Whither The Whedon?

Here we see an open letter to Joss Whedon from The  TV Addict —

http://thetvaddict.com/2009/10/22/an-open-letter-to-joss-whedon/

Rumors from last year have already presented the possibility that Whedon could give up TV and return to an internet-based model as seen in Dr. Horrible’s Sing-Along Blog. Dollhouse has been assured a full 13-episode run for the season, but there is no word of picking up the back 9 (ordering more episodes to make a full 22-episode season), and there’s also a rumor from Brian Ausiello that Dollhouse will be benched during November sweeps.  All of this seems to point to Dollhouse not surviving past its second season.  Only time will tell, but the show’s renewal last season was a big surprise to many, and seemed to revolve around the fact that Whedon proved he could make the show for less money (see the post-apocalyptic “Epitaph One” for his example of lower-budget Dollhouse)

TV Addict does some quick math to speculate that a core audience of 2 million viewers buying straight-to-internet downloads at $.99 a pop yields a revenue of just under 2 million dollars per episode.  Add in merchandise sales, DVDs and possible syndication, it seems pretty reasonable.  There are also some other possibilities for budget-cutting, including shooting in video vs. digital (which then reduces the max quality of the material for DVD, a trade-off to be sure).   There’s also the fact that a pilot episode can cost several times as much as a regular series episode due to start-up costs.  Whedon and Mutant Enemy are a reliable entity, known for producing fan-favorite, intriguing material but recent lack of success with TV properties on network TV, which makes them an ideal case study for considering this change in model.

My girlfriend is more knowledgeable and interested in industry/funding/marketing than I am, but she’s in class in California right now — and I’m thinking out loud at least partially as a creator.  Plus, this is my blog.  However, she’s likely to come around and correct some of my numbers and/or add her opinion. 🙂

For Whedon, using a model adapted from/close to Felicia Day’s The Guild may prove as a starting point (and likely informed his approach with Dr. Horrible).  Find investors for start-up costs (Pilot + 8 episodes) and make it go.  Whedon’s fan community would reliably do vigorous viral marketing without having to be asked. Everyone in the geek-o-sphere (amusing name, TVAddict)

A show like this would probably live and die on the efficacy of its marketing campaign.  Dr. Horrible was free to watch for a short period of time, and then became digital download only — it later ended up on Hulu for free and then became available by DVD (with extras, natch).  If this new Whedon show were available online for free for X period of time (a week per episode?), and was also sold via iTunes/etc., would enough people pay to download it to sustain the show’s budgetary requirements?  DVD sales of Whedon/Mutant Enemy material is consistently strong, but without the advertising revenue as a primary source of funding, it’s intriguing to ponder if a high-ish-budget show could survive in this model.  Felicia Day’s The Guild is free to watch/download and pays for itself off of advertising and alliance with MSN (to by knowledge) — but it also appears to be a very cheap show to produce, with less than 10 minute episodes and little to no special effects.

If one production company can do it, doesn’t mean that any others could.  Auteur/Star Power goes a long way in the digital world, but it goes as far as those consistent 2-million-ish viewers, not necessarily further.   The Long Tail Theory probably applies here, where a figure/group famous within a subculture (geeks) can serve as a sufficient base for demand — without being The Next Big Thing like LOST or Heroes.

What Abut Going Cable?

An alternative would be shopping shows to cable networks — where the ratings demands are lower (and therefore, so are budgets, often times).  Cable networks have been making critically-acclaimed shows for a number of years, and in recent memory, challenging shows like The Sopranos, Six Feet Under, Rome, The Shield, Mad Men and Breaking Bad have all come from cable networks and enjoyed popularity, critical praise/awards or both.

Whedon’s shows Buffy and Angel survived on 2nd-tier broadcast networks (UPN and WB) rather than the Big Four.  The lessened ratings demands of these 2nd tier networks allowed the shows to survive.  Right now, the descendent of UPN/WB — the CW) occupies that median position, but is strongly branded towards teen girl dramas (Gossip Girl, 90210, One Tree Hill, or dramas that appeal strongly to the 18-25/49 female demographic (SF shows such as Smallville and Supernatural (which help court the beloved male 18-24 demographic).  It’s uncertain if a Whedon show would find a place in the current CW brand — certainly possible, given Whedon’s feminist-friendly approach (for certain brands of feminists, that is — debate continues on the ultimate standing of Whedon’s feminism), but not necessarily an instant match.

