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Is there room to tell a story in more than one way - a more internal way?
Martin Scorsese from the documentary Scorsese on Scorsese.
I've always written structured stories, plot focused tales. In the seasons before this one,
we had a clear plot arc. But here, this season was more chaotic. More anarchic. We were telling a lot of standalone tales that focused on our characters. The main plot arc - the Initiative and Adam was really in the background, not the true focus. That's why we chose not to end the season with the battle at the Initiative, which many fans expected and wanted. Instead we chose to do something I never done before nor have really done since - which is write an sort of coda that focused purely on the characters and addressed their arcs over the course of the season. In some respects, our best episodes were done this season - because we chose to move away from the tight plotting and focus more on the characters.
[paraphrased and by memory] quote from Joss Whedon's interview in his commentary on The Overview of Season 4 and commentary from Restless.
Of all the seasons of Buffy the Vampire Slayer - Season 4 may be the most experimental. In some respects it was also the season that television critics took notice. Prior to this season, many felt that Buffy was really just a show for teen girls. It was not until Season 4 that Buffy got nominated for an emmy - with HUSH, or that the HUGO's took notice. The story for the first time veered away from the high school metaphors and the angsty gothic romance trope which is currently being replayed almost to death by Stephanie Meyer's Twilight Saga,
Tru Blood, Moonlight (okay not current), Laurell K. Hamilton's novels, and countless others - it was by no means new when Whedon did it with Angel/Buffy, and it's not new now. Although Whedon did put a horrific twist on it that has yet to be copied, and he did in some respects put an end to it in Season 4, moving on with his tale. I mention the Buffy/Angel relationship because it is the reason a lot of fans disliked Season 4. It's not the only reason. Season 4 is not formulaic tv. It did not follow the pattern fans had become accostumed to. The big bad sat mostly in the background, seldom used. The gang did not solve a mystery each week and fight bad guys. Buffy had a romance, but it wasn't quite as hot or angsty as with Angel nor was it front and center. And the plot unlike most tv series of this type was not the main point.
The tale in some respects was a more internal as opposed to external one - another thing that fans of action adventure/science fiction tales may not be used to. Plus the characters were less comfortably together. At times, in fact they seemed to be on the point of breaking apart.
Evil and good became blurry. The metaphors mixed. And if you shipped a specific character or relationship in later seasons, especially Spike and/or Spike/Buffy, or hated Riley - this season may have bugged you. At least these are the critiques I've read over the years since the season aired way back in 1999-2000. And I admit when I first watched the season, I remember being a bit frustrated with it and confused. Now, years later, rewatching it, I find myself fascinated and impressed by what the writers/actors/directors and producers managed to accomplish in a difficult and fast medium. It may in fact be one of the most brilliant seasons to ever air on tv, it is certainly amongst the riskiest and experimental. It also, I believe influenced others.
I mention Martin Scorsese above - because a)I was watching a doc on him tonight and b) his quote fit I thought what Whedon was trying to do.
( meta on Buffy S4, specifically all the characters journey's throughout that season. And how those journey's support specific themes. )
Ugh, up too late again, to bed. And hopefully to sleep.
Martin Scorsese from the documentary Scorsese on Scorsese.
I've always written structured stories, plot focused tales. In the seasons before this one,
we had a clear plot arc. But here, this season was more chaotic. More anarchic. We were telling a lot of standalone tales that focused on our characters. The main plot arc - the Initiative and Adam was really in the background, not the true focus. That's why we chose not to end the season with the battle at the Initiative, which many fans expected and wanted. Instead we chose to do something I never done before nor have really done since - which is write an sort of coda that focused purely on the characters and addressed their arcs over the course of the season. In some respects, our best episodes were done this season - because we chose to move away from the tight plotting and focus more on the characters.
[paraphrased and by memory] quote from Joss Whedon's interview in his commentary on The Overview of Season 4 and commentary from Restless.
Of all the seasons of Buffy the Vampire Slayer - Season 4 may be the most experimental. In some respects it was also the season that television critics took notice. Prior to this season, many felt that Buffy was really just a show for teen girls. It was not until Season 4 that Buffy got nominated for an emmy - with HUSH, or that the HUGO's took notice. The story for the first time veered away from the high school metaphors and the angsty gothic romance trope which is currently being replayed almost to death by Stephanie Meyer's Twilight Saga,
Tru Blood, Moonlight (okay not current), Laurell K. Hamilton's novels, and countless others - it was by no means new when Whedon did it with Angel/Buffy, and it's not new now. Although Whedon did put a horrific twist on it that has yet to be copied, and he did in some respects put an end to it in Season 4, moving on with his tale. I mention the Buffy/Angel relationship because it is the reason a lot of fans disliked Season 4. It's not the only reason. Season 4 is not formulaic tv. It did not follow the pattern fans had become accostumed to. The big bad sat mostly in the background, seldom used. The gang did not solve a mystery each week and fight bad guys. Buffy had a romance, but it wasn't quite as hot or angsty as with Angel nor was it front and center. And the plot unlike most tv series of this type was not the main point.
The tale in some respects was a more internal as opposed to external one - another thing that fans of action adventure/science fiction tales may not be used to. Plus the characters were less comfortably together. At times, in fact they seemed to be on the point of breaking apart.
Evil and good became blurry. The metaphors mixed. And if you shipped a specific character or relationship in later seasons, especially Spike and/or Spike/Buffy, or hated Riley - this season may have bugged you. At least these are the critiques I've read over the years since the season aired way back in 1999-2000. And I admit when I first watched the season, I remember being a bit frustrated with it and confused. Now, years later, rewatching it, I find myself fascinated and impressed by what the writers/actors/directors and producers managed to accomplish in a difficult and fast medium. It may in fact be one of the most brilliant seasons to ever air on tv, it is certainly amongst the riskiest and experimental. It also, I believe influenced others.
I mention Martin Scorsese above - because a)I was watching a doc on him tonight and b) his quote fit I thought what Whedon was trying to do.
( meta on Buffy S4, specifically all the characters journey's throughout that season. And how those journey's support specific themes. )
Ugh, up too late again, to bed. And hopefully to sleep.
