What you want, what you need: fans and endings, and narrative satisfactions.
[Hello Whedonesque-y types! Good, bad, indifferent, please leave a comment somewhere - I'm following and commenting on the Whedonesque thread if you're at all interested.]
This post isn't really about a Joss Whedon show. A few paragraphs down we get to our real topic. But we start with Joss, almost out of habit.
Joss Whedon's Angel was cancelled in 2004, one year after Buffy the Vampire Slayer shut down. The David Boreanaz-centered spinoff ran for five seasons on the WB, playing to the usual small-but-rabid audience. The cancellation came as a surprise to all involved, it seems; ratings were up, critics were raving about the fifth season, and fan enthusiasm was at an all-time high (particularly since Angel was, at that point, the only Whedon project on the air). The WB had given Whedon and his co-showrunners an ultimatum during Season Four: retool the show to cut costs, lighten the tone, and focus on standalone stories, or you're done. (This made sense after the knotty self-referentiality and tortured soap-operatic melodrama of Season Four, which was restructured around an unexpected actor pregnancy that left the show's various seasons-long arcs in a bit of a shambles and prompted a complete rethink of the Season Four plot.) Various explanations have been floated for the cancellation; according to David Fury, longtime Buffy and Angel writer, Whedon approached the network for an early renewal (to grant a bit of security to the actors, crew, and staff), and the network didn't want to be pushed, or didn't want to commit yet, and pushed back too hard.
None of which is terribly important, though it's unfortunate. The bottom line is, Angel's fifth season was nearly as strong as its previous best (Season Three), blending strong one-offs (a technically dazzling muppet episode, the most illuminating flashback stories of the whole series, and the heartbreaking return of a deceased character in episode #100) with a host of ongoing story arcs (the fall of Charles Gunn, Fred's death and the appearance of Illyria, the Lindsey/Eve intrigue, etc.) as tightly constructed as anything in the show's five-year run. The cancellation notice came with the show operating at an undeniable peak.
The final three episodes covered a huge amount of series-mythology ground in a short time: drawing the central Buffy/Angel/Spike love triangle to a melancholy but satisfying close, tying off the show's most important single piece of backstory (the prophecy, introduced in Season One, that Angel's eventual reward for his heroic work would be rebirth as a human), winding up the year's various loose plot threads (including an intriguing romance for Angel himself), and bringing about all-out war between the remaining heroes and the show's villains, evil organization Wolfram & Hart. By the time Season Five was over, several principal characters were dead, and a couple of others were likely about to buy the farm - decisions that (the writers have since said in interviews and DVD commentaries) were made after the cancellation, as a way of raising the stakes to a point of finality. The finale, 'Not Fade Away' (written by creator Joss Whedon and showrunner Jeff Bell) was as affecting as any previous Angel episode - not least because it left the four remaining heroes in the middle of a fight for their lives, facing certain death. The last line of the series - 'Let's go to work' - was a very conscious decision by Whedon to show life going ceaselessly on (as it has a habit of doing - though not in TV shows or comics, particularly superhero stories where resets and timeskips and so forth are common tropes).
And the fans, well...
...for some reason, many of them wanted to know what happened next. For some reason, many still do. They say they need to know.
Which is to say they're missing the point.
There's news this week that, with the (very) early sales success of the new Buffy Season Eight comic book (overseen and partly written by Whedon, an official or 'canon' continuation of the TV series), comics publisher IDW is in loose talks with Whedon to produce an official Angel Season Six along the same lines. The news hit popular fansite Whedonesque this weekend, spawning a long comment thread with fans excitedly wondering how the story would move on and whether it was in fact a good thing that it do so. [As I write this the site is experiencing database problems, so no direct links or quotes, I'm afraid.]
A number of commenters have offered notions of how dead characters might be brought back for Season Six; several have speculated as to the identity of the presumptive Big Bad. A few have commented that the end of the show was perfect, a testament to the characters' strength and courage, but several more have responded that they had to know what happened next, that despite the implausibility of the heroes winning their final battle (which would make it, er, not final in a way, no?) they needed more stories about Angel and his cohort. Implying that the ongoing story was in some sense not finished, or finished improperly.
That discussion has clarified something about fans, for me, and about narratives in general.
I propose the following for the sake of argument, surely not the first time such an argument has been made but the first time it's been made on this weblog: Narrative isn't merely a device for structuring desire (and a mechanism that defers its satisfaction), but a device by which conflicting desires are established and brought into conflict and confluence. The more complex the story, the more complex the interface between desires, and the more potential for the fulfillment of an individual desire. Moreover, the writing of a story (the production of a narrative) produces satisfactions in the writer/storyteller/filmmaker/author, which resolved by a commitment (or left unresolved due to a failure to commit) to craft, i.e. to structure, to structuring logic. The logic of authorial satisfaction isn't the same as that of readerly satisfaction, though a long-term commitment to craft (or certain natural talent) can bring them quite close; this is what it is to be a 'natural storyteller' or, indeed, Joss Whedon: to resolve, seemingly naturally, the competing pulls of audience-satisfaction and personal-satisfaction. Complex storytelling increases the variety of ways that the audience can be satisfied, combines audience desires in new or untraceable ways, and (often) ends the story with still-suspended desires held in tension against those that've been satisfied.