There’s a few issues with the ‘Go Cable’ approach.  Here are the big two for me:

1) If a show is on cable, it automatically cuts out a portion of the potential audience.  Some dozens-ish millions of viewers have/watch TV but not cable.  This reduces potential viewers (likely reducing ratings) but also can be seen as inherently elitist — if you’re making shows for cable and have a social agenda (like promoting feminism or critiquing the capitalist system, etc.), you’re already always speaking to a more affluent population (we’re speaking in generalities here — there are better-off households who never watch tv, and there may be less affluent households that still decide to have and watch cable).

2) Ad space on cable networks is going to be sold at different rate sets than ad space on network TV.  This goes back to the basic numbers of who has/watches cable vs. who has/watches network TV.  Depending on the type of cable (basic vs. premium and all permutations), this can change how your show’s budget is determined.   Whedon may be able to make quality TV on a lessened budget, but those limitations inform what kinds of shows can be made.

A modern-day+something cool show is likely to be far cheaper than a futuristic SF or historical/otherworld fantasy show (props, sets, costumes, etc.) — Whedon has frequently done the modern-day+ settings (Buffy, Angel, Dollhouse) but I know as a writer/creator, I would blanche at the limitations of that reality.  Brilliant shows like Defying Gravity may fail to succeed because of budgetary problems like the above.

Wrapping it Up

These questions aren’t quite relevant for Whedon, et al. until/unless Dollhouse meets its end, but they are questions that need to be asked in general about the industry.  We should be asking What purpose do these networks serve? Has technology developed to the point where other models are viable/recommended? What will it take to make those models viable, if they aren’t there yet?

I think I might like to write for TV one day, but by the time I make it there, the landscape may be violently different, just as the publishing industry is going through a major shakedown (price-wars at big-box stores, Borders teetering on the edge, increasing technology for e-readers and digital distribution, etc.)

Review: Pandorum

This is going to be two reviews: The one without spoilers and the one with.

I first started seeing material for Pandorum late last year, where it looked like a film in the space horror tradition. The previews also suggested the possibility of a Big Action Movie element as well.

Pandorum is a German/American production directed by Christian Alvart and written by Travis Malloy. It stars Dennis Quaid and Ben Foster as crewmen on the Elysium, a long-term colony ship bound for Tanis, the only habitable planet identified by a humanity on the edge of annihilation — in the 24th century with a population of 24-ish billion people. Their memories return to them only in chunks after extended hyper-sleep, heightening the initial tension as they discover the power is comprimised and the proper rotation of crew is very very off.

The film maintains tension quite nicely, parceling out information in chunks. Though there is some “As You Know Bob,” it’s more like “As You Should Remember, Bob” with the two leads reminding one another about things drawing from their fuzzy memories. The title, Pandorum, comes from the term given to extended-space-travel sickness. Remember one of the theories about Reavers (from Firefly), how they were people who traveled too deep into the nothing and it consumed them? Kinda like that. There are creepy monster people doing creepy monster people stuff. There’s some fighting, but it stays as more of a horror/thriller than an action movie most of the time.

The film was very freaky, and notably original in several places. Yes, it seems apparent that Alvart and Malloy are familiar with films like the Alien Series, Event Horizon, and the like. Many critics whose reviews are collated at Rotten Tomatoes calls this being ‘derivative,’ but for me that just means Pandorum is a continuation of the discussion that is the Space SF-horror genre.

Go see this movie if you missed Event Horizon in the theatres and then discovered it years later to great enjoyment. Go see this if Alien took your breath away with Ridley sneaking through the corridors of the Nostromo hoping to never see that black-glossy carapace again. See it if the idea of a psycho-thriller-slash-horror-movie-with-some-action appeals to you. Chances are this is going to bomb in the box office and then sell well over several years in DVD/Blu-Ray, but if any of the above sounds appealing, do yourself a favor and see it in theatres.

And now the spoilers (as in stuff that’s farther than 15 minutes into the film and not given away by trailers).

Review — Done The Impossible

Once upon a time, there was a show called Firefly.  It had fan-favorite Joss Whedon at the helm and a distinct view of the future, a western-flavored future that wasn’t about the people in the shiny organized space ships.  Instead, it focused on the people on the edge, misfits and outcasts.

