In a message dated 2/18/01 5:19:51 AM Eastern Standard Time, mistral@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.