For example:
Reading the story Hansel and Gretel, we want the kids to make it home safely. There is peril and we want the peril to be lifted; we sympathize with the lead characters, almost unconsciously, because they're children; certain narrative details (like their parents wishing well, say) increase sympathy. We wish we had our childhood back, and do not wish to see our fantasy childhood sullied. OK?
But frankly, we also want to see the little motherfuckers get hurt. If Hansel and Gretel walk into the woods and there is peril and then suddenly the peril is just gone - turns out there was no wicked witch, or her oven doesn't work so she lets them go, etc. - we feel disappointment of a certain basic desire/expectation. We lean forward as the story is told, tap our feet as we read; we want to get to the good part. That terminology is telling: the 'good part' isn't the part that establishes the story's internal moral good, it's the part of the story that endangers it. What's 'good' for us as readers is (always) what's bad, in one or another way, for the story's established order.
Readers desire conflict. Readers desire safety.
An extension of the latter point is that readers desire (more generally) order; they want to trust the story and its narrative integrity, in no small part because that trust is a necessary precondition of sane reading. Without the security afforded by the magic circle (a term used most often in game studies, roughly meaning 'contract with the fiction') we'd never do most of the crazy things we do on a football field, nor wish for the events that occur in a Stephen King novel or A Tale of Two Cities. We make for ourselves a space without 'official' consequences. You can still break your leg on the football field; you can still get nightmares about Cujo or Carrie. But when if you beat your boss at a game she's still your boss, and the nightmares are wiped away by the day-to-day.
See, look:
When Buffy and Angel broke up right before the prom, the fans didn't all turn off the TV. No one wanted them to split up, and probably few fans were self-deluding or cynical enough to think that they'd get back together. But fans love the moment of their breakup, and that episode. Why? We enjoy hardship as long as it's happening to an avatar. One curious feature of narratives is that they push us to enjoy things we don't want. That's a crucial paradox of fandom: fans are distinguished by the specificity and intensity of what they want from the text, but are most rabid about shows that demand a form of masochism from them. You can turn immediately from wondering 'Will they ever get together?' to wanting to see the breakup scene again. And here is where structural integrity comes into things: the Buffy/Angel love story (for instance) was doomed from the start. Had it not been doomed - the 'great forbidden love of all time' and all that - then the writers of Buffy would've had to put imperil it to generate narrative tension anyhow. The threat has to be real. The way to show the threat is real is for it to come true. That's why I can't care at all about, say, old Star Trek episodes: there's absolutely no chance that anything will change. The show is offering a different satisfaction: it's a comedy. (And we're not really talking about comedy here.)
Authors are readers, and authors desire order and satisfaction as well. But the job of an author is to suspend satisfaction, that is, to sustain the reader's desire so she'll finish the story. Therefore the author's discipline is to resist the narrative path-of-least-resistance - in simple terms, to put off the happy ending. In order to balance security and risk/conflict, the author plays on generic expectations, so that the reader is simultaneously reassured (by the appearance of familiar tropes and structure) and challenged (by some appearance of newness - the fiction that this time it might be different). I've written about this at length before, in the context of NaNoWriMo:
What you get out of the writing process is one thing, but what the reader gets out of reading your work is something else entirely. The reader doesn't give a damn that you got a Flash! Of! Inspiration! from your 'muse' or whatever you call the cognitive misfiring and rewiring that goes on while writing. The reader wants: a story that makes sense.
So what makes an enjoyable story? That's the thing: tons of stuff. We dig allusion, momentum, rhetorical cleverness, sonority, relatability, simplicity, comfort, thrills, critical insight. The best stories, I think, combine a number of these pleasures and play them off one another. I enjoy the formal wackiness of Ulysses, but I love the story of Leopold and Molly; the formal devices distance the reader from the human reality, for the most part, but it's not like you complain, because you're being taught to want something else, an encyclopedic experience. I want their marriage to work out, but it's not important to find out whether it actually does; what's importance is the reader's gift to Joyce's characters (sympathy) in exchange for Joyce's writerly offering (empathy, relatability), facilitated by the transporting beauty of the form. The reader is brought to that offering by a pattern of frustrated desire. Very simple example: we want to know what happens to Stephen, as well, but the story leaves him behind temporarily after three chapters, and though we trust that Joyce will get to the damn point already, the shift in perspective leaves our expectations confounded somewhat. The 'Telemachiad' climaxes with Stephen's reverie on the beach, and by shifting to comparatively flat narration for the start of Bloom's day, Joyce sets up curiosity, resentment, and (especially) a feeling that his story is prosaic in comparison to the loftiness of Stephen's dialogue with the cosmos - a feeling Joyce slowly does away with, as Bloom's character grows fuller and richer over the course of the day. He wins, you know - after a fashion. And you're happy for him. In part because of where you started.
