FX Orders 16-Episode Third Season of Adults as Writers Push Back Against Short Formats

FX has ordered 16 episodes for the third season of Adults, a move that contrasts sharply with the eight-episode standard now dominant in streaming comedy. The network also asked creators Ben Kronengold and Rebecca Shaw to film a new pilot retroactively to better introduce the series' universe. Shaw noted that this new introduction helped the show find a wider audience. The 16-episode commitment allows the team to explore character-driven storylines and holiday episodes without constantly raising the stakes, a flexibility Shaw described as exciting but daunting.

This development comes as several prominent writers argue that the industry's shift toward shorter seasons is harming the craft. Michael Schur, creator of Parks and Recreation and The Good Place, spoke at Variety's Night in the Writers’ Room event about the pressure to maximize completion rates. He described this focus as a new tech bro ethos that values how many people finish a show over how many sample it. Schur said this metric clashes with the traditional rhythm of sitcoms, which often require time for audiences to bond with characters before finding them consistently funny.

Schur pointed to classic hits like Cheers, Seinfeld, and The Office, noting that these shows were not immediate successes. He explained that writers and actors needed time to find their specific voice. Parks and Recreation only found its footing at the end of its first season, a late bloom he attributed to the ability to fail repeatedly until the right dynamic was achieved. Under the old broadcast model, which required 22 or more episodes per season, comedies had the space to experiment and produce storytelling depth.

Lisa Kudrow, who starred in The Comeback and co-created Friends, agreed with these sentiments. She recalled that Friends did not break out until the summer after its first season, when repeats aired following Seinfeld. Schur believes the current eight or ten-episode format has caused the industry to lose its muscle memory for producing larger story arcs. He expressed a desire to see the capacity for long-form production return to the industry.

The challenge of defining tone has become more critical as viewers decide quickly whether to stay. Matt Miller, executive producer of Prime Video's Ride or Die, described the difficulty of balancing action, mystery, and comedy in just eight episodes. He explained that humor serves as a relief from tension but must remain grounded to avoid becoming silly. Although Prime Video recently canceled the series, Paramount TV Studios is currently shopping the show for a new home. Miller said the writers' room completed a second season script featuring a storyline about Octavia Spencer's character's son getting married, and the team hopes to find a new platform.

Schur, who is reuniting with Amy Poehler for his new series Dig on Peacock, described tone as the hardest element to define. He explained that it is often identified by elimination, where writers remove ideas that do not feel right until the core of the show remains. Michael Patrick King, co-creator of The Comeback, added that a recognizable tone can sometimes be a trap. He noted that smaller writer's rooms in the streaming era mean fewer people are contributing to the creation of that unique voice.

When asked if The Comeback is definitively over, King and Kudrow affirmed that they are finished. Kudrow confirmed they were shaking their heads in agreement, while King explained that a return after a decade requires a significant new story to justify. Although they have other funny ideas, none were big enough to warrant a revival.