Why Scifi Isn't The Drawcard It Used To Be

This year I watched the new series Defiance. Having heard about the millions forked out, not to mention the game crossover, my expectations were high. I really wanted a new scifi show to love. Most of all, I wanted to ignore the feeling in the pit of my stomach that told me all the money in the world wasn't going to save the genre right now...

Turns out, my intuition, market understanding, call it what you will, was right. The series was a mess. 

Which got me thinking. Why wasn't I surprised? Since when did my expectations, in regards to my favourite genre, become so low?

When I was young (yes, I know, I sound about ninety), science fiction shows had the ability to command mainstream primetime audiences. Major networks didn't view investing in science fiction as a game of Russian Roulette with more than one bullet (the current attitude). Back then, everyday masses watched science fiction programs of an evening without any hesitation.

I remember, as a little kid, memorising the blurb in the TV Guide for the next episode of V well before the week's wait was over. Everyone loved those scary, rat-eating lizard people, not to mention the brave resistance, as well as the moralistic aliens who crossed sides, like Charles and Willy.

And who didn't love Captain Picard? Star Trek: The Next Generation pushed boundaries. Those writers really tried. One episode that stuck in my brain saw Dr. Crusher fall in love with an alien guy who suffers an accident and is transplanted into a woman's body. The story portrayed Dr. Crusher as an individual incapable of overcoming her prejudices to be with the person she loved. Pretty edgy material for the times.

Remember Alien Nation? The ultimate illegal immigrant metaphor? I loved those freckle-headed types and their attempts to become American suburbanites. (Not to mention some of the best "alien" soundtracks to ever come out of a television spin-off.)

Even scifi shows that weren't commercial successes, like the underestimated Space: Above and Beyond, were still brilliant family viewing. They had a lot to say about a number of moral and psychological issues, and the writing was topnotch. But obviously, the commercial allure of the genre was starting to show some fractures...

Following the trail of attempts at a scifi hit, you start to see a pattern, kind of in a crash-and-burn shape over the years. You had Crusade, which hardly anyone remembers. Farscape seems like a point where scifi transitioned fully from crowd-pulling prime time shows into niche television with a loyal following.

By the time it got to Voyager, even the new Star Treks were starting to go down the gurgler. The quirky science premise of Now and Again finished off the era with lacklustre numbers that were beginning to seem a worrying norm for science fiction.

Crossing over into the new millennium, people's expectations had plummeted to the point where even a quality effort like Firefly couldn't garner enough initial audience interest to keep it on the air of a major network. The genre had become synonymous with dubious quality television, and the masses were no longer willing to risk it (more's the pity in this case).

Even the money and big names behind Dark Angel couldn't seduce the crowds. Fervent trekkies barely made it through an episode of Star Trek Enterprise, while the interesting Jeremiah struggled to hold viewers. 

For the next decade or so, there were valiant attempts to bring the genre back to life as a primetime big hitter. FlashForward tried to reassert scifi as a mainstream power, and failed dismally. Battlestar Galactica garnered major critical acclaim but couldn't translate that into a primetime hit. The 4400 soon vanished like it's characters, Surface sunk, and Threshold barely found viewers, let alone alien life forms (I know, too much punning in one sentence).

I feel that around this period, you start to see a notable drop in the quality of the output. Someone got the terrible idea to try remakes, like V (again), a narrative mess that died horribly in the ratings. And then the scale just kept sliding... 

Stargate Universe was one of the worse shows I've ever seen- set in space or otherwise. Don't even get me started on the mess that is Revolution, and Terra Nova was a shocker. Also, Dark Skies (I only watched a few episodes of the first season and complained about them in a blog that may have been longer than the original pilot script).

Which brings me back full circle to the terrible Defiance (there, I said it).

I personally think aside from "dumbing down" scifi to make it supposedly more palatable, over-sexualising the genre is another major part of the problem. Networks are often so busy trying to throw pleasing ingredients into the mix that they ruin the recipes. And audiences... well, after the first few bouts of food poisoning, they're not coming back to the restaurant any time soon. 

Dollhouse was a prime example of upper level meddling. Science fiction had such a bad rep by the time Dollhouse was picked up that the network couldn't bring themselves to let the show sit and simmer to perfection. 

(In my opinion, they should have given the writers free rein to really WRITE, because this premise had so much potential. Some of the later episodes are baked to perfection, most notably the unaired material.)