There's no 'correct' way to desire a story-outcome. Stories offer an opportunity to engage with new desire and the author's work is, in part, to anticipate those desires and deal with them (sometimes by refusing to acknowledge them). But this isn't done consciously. That's why you can't write a novel with a Mad-Libs book.
Long way around the barn to get here, I know.
Oh yeah. The finale of Angel. Briefly, it's like this...
Whedon once (infamously!) said, re: the death of a beloved Buffy character, that his job wasn't to give the fans what they want, it's to give them what they need. A number of fans reacted to this statement with great hostility, and no surprise: who are you to tell me a damn thing about what I need? Isn't that the meaning of, um, freedom? But Whedon was making a subtle point: within the storyline, from a position of fan-desire, an inability to admit the structural requirements of the story, the structure with the greatest integrity, is precisely the ideal readerly position. If I watched the last half-dozen episodes of Angel's final season saying to myself, 'There's going to have to be sacrifices to demonstrate the dramatic stakes in these final stories, they can't kill Angel or Spike, therefore one of the others needs to die in the finale...' then I'd miss the emotional logic of those episodes, which starts from: I hope the good guys win. Now, if you think depressed badass Wesley is better off, say, without his longtime unrequited love Fred, then maybe you won't get much out of the Wes/Illyria storyline (in which Wesley acts as steward for the parasite that consumed Fred's body). In which case there is, I should say, something quite wrong with you, all else aside. But whatever you want, the basic premise is, I hope the good guys are OK. You've been with those characters for a long time, you want the story to continue, you want their goals - which have become to a certain extent your goals, in a complex way, at slight remove but nonetheless shared - to be fulfilled. But if someone doesn't die, if loss doesn't occur, if order isn't deferred again, then you'll know the story is inauthentic.
But again: if you've given yourself to the story, if you've suspended disbelief and invested in keeping track of the various plots, you're not capable of asking for that. You don't need to be taught about suffering (well, you do, but it's not Joss Whedon's job to teach you). What you need is for the storyteller to maximize dramatic impact, to provide you with an extreme aesthetic experience. Because you're not capable (most likely) of providing it for yourself. Indeed, you're incapable by definition. (Art is a surprise.) Fans 'know more' about the shows they watch than anyone but the writers. Sure. But fish don't know what water is until they're hooked. Something 'happens' after the final battle in the alley in 'Not Fade Away', sure. Maybe someone lives. But fans care about that outcome precisely because it's denied them - because they've been set up to want a certain outcome while the story has been written to require (in the name of integrity, which fans/readers are similarly incapable of asking for directly) a different outcome. Namely: that the heroes go out in the middle of the fight. 'Let's go to work.' That really is the end.
But it wouldn't have been the end had the show not been cancelled.
And there's the painful part: fans tend (here's the broad brush for you) to have a hard time making distinctions between what amplifies the story's dramatic impact or meaning, and what would satisfy them as fans. Get the difference? A fan isn't just a heavy reader: 'fan' is a social category. Wanting the story to continue isn't the same as wanting to know what happens next - one desire takes the text itself (the edifice, the mechanism) as its object, one takes the world of the narrative, the series of (unfortunate) fictional events. One frustrating feature of fan discourse is just this: a lot of the time fans fail to make this distinction. Does this mean Jossholes are all delusional? Well, I'm inclined to say 'yes,' benignly so, by necessity. But not in the bad sense the question implies. Rather, we're saying something here about fan culture, which is that it blurs this line between the text and the fiction in a way that's intoxicating for the fan but deadly to analysis. And it means this: there might be more stories to tell in the Angel universe, and maybe Joss Whedon really does have more to say with and about those characters, but the narrative of Angel is done. Angel himself might have done more, but the story entitled Angel ends in an alley. The events afterward weren't really supposed to exist, not even in fictional representation; they were supposed to be implied, and that's all. They exist in the viewers' minds for a purpose, and that purpose is only to heighten the drama of the final moments of 'Not Fade Away'.
No one needs to know what happened in the alley. To make that claim is to (understandably) dismiss what Joss Whedon calls the 'holy emotion' of confrontation with the unknowable. That's not an unfortunate side effect of cancellation; we're not fans of the institution that produced the story of Angel, we're temporary occupants of the fictional world. When the story's done, the reader is owed absolutely nothing, and the contract between reader and author is opt-in.
