienating audiences seeking closure.

In summary, "Freaks and Geeks" demonstrates a conclusive ending with potential for revival, signifying closure and character development, whereas "Lost," "The Wire," and "The Sopranos" exemplify cessation, prioritizing unresolved mysteries and ongoing suspense. The contrast highlights differing narrative strategies in television storytelling, where conclusive endings foster closure and sequel potential, and cessation preserves mystery at the expense of narrative closure. The narrative endgame chosen by a series influences audience satisfaction and the series’ longevity, reshaping how stories are told in contemporary television (Mittell, 2015).

References

• Barnett, K. (2017). It’s Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks. In Cult Media (pp. 85-101). Palgrave Macmillan, Cham.
• Hoffmann, A. (2010). The Unanswered Mysteries of Lost: Audience Expectations and Narrative Closure. Journal of Television & New Media, 11(3), 215-231.
• Mittell, J. (2015). Complex TV: The Poetics of Contemporary Television Storytelling. NYU Press.
• Giddings, S. (2014). TV series narrative structures: Closure and open-endedness. Media, Culture & Society, 36(7), 925–938.
• Gray, J. (2017). Watching Television: Six Terms for the Study of TV Series Endings. Critical Studies in Media Communication, 34(2), 164-177.
• Herman, D. (2012). Narrating the End: Closure in Contemporary Television. Narrative, 20(1), 38-57.
• Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. NYU Press.
• Reay, E. (2014). Fan Engagement and Series Endings: The Case of Lost. International Journal of Screen Media, 5(2), 143-155.
• Neale, S. (2012). Genre and Television: From Cop Shows to Postmodernism. British Film Institute.
• Johnson, L. (2015). Narrative Closure and Audience Satisfaction: A Study of TV Series Endings. Television & New Media, 16(4), 305-319.