It was plagued from nearly the beginning by interference from executives, and was canceled in less than a season.

But the fans were not done with the world of Firefly, nor were those involved in its creation.

Done the Impossible is a documentary that tells the story of the Firefly/Serenity-verse, through the lens of fans of the ‘verse.  The documentary is not for the unitiated, instead, it is itself a work of fandom, a gift from a team of Firefly fans (Browncoats) to the community.  With narrations from fans, cast & crew, Done the Impossible talks about the show, the time between Firefly and Serenity, and then the arrival of the film.

In years past, I’d thought that a combined ethnographic/cultural studies analysis of Browncoats would make a good book-lenth project.  I still do, as Done the Impossible has not already done that work.  I’m not very involved with Firefly fandom myself — I watched the series the first time around and told my friends, then sent my DVD set to make its way throughout my friends groups.  But I did not partake in much if any of the intense and highly active grassroots campaigning and guerilla marketing that is discussed in the film.  In this case, I would have the positionality of being one of ‘the Browncoats’ without being as much of an insider as with other groups.

Firefly fandom is intriguing in that we can look at it and confidently say that it was the fans’ efforts which led to the creation of Serenity.  Creator Joss Whedon repeated a line from the series at the first of the Serenity early screenings:

“We have done the impossible, and that makes us mighty.”

The line is the source of the documentary’s title, and has become a rallying cry for Browncoats, a reminder of the power of guerilla marketing and grassroots fan activity.

There have been ‘Save my favorite show’ campaigns before, but while the Browncoats’ efforts didn’t bring back the show on TV, since its cancellation, Firefly has had two comic series, a tabletop role-playing game line, a major motion picture, and continues to have a strong and active fan-base.  Browncoats continue to host ‘shindigs’ and other events, sharing their passion of a show that like its namesake, shone brightly, went dim, and then shone again just as briefly.

Don’t look to Done the Impossible for an introduction to Firefly, or even as an ethnographic work explicating fandom in general.  It is a specialized work done from within a fan community for that fan community.  If you’re already one of the flock, then pull out your Browncoat, pour some Mudder’s Milk, and join in the geek-fest.

Another, post-review note, about positionality:   There are many ways to be a fan within a community, different degrees of engagement.  To use Firefly as an example — there are people who watched Firefly and liked it.  There are people who consider themselves fans, but don’t necessarily identify with the Browncoat movement.  Then there are any number of different levels and types of involvement within the Browncoats, from fan-fiction to convention organizing to costuming to fan art to role-playing games to podcasting to guerilla marketing and more.  These people are all members of the fan community to different degrees.  There are a lot of ways to be a fan, within one fandom and across many fandoms.  This becomes readily evident at any general convention, where fans move between groups to share their passion for shows, games, films, comics, and more.

For a fan-scholar, you’re never going to be as into everything as the people you interview/work with.  I may be able to speak most of the dialects of geek (video gamer, comics geek, anime otaku, role-player), but in any given situation, I can’t assume I know more about a fandom than anyone I’m talking to.  They get to exercise mastery of knowledge as a result of their involvement, and in turn, I exercise my status as a scholar and serve to represent fans to members of another community, that of the scholars (who may or may not be fans).  Scholarship in fan studies has always been in an interesting state, given that there are well-established and vibrant fan scholars who may not have the same academic credentials but do similar work.

Questions of power, authority, agency and positionality are never far from any ethnographic study, even moreso in fan studies and media studies.  Scholars are accountable to the public and should always be aware of their cultural power — even though we are a part of the panopticon like everyone else.

A Critique of Pure Whedon

On February 13th, we will be introduced to Joss Whedon’s newest television series, Dollhouse.

I’ll be watching it, for my own interest as a general fan of his work, but also to discover if Whedon is able to get out of his rut.  I’ve been a fan since the first season of Buffy, continued on with Angel, and am one of approximately 37 members of the Original Flock (also known as people who watched Firefly on FOX during its original run).  The Church of Firefly now sports many thousand devotees, whose rankings might as well be determined by the number of DVD-loaning-genertions one is removed from the original TV run).  I’m a Whedon fan through-and-through.  But it is a natural part of subcultural fandom to critique that which we love.  One could say that Indie Rock fan culture is entirely composed of such critique (or that might just be my intense reading of Questionable Content speaking).