Last bit.
I don't mean to make fun of wanting more story. (Hell, I'm curious to see what Whedon would have done with a post-apocalyptic story, and the Angel principals would make a good focus for such a tale. And I do wish Wesley and Illyria had gotten more time together; Amy Acker's performance as Fred/Illyria was the best thing about late Season Five.) What I'm criticizing, specifically, is giving in to that desire - that is, not knowing the limitations of the story and of readership, not restraining one's urge to demand more, more, more. It's the whining - the tone of demand that's not the request of a lover of art, but the demand of someone who's learned the wrong lesson from Angel and texts like it. Cult shows, fan-lust-object shows, aim straight for the emotional centers of fans; that's part of what we love about them. I see a little of myself in many of Joss Whedon's characters (that's one of his Big Themes in Buffy, if you missed it - go rent The Breakfast Club for the two-hour 80's version of the same idea). But that doesn't mean we're owed anything by their creators; it certainly doesn't mean that there's an inevitability to the act of reading, that it speaks directly to us in a literal way, that anything is meant for us. To the contrary: we're lucky we turned up at 'Once upon a time...' at the right time. (And in a time-shifted TV era, it's getting easier and oddly less meaningful.)
But the very features of cult shows that make them so, er, cultish, make it hard to accept that they're done. They existed to address an emotional need; I'm not in a position to know that my emotional need has been addressed (in part because it's been replaced by new ones); therefore I perceive that a failure or impropriety or injustice has occurred. There must be something wrong because I don't know everything yet.
But that was never the point. We're not logging into a message board to share our excitement at the new edition of the encyclopedia. Stories end; in many ways that's what they're for. They establish a world, change it, recontextualize. We keep doing work after they're done. And it's not the storyteller's responsibility to lessen the work. To the contrary: our feelings at story's end are the storyteller's gift.
I loved the first issue of Buffy Season Eight. I'll definitely read the rest. Was it necessary? Nah. I was totally satisfied by the final moments of Season Seven; that's what they were meant to accomplish. The story was done. This is a new story. And I feel a little detachment from it, as much as I'm loving it, as much as I can't wait to know what happens next. Maybe I could've predicted this feeling, maybe not; I've had a lot of time to react to the end of Buffy. Probably I could've known, but wouldn't have admitted it to myself. I'm not in a position to say, really; I'm in the story and out of it, poised in a very specific position as regards the fiction. I'm able to say this: I don't need to know what happened to Buffy and her friends. But I want to, and can. And twenty-odd pages into the storyline, I'm back to the question that goes to the heart of human identity as the Creature Who Dreams: 'What happens next?'
'I need to know what happened.' 'What happens next?' They're not the same demand, and the latter shows a brave humility that the former lacks, I think - it has a generous spirit. We don't actually need to know 'what happened' - nothing happened. We weren't there; there's no there to begin with. But stories are dreams we don't get the luxury of waking up from and forgetting, so both demands get made as ever. Which may, I think on darker days, be the reason the goddamn Internet was invented.
I've really enjoyed these Buffy posts, but I particularly like this one. It dovetails with something I've been thinking about all morning, so if some of this ends up in a post later, don't be surprised. In particular, the bit about fans wanting Buffy and Angel to break up in Season Three. I think you hit on the reason why a paragraph later, when you say "the author's discipline is to resist the narrative path-of-least-resistance." Since narrative tension's built on the thin soil of momentary identification and unfulfilled desire, the more you flirt with the fulfillment of the latter, the more strongly people feel the former. (I could rant on here about the problems with reader-response theory and narratology, but I won't. Suffice it to say, and "readerly" approach which so values authorial intent as to theorize a "uniform response" is a bit of an odd bird. But I won't talk about that here.)
The reason all this interests me right now is because I'm reading Allegra Goodman's Intuition (on the advice of a friend in the sciences who believes it the most accurate account of interlab dynamics she's ever read). I've barely cracked the cover, but the narrative conflict is already coming to a head on page 82. (Apologies in advance for the long summary.) A graduate researcher whose experiments had failed is been ordered to stop them. He doesn't and is told he'll be defunded in four months. One of the successful professors who co-runs the lab then discovers that the student's experiments were not failures after all, and now instead of being defunded, he's given more money to continue them. Then the head of the lab attends a conference in Florida and discovers another lab, bigger and more prestigious, has learned of the student's results and is about to replicate them. So the head of the lab flies back to Boston and tries to convince everyone that they should publish their preliminary results. They don't think they should. They're preliminary. But if the bigger, more prestigious lab pumps out the results, it'll be credited with the discovery. What if the graduate student publishes them now and it turns out their preliminary results were wrong? His lab would be defunded, its head and professors out of a job. What if he doesn't publish but is correct, and the bigger lab gets its results out there first? His lab would be defunded, its head and professors out of a job. The student and his labmates want to bank on beating the bigger lab to the punch; the head of the lab knows his competition has equipment and warm bodies enough to do the same experiments and in half the time, so he would rather chance being wrong than beaten.
