|Fairy Glen, Isle of Skye, Scotland|
There is a comedy adage attributed to Johnny Carson: If you buy the premise, you buy the bit.
I translate that as follows: If the audience accepts the underlying concept of the joke, they will laugh at the punchline.
In fiction we call that the willing suspension of disbelief, which comes from the well-known stand-up comedian Samuel Taylor Coleridge.
And none of that is the part I have a problem with. In fact, I was excited about it because it reminded me of a TV series I loved, Alien Nation, which also featured an L.A. cop, this time in a world adjusting to the arrival of half a million extraterrestrials.
But therein lies the problem I had with the premise of Bright. It suggested that humans and faerie folk have knowingly lived side by side for thousands of years, and yet we ended up with a society essentially the same as our own. And that's what made my disbelief go splat on the floor.
Now, compare this to a TV series from New Zealand I have recently been watching. The Almighty Johnsons is a dramedy with another far-out concept. Axl is the youngest of four brothers living in the modern N.Z. city of Norsewood. On his 21st birthday his siblings inform him of the family secret: they are all Norse gods and are about to find out which one Axl is.
Have you ever given up on a book or a show because the premise went to far? Tell me about it in the comments. And watch out for Thor's hammer, because that dude is crazy.