In addition to developing a reputation as one of the poets laurate for Geek Culture, Joss Whedon, writer of witty banter, producer of an ongoing line of bad-ass skinny super-powered adolescents/young adults, has become painfully predictable in his approach to romantic relationships.

Whedon’s ouvre spans over a dozen seasons of television, dozens of issues of comics, several films, and a troublesome through-line.

In Joss Whedon’s universe, happiness in romantic relationships is inevitably followed by catastrophic death/dismemberment/disaster.

Let’s do a quick roll-call of Whedon’s Greatest Relationship Hits — I won’t be pulling any spoiler punches here, so stand ready:

Buffy/Angel — Fated Doomed Lovers.  A Slayer and a Vampire, it really is poetic.  And ended the first time with Buffy stabbing Angel through the heart and shoving him into a hell dimension just as his soul was restored to him.  Ended the second time when Angel moped off to LA to get his own show.  Failed to start again when Buffy fell in love with Spike.

Xander/Anya — A strange-but-stable relationship ended by cold feet and then kept from re-uniting by a random death in the Buffy finale because, from a dramatic standpoint, a heroic finale isn’t powerful enough unless someone dies.

Zoe/Wash — Happily married, not without their issues, but those issues proved that you can portray a happy long-term relationship realistically and still have it be interesting.  Or it did, until Wash took a Reaver-spear through the middle after having his Big Damn Hero moment.

Colossus/Shadowcat — Pete comes back from the dead and Kitty comes back from being a bartender so they can have a joyous reunion, only so that Kitty can be killed off in the Only-Uncle-Ben-Stays-Dead Marvel universe.

Cordy/Angel — Cordelia Chase, who wins the award for Buffyverse character who has the greatest amount of actual character development (barely beating out Wesley), finally achieves something resembling a happy relationship with Angel before being possessed, killed, returned, then ascending, only to return to bid farewell to Angel.

Fred/Wesley — The sexy and badass nerds of Angel finally get together, only to have Fred hollowed out by a Hell Goddess and used as a vessel.  Strangely, the romance continues with Illyria messing with Wesley’s head in ways that alternate between poignant and sadistic.

Dr. Horrible/Penny — Not that it was hard to see this one coming, given the whole Supervillain thing, but Penny’s death serves as a almost self-referential response to criticism of Whedon’s tendencies.

Most if not all of these dramatic twists make sense within the context of their narratives.  What is troubling is not that any one of those romances ended in PAINDEATHDRAMA! instead of Happily Ever After, but that Whedon’s ouvre seems to intimate that PAINDEATHDRAMA is the inevitable fate of any and all romances.

Certainly, we have a proponderance of narratives that pat us on the head and say ‘Everything will be alright, you’ll meet the right person and it will be beautiful!’, but appreciating and recommending Whedon’s work is harder to do when you take his Love Interest in Refrigerators approach to writing romance.  In discussions of his own work, Whedon is fairly clear that he prefers to show the nuance and darkness in the world, wrapping darkness in a comfy hoodie of whimsy and witty one-liners, but it’s making him into a three-trick pony — and one of those tricks involves the rider getting thrown and stomped to death.

The result of this prediliction is that any savvy viewer/reader would have to approach all of his stories knowing “No matter how much I want these people to get together, if they do, it will probably in one of them getting killed/possessed/turned evil/mauled” — which induces a level of self-aware viewing that can work at counter-purposes with immersing yourself in a show and enjoying it on its own terms.

It’s gotten to the point where the ending of any given romance in a Whedon property seems to have become predictable, which is not something that an artist devoted to developing their art wants to be.  Ask M. Night Shyamalan, who has watched his star fade as he delivers “twist” endings one after another.

So I’ll be watching Dollhouse, but I might as well put my money on Dushku and Penikett’s character’s getting together and then something horrible coming along like clockwork to end the relationship and/or Penikett’s character’s life.  And any relationships between secondary characters are not only just as likely to end in PAIN, but they’re also fairly likely to end in character death.

I’d love for Whedon to prove me wrong.  I’d enjoy his work even more, then, which is saying a lot, because he speaks loud-and-clear to my aesthetic.