At this point, readers effectively want nothing more than for the book to end. They want the graduate student to publish his results, for those results to be accurate, his career set and his life happy. But if that happens, the characters they've invested their sympathy in will die the slow death of neuronal disintegration, as the pathways they've blazed fall into disuse. Stories that don't move us don't stick with us. They're disposable. Dull people with hyperbolically dramatic lives watch Grey's Anatomy because they forget that they've seen this all before in slightly different forms. There's no reason for them to remember anything particular because everything they watch and read is produced by writers who play chicken with their convictions and lose every time. Their mental space is occupied by sleek, attractive people whose lives hum like new refrigerators. All of which is only to say, were Intuition an episode of a poorly-scripted prime-time soap, the graduate student would publish his results, they would be accurate, his career would be set and his life would be happy ... until next week, when his mettle would face another palsied opponent in a rigged game. Buffy and Angel (among others) are plotted like novels instead of television shows. Both provide tenterhooks sound enough to hang a horse from, and who are we to deny ourselves (or what we rode in on) the pleasure?
Posted by: Scott Eric Kaufman | 19 March 2007 at 05:03 PM
Re-reading this comment, I see the exuberance I felt writing ain't quite shining through. Hm...
Posted by: Scott Eric Kaufman | 19 March 2007 at 10:21 PM
Scott - Sorry I haven't yet responded to this. I've been meaning to, but between one thing and another have been preoccupied. And that's to say nothing of the 'paying work' I'm about to start. Bah. Anyhow: more shortly if you please.
Posted by: Wax Banks | 20 March 2007 at 01:42 PM
Thank you so much for this! I found myself in your discussion - I like to think that I am very much a creature with certain types of narrative desire, one of them being a desire for the narrative to continue despite it's ending. But the other? That I want that ending... need it... just as much as I want the narrative to continue. So while I am an active participant in fandom creations that satisfy my desire for more I was far and away content with the ending of both Buffy and Angel because they provided closure - both in terms of cannon and in terms of text. It was done. I could take those fandom productions as seriously or as casually as I wanted, and since they're always reworking the primary, official narrative in specific ways, they never disrupted the pleasure I received from having that end.
Posted by: kate | 20 March 2007 at 01:53 PM
I loved this little essay; it's something we need to keep in mind. I'm commenting because back in the angsty throes of my Phantom of the Opera period, I coined the phrase "vicarious emotional masochism" to explain why I exposed myself to the pain of loss over and over again.
I've pulled that out several times over the years, and it definitely seems to apply here. Thanks for a very thoughtful essay.
Posted by: Kris | 20 March 2007 at 02:47 PM
I found my way here from Whedonesque, and I'm glad I did.
I'm one of those weird readers who is satisfied with whatever ending the author chooses to provide. I loved Buffy to the point of obsession, but I absolutely respect how Joss ended the series and I've never wanted more. The freedom in that is I can imagine what the characters are doing now, and I don't have to wait for Joss to tell me. :) I can spin out the story however I see fit, and enjoy the pleasure of a tale well told.
I have never understood why Joss fans want so much for Buffy and Angel to continue. I don't even like fanfic -- to me, it's disrespectful of the writers who created the Buffyverse. If I really want to know what happened, I'd want Joss to tell me. And now that he has ... I don't know if I want to go there. I'm happy with how Buffy ended. And can I go back to that story without having my heart broken about the change of medium, from TV to comic? (Because the change of medium does change some aspect of the storytelling; not the quality, just the format used to convey ideas and themes.) Quite frankly, I don't think I have the strength to do it.
And yes, The Prom is my all-time favorite Buffy episode, even though it broke my heart.
Posted by: Lea | 20 March 2007 at 03:12 PM
Great stuff on Buffy, Angel, narrative structures. From what I've been able to figure by cross-referencing Buffy, Angel, Fray and various Joss interviews, there is lurking in his imagination a final battle between good and evil leading to a world without demons (or vampires with souls?) but also one without Slayers or Watchers. Movement in this plot direction would pay off "what happens next" following the final battle that ends Angel Season 5. As for the Buffy Season 8 comic, go Joss -- we're with you all the way.
Posted by: Robert Chatain | 20 March 2007 at 03:38 PM
Thanks. I so enjoyed this essay and your comments on Whedonesque today. I 'm not personally much experienced with fandom, being something of an old lady. It is an interesting topic, that's for sure. I love Buffy, Angel and the other Whedon works, have watched them many times, always seeing more, and revel in discussions of them with others; it's just fun, and kind of a new thing for me.