The sad part is, nobody expects scifi to rate amazingly anymore. If a network's going to risk cash, they'll generally go procedural over science fiction. The edgiest big money show is maybe a paranormal procedural, but that's as close to the line as most will tiptoe. (Shows that are marketed as "paranormal" these days are more likely to lock down an audience, like Under The Dome.)

What happened to the genre? When did code for cutting edge become code for soapies-in-the-future instead, and ones that aren't even written that well? Did some bright spark think making the futuristic elements a form of scenery, rather than the core of the narrative, will "trick" people into watching? That audiences will get so caught up in the sexual tension/potential romance they'll "forget" it's science fiction?

Perhaps science fiction has become lost, as a television genre, because the setting seems like enough to qualify, when in fact, it should be the material, the concepts addressed, that make it "futuristic"? 

Here's hoping the next decade sees intelligent material that also entertains become the norm again, and that it will be "normal" for mainstream audiences to switch on an hour of science fiction television at night.

My favourite recent science fiction release of recent times is Continuum, because the quality of the narrative harks back to ye days of Olde. It doesn't underestimate the audience, dragging complex ideas into the narrative with gusto. 



Unfortunately, the general public's expectations of science fiction are currently so dismal, the chances of a low budget science fiction program like this becoming an international primetime hit are slim. But Continuum brings back that feeling you get when you watch something fresh, strong, and mentally challenging, not to mention entertaining. 

Fingers crossed that major networks take at least one lesson from the show... that great science fiction requires great narrative, and addresses issues consuming the psyche of the times (metaphorically or otherwise). 

Note: Of course there's exceptions to every rule, like Dr Who, who often bucks trends, regenerating many times in the ratings (see what I did there?). Happy fiftieth to the wily Timelord xx

Kind of a Spookfest This Halloween...

...by witch (ha!) I mean, these new shows range from barely eery to manageably weird. (Welcome to my general level of horror tolerance.) The programs are supernatural in theme, but instead of a gore overload, it's more about that creepy feeling you get when things don't seem quite right.

Some, of course, are better than others. It's still possible to mess up the spooky spices, even if you're only brewing a mildly scary tv show(!).

Witches of East End

Rating: Atrocious out of 5.

Witches of East End is like a soapie with a supernatural flavour. Lots of the scenes border on farcical; by the second episode, this show's pretty much given up on taking itself seriously. 

One witch regularly turns into a cat, meaning they manage to fit as many "tasteful" nude shots of her post-transformation as possible (and that's just in the first episode).

We know one of the young fiery female leads has a passionate nature, because she wears a push-up bra and low-cut tops the entire time and wants to have it off with two brothers. (Note to writers: having ev-er-y other lead call the character "dramatic" in the first two episodes is inspiration for a drinking game. Instead of bluntly stating said trait, maybe you should infer it through A WELL CONSTRUCTED SCRIPT.)*

 Likewise, there's a "shy librarian", who dresses in mousy, loose clothing. Don't television writers ever get tired of these tropes? Although to be fair, it's not the tropes I'm against. They can be useful and entertaining when employed well. In this scenario... well, the lack of effort is just a shocker.

*Note: don't be fooled by the "So it's like Charmed, right?" attitude prevalent online. Sure, it's like Charmed, if you took all the elements out of Charmed that made the show enjoyable, fun viewing O_O

Sleepy Hollow

Rating: Crazy, chaotic fun out of 5.

I like Sleepy Hollow for the character of Ichabod Crane, transported through time to the present day, along with his headless horseman nemesis (who, it turns out, is actually one of the four horsemen of the Apocalypse. I love it when those guys rock up. And quotes from the bible about them, to boot!). 

I'm not really a fan of the female lead character, but I think it's because she's written so "straight laced" that she crosses over into unlikeable, a common flaw in odd couple procedural partnerings (ie Blue Collar, Castle, to name a few).

The premise allows for some hilarious modern day social commentary. The conspiracy elements are also great, the demon freaks me out, and the links with the past are fun for history buffs. (As someone who plans on watching a Civil War re-enactment one day, this show has enough civil war flashbacks to keep me happy till then.) 

Sleepy Hollow balances out Apocalyptic intensity with flashes of humour, and that's always a solid selling point.

The Originals

Rating: Erratic with potential out of 5.

This show stumbles for the first few episodes. Frankly, I expected better. The original vampires were the most compelling characters on The Vampire Diaries so I thought they would carry their own show well. Unfortunately, the series' set-up is a tad clumsy.

