In a message dated 2/18/01 5:19:51 AM Eastern Standard Time,
mistral(a)centurytel.net writes:
<< Well, to be fair, when they give the viewers what they want, it
frequently kills the show. For example, UST = viewer interest, resolving
it = cancellation (Moonlighting, Scarecrow & Mrs. King, etc.) Maybe
there is something to the idea of tension generating fandom. Though for
me, I think it's just a matter of wanting to spend more time in that
universe than are available on film.<<
A good scriptwriter and producer recognizes the difference between
*resolving* the tension in an ongoing continuity and *changing* the tension
by development. Any good soap opera writer knows that requited love is a
snore. JMS, Joss Whedon and other talented writers on TV today know that you
have to work *hard* at complex overlays of tension, so that when one is
resolved, a new one has already been forming for some time to hold the
viewer's interest. And I don't think it's a coincidence that both writers
have a greater ability to write strong, complex women and scripts that appeal
to women.
>>If Blake had destroyed the Federation and set up a new, democratic form
of government, would there be anything left to write about 20 years
later? >>
In the hands of a good writer? Oyez, oyez. Off the top of my *un*talented
head, Blake discovering his beloved wife has cheated with former ally and
rebellious foe Kerr Avon. Cally has brought back the Auronae and are waging
war with humans in retaliation and vengeance that Blake doesn't feel entirely
unjustified. Orac has created a humanoid avatar (much like Rommie) who works
with Avon and is every bit as difficult and obnoxious as his former
incarnation, and Avon can't pull his key anymore. Servalan had her
consciousness transplanted into Jenna's body a long time ago, and is secretly
scheming behind Blake's back, undetected. And Tarrant has never forgiven Avon
for getting Dayna butchered at Gauda Prime, and leads Blake's troops against
the rebel. I'd watch.