But I am disturbed, sometimes frightened (and yet, weirdly, also bored) by the sense of ownership exhibited by some folks (especially the so called "shippers"- I really am very new to this, you see ) whose idea of an artist's responsibilty to audience seems to me unbounded, and stalker-ish . I mean, I get it that there is an emotional connection with the material which is a good part of its draw and merit-and I do feel it. It can be heart-breaking.
In fact, it's nearly endlessly (to me) interesting when people talk about how that happens and why. And lots of really smart people do a lot of that. I find it deadly dull, however, when fans go on about how some creative decision is bad because it doesn't meet their emotional needs, or fails to make some point they think is important. And there is so much of that all over the internet. Is it "I'll listen to your self-involved rant if you listen to mine"? Or maybe no one's actually listening to a lot of it?
I certainly never thought I'd be waiting anxiously for a comic book to arrive in the mail. But I am.
Posted by: toast | 20 March 2007 at 04:25 PM
Well, as a librarian, I am incredibly impressed with your intelligent and articulate writing. As a Joss fan of pretty much anything he cares to write, I have to say - hey, wait a minute! I get it, I really do. I understand that you are saying, basically, the story is over. Get over it. But is a story ever really over? Not until life is over - and not even then, sometimes, if Joss has anything to say about it. The arc of those narratives - both Buffy and Angel - ended. But can't another arc begin at any time? Readers (and viewers - although, I think his stories are more like novels than tv) always want to know: what happened then? Even when a story seems to have come to a logical stopping place and there is nothing more to be told about these characters, about this story, we still want to know: what happened then? We love them. We care about what happens to them. We think about them at odd moments. They have become an integral part of our lives. And we need to know: what happened then?
Posted by: Jan | 20 March 2007 at 04:54 PM
I agree with almost every point you make. The only exception being the distiction between "I need to know what happens." and "I wonder what happens?".
Posted by: bee ally | 20 March 2007 at 06:03 PM
I have to agree with the above post. Are we really not watching a story mostly of our own imaginings? We all interpret the "Art" through our own experiences and paradigms, putting much of ourselves and our emotional effort into the story. I believe this is why some fans feel owed a continuation - it feels impossible that their story could stop and they yet go on because in many ways it was a story about themselves that they created.
As in Oscar Wilde's preface to his book, The Picture of Dorian Gray, he states, "All art is at once surface and symbol....It is the spectator, and not life, that art really mirrors." Therefore, it is the spectator that applies the meaning and personal relevence to Art. Art does not impose itself onto an individual. I think this quote is so relevent to Buffy/Angel type shows, especially because they require such a deep emotional effort to be properly watched. This emotion is coming from within and not from an outside source. This deep emotional connect to the prompts the story provides is the attraction of a drama series, books or television, for 'cultish types'.
Perhaps the original essay was examining more the logic of what should be, regarding the logic of the story, instead of the logic and psychology of the INDIVIDUALS watching.
Posted by: bee ally | 20 March 2007 at 06:18 PM
Like some of the others, I, too, found myself here by way of Whedonesque. Great post. Although I completely agree that authors should seek to provide their audience with "the structural requirements of the story, the structure with the greatest integrity," even if it's not "what they want," I also realize that Whedon's narrative, like all art, was subject to the restrictions of his medium -- in his case, unexpected cancellation.
I can't help but wonder what the harried and explosive events of Angel's last episodes would have been like if their impetus was allowed to unfold at a more natural or Whedonlike pace. The Circle of the Black Thorn? Who? Oh, the guy who uncorks his servant's vein every time he gets thirsty, and who else? The wizard demon who seems to be on dialysis or something? We saw him, what, once before? And what's Lindsay got to do with all this? Who are these creatures that supposedly make up the season's "big bads"? Firefly/Serenity's reavers notwithstanding, it's very un-Whedonlike to keep us from getting a good look at the baddies (or their not-so-corporeal manifestations, in the case of the "first" in Buffy) before they've annihilated our people. And I want more of Illyria. Call it whining if you will.
At the same time, I know that what's done is done and it can't be undone. The momentum is lost. A new comic won't make up for the fact that Amy Acker should have had at least one good solid season as Illyria.
A lot of times, when we "Jossholes" bemoan the untimely cancellation of our beloved shows, it's precisely because it's UNTIMELY and not merely because we want more, more, more. This is especially true of Firefly. I'm a Buffy girl, through and through, but I must admit that Firefly accomplished a great deal more in its first (and only) season than Buffy did in its first. It clearly didn't end to satisfy any structural requirements.
And neither did Angel. However beautiful and poetic it was for Angel to end up exactly where he started, in an alley, fighting the good fight for all time, and maybe for the last time, it was too soon. Too much was left unsaid and unexplored. Whedon may have dumped a dense, two-ton brick of developments at the end there to compensate for the season that could never be, to provide a sense of closure to the major story arcs, to "raise the stakes" for the final battle, and we may weep and sigh and love it all, but we cannot deny that he was pushed into dumping this brick by a network that has little appreciation for the ultimate value of real, soul-wrenching art. It FEELS forced. We've paid attention. We know Whedon's style and pace. And we know he was given the old bum's rush and he did the best he could with it. So even while we appreciate the "Let's go to work" moment, we can and should mourn for what could have been.
Posted by: Christina | 24 March 2007 at 02:23 AM
"But whatever you want, the basic premise is, I hope the good guys are OK. You've been with those characters for a long time, you want the story to continue, you want their goals - which have become to a certain extent your goals, in a complex way, at slight remove but nonetheless shared - to be fulfilled. But if someone doesn't die, if loss doesn't occur, if order isn't deferred again, then you'll know the story is inauthentic."
This concept comes across most strongly in Firefly/Serenity. Wash's death is so shocking (even for me, someone who hadn't watched Firefly before seeing Serenity), that you're shaken out of the complacency that convention had lulled you into. (Book's death, for obvious reasons, didn't mean quite as much to me then) More than anything else, it's the way he dies so needlessly, so casually, that makes you think anyone can go at any minute. Maybe the signal can be stopped. Of course, that's also precisely what got Firefly fans so upset.
Posted by: Ginger Yellow | 25 March 2007 at 08:54 PM
Here I am, from MeFi. This was an excellent essay and I really enjoyed it. I agree with you on so many points, but disagree on generalizing. I wanted to know what happened next, sure, but not so much that I wrote it out. I read and I considered and god knows, I discussed, but when it came down to it, I really liked how Buffy and Angel ended. I think they ran their course and that they needed to end. There were stories that I wanted to explore, so I did, through various means. But I don't think it's fair to assume that everyone who "wanted" to know what happened was the same person who constructed an ending in their mind, or in fic, or in roleplay. I enjoyed the universe, the environment, beyond the shows, but I didn't need to see the primary players/characters achieve some kind of resolution. That just wouldn't be realistic, not to mention not being literary.
Posted by: bitterbyrden | 06 April 2007 at 01:21 AM
Thank you sir, for an incredible essay.
I'm not sure what I can say in this venue by way of constructive participation. I tend to tell people that I'm SMART enough to absorb and understand deep pop culture analysis like yours, but not EDUCATED enough to convincingly write it myself.
So I suppose I'd just like to say that I am completely satisfied with the end of 'Angel'. I'm one of those weird Whedon fans who, despite watching 'Buffy the Vampire Slayer' from day one, never really cared for the character of Buffy Summers. When Angel got his own series I quickly fell in love with that narrative, though I continued (perhaps masochistically) to watch BtVS. By the time the Scoobies road off into the sunset I'd reached a point with that show that I could basically just shrug it off.
The end of 'Angel' however cut me deeply. By which I mean at the time I desperately wanted the series to continue. But even in the midst of that desperation I recognized that "Not Fade Away" may have been the closest thing to a perfect television series finale we're ever likely to witness.
My unconditional love of that finale has made coming to terms with a world without 'Angel' a little easier to bear.
But now I find we live in a world with a 'Buffy Season Eight', something I really, really didn't think we needed. I'm buying it, and for the most part enjoying it. Partly because I've been a comics fan for nearly thirty years, and partly because my best friend is the inker for the series. As it turns out, I'm enjoying it. I didn't "need" it... didn't even "want" it. But here it is and it's enjoyable.
However, there are now rumors in the wind that there may be a similarly "official" comics continuation of 'Angel' coming down the pike. I'm here to say that I really, really don't want (or need) that. I've spent far too long imagining my own 'Angel Season Six' in my head, and frankly I'd rather not risk another "The Girl in Question".
Posted by: Haunt | 19 April 2007 at 09:04 PM
I feel myself to be the favored beneficiary of the Mutant Enemy trauma unit. The outrageous voice of BtVS caught my jaded and distracted ear years ago, and drew me into an insatiable appetite for exquisite moments. And it became the only television show I actually watched, despite a lifetime of television-addiction.
Dating from my belated entry into season 2, Tuesday night emerged as an evening to anticipate. Angel more than doubled my enjoyment of my leisure time throughout those years. Then media moguls complicated the very act finding episodes, and Firefly came and went, far beneath my radar.
Less than eighteen months ago, someone whose opinion of films (and pretty much everything) I don't respect (my employer) turned me onto his copy of Serenity. I spent the bulk of that Saturday going three or four times through the film and beat a frenzied path to the nearest retail outlet in search of Firefly, because in some things there is no such word as, "enough".
Involving myself in forums, subsequently, I found the rabid devotion of other Browncoats endearing, BUT after the twelfth time through Objects in Space it's really time to consult the source material, which Joss has very generously sprinkled through every interview.
So since February of last year I've devoured Sorkin, Chase and MILCH. Burns, Shaara, Espenson, Minear, Scott McCloud and Orson Scott Card are gathered about me as I write and read and wallow in the sublime task of studying all the wonderful stuff I didn't actually know that I was missing.
More to the point, I think, is that I can return to whole bodies of important narrative (on DVD) with hungers I didn't know I had in 1996. And with fourteen years of Mutant Enemy product on my shelves, I know that beautifully orchestrated moments provide more meaningful, insightful context that matter each and every time I return to those particular wells.
Additional storylines is a nifty notion, but I get what I need from what's already here. I will need to know that there's more when it's commercially available, but wherever these heroes of narrative lead, that's where I'll need to go to work.
So thank you ALL for stating your respective positions beautifully. I came in the back door, late. The Thorburn/Milch interview and Q&A is incredible!
Posted by: Scott Ellington | 02 May 2007 at 09:19 PM
I've been writing criticism for the better part of the past five years at a site where photographs are posted for critique. I've learned several things in the process about how I see and what I seek. Narrative is probably paramount, regardless of the number of images presented in series or as stand-alones, it's always the alignment/arrangement of needs and desires with satisfactions that empowers my urge to words.
The barrier between author and viewer grows especially tenuous whenever the configuration of dynamic elements placed within the frame most nearly mirrors stuff I experience under my skin.
Early promises Kaylee an interminable nightmare of personal violence. Swearengen vents his sexual spleen in complicity with Trixie while pinning both her wrists to the bedpost. Summer (as a Russian prima ballerina) takes her final bow upon an eternal stage. Tony answers the contemptuous rhetorical question of an Orthodox Jew, "Where are the Romans now?" Tony takes a half-beat, a half-shrug, and half-smiles his response: "Your looking at 'em."
I don't mean to be quite so elliptical as the stuff I've said probably seems. It's just that the rightness of these moments I've tried to describe is exquisitely appropriate WITHIN the context of the larger bodies of work in which they shine like diamonds.
Fans, not Yoko, destroyed The Beatles who had no reason to perform together in public except to satisfy the popular "need" to hear them begin to play old songs which were propmtly made inaudible by hysterical applause. In Sherwin's The Cubs and the Kabbalist, it's fans who corrupt the purpose and the intrinsic value of the game, with a contagion that afflicts the ownership, management and even the players.
Order IS restored by narrative, but it isn't the only organizing principle in photographs. Tone and contrast, depth of field, and the aesthetic arrangement of objects in space...all make their respective contributions to stories that tell themselves differently to every viewer, every reader.
The wonder is that several authors seem to address the same thematic elements through different characters and different situations, yet they attract to their works appreciative audiences who create webforums to quibble over the relative merits of apples versus oranges, when the miracle is that we assemble.
Conversely, Lost lost me the first time I noticed the camera operator following an action sequence as though he had a paint-agitator in his pants, linked to a volume control for the soundtrack. Crimes of disrespectful manipulation they perpetrate against the orderly presentation of narrative over there are capital.
I think the request for more is justified by genuine, passionate desire, but additional BtVS, Angel, Firefly plot is not necessary to generate that very same passionate desire. It already exists, and more story that doesn't serve the arrangement of elements already produced does the existing body of work disservice. At least that's how I explain my dissinterest in fanfict. But my justification for pursuing the works of authors outside the magic circle of Mutant Enemy Productions is that Joss spread enchanted fairy dust in lots of places prior to and concurrent with M.E. Graham Yost and Pixar are only a couple of intersections I didn't mention previously, and if Milch is right about the dispersion of living instruments of storytelling, I'll be reading and studying really cool stuff at least until I die.
It may not be enough, but it's enough.
Posted by: Scott Ellington | 05 May 2007 at 01:06 PM
["None of which is terribly important, though it's unfortunate. The bottom line is, Angel's fifth season was nearly as strong as its previous best (Season Three), blending strong one-offs (a technically dazzling muppet episode, the most illuminating flashback stories of the whole series, and the heartbreaking return of a deceased character in episode #100) with a host of ongoing story arcs (the fall of Charles Gunn, Fred's death and the appearance of Illyria, the Lindsey/Eve intrigue, etc.) as tightly constructed as anything in the show's five-year run. The cancellation notice came with the show operating at an undeniable peak."]
Boy, do I disagree with you. Strongly. Granted, I thought that the WB had prematurely cancelled ANGEL. But I have a low opinion its Season 5.
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