I think it's an issue some spin-offs face, especially if the characters were deeply embedded in the previous series. We've seen these leads face similar plot devices/threats in TVD, so it's hard to drum up the kind of shocked reaction the writers want to evoke. "A character who can maybe take down an Original? Yeah, we saw that with Silas. Why is everyone so astounded? Is there some kind of memory loss associated with a show change??"

Good news is, the fifth episode is when the show starts to find its stride, thanks to those trademark Julie Plec storyline twists that make The Vampire Diaries so much fun. Already, the audiences perception of the different factions in New Orleans (love New Orleans) has been turned on its head (their heads?), making for the kind of gasp-worthy storytelling I originally expected (that was an Original pun, in case anyone missed it).

Verdict? Am sticking with this vamp crew because there's epic potential here that looks set to come to fruition further down the track x

Ravenswood

Rating: Teen spooky out of 5.

I like this show for the exact reason many won't. It's spooky, but in an ABC Family way (meaning this aint HBO fare, people) and the tropes that annoy in other shows are used well here.

The lead Caleb is also a favourite from Pretty Little Liars (of which this is a spin-off), but it's a much "easier" spin-off, in a sense, because there's barely any link to the other show. The lead dates one of the characters in PLL, but that's literally the only element referenced... so it has a much easier job than, say, The Originals.

I love the grey filter, I love the spooky weird town. I love that all this stuff's already happened (ie the murdered Mayor), so mysteries are afoot before Caleb even steps off the bus. I love the ghost woman on the bridge (very Supernatural), the hand around the curtain, the creepy (but kind of goth-sexy) mortuary guy, the prerequisite small town newspaper, the insecure prom queen, the spooky housekeeper, and so much more.

A few episodes in and the plots going a tad Final Destination, but at this point, I'm enjoying everything they're throwing at the audience. Oh, and there's already a ghost character! And graves are moving around in the cemetery! And the ravens seem whacked! And there's an ancient tragedy in the town's past that's sufficiently creepy! Good times. (In, you know, a way that won't give me epic nightmares. Total woose, table for one.)

ADDENDUM: It's interesting to note the weakest of Ravenswood's five leads, the popular twin, was not originally cast in a lead role. The crossover episode included a different actress, Elizabeth Whitson, who was fantastic in her brief appearance. A surprising last minute change was made, apparently the network "re-concieved" the character. Personally, I wish they could un-concieve themselves back to the original casting decision, because I think they've weakened, rather than strengthened, the ensemble cast.

Teen Wolf Gets Better With Age- More, I Say!

Three seasons in, and the MTV reboot of the Michael J. Fox movie has finally won me over. 

I've been watching the show kind of listlessly for a while, drifting away after a few episodes, only to drift back when I catch sight of a promo.

The first season wasn't that great, but to be honest, nowhere near as bad as it could have been. The main problem? The show's leads (which I think I've mentioned before), who weren't charismatic enough to carry the program's Romeo/Juliet premise.

Every now and again though, the stylised darkness really worked. Borderline cinematic in scope, actually.

Once season two got kicking, sub-plots started hatching left, right and centre. MTV called in a stream of solid talent, while also allowing minor characters more screen time. The cinematography and editing, already pretty top notch, got better and better with each episode. Dark, moody, with occasional scenes thrust into the daylight. 

Now, well into season three, there's no denying the show's established a serious sense of STYLE. It's not just faux-edgy anymore. Teen Wolf is confident in ways only a well crafted vehicle can be. Nobody's dipping their toes in the water... everyone, onscreen and off, is diving right in.

Episode eight of season three, especially, showed a willingness to explore/play/utterly screw around with standard linear narrative. Jarring, if not downright confusing, a style of structural experimentation not often seen in teen television. (Kudos to the network for loosening the reins on that one.)

Why is the show working so well right now? I've got  a few ideas that all equal a whole lot of MORE.

 The scripting is moving more quickly, the narrative more dense. The violence is more immediate because it feels like it always impacts on the storyline of a main character in some way, so there's more empathy evoked in the viewers. Think more shifting of alliances (a show's always more interesting when "goodies" and "baddies" are written with more complex nuances). Overall, there's more confidence, in the sense the production is taking more risks, the majority of which are working.

Less pretty characters who happen to be portrayed by better actors are garnering more screen time. More romantic potential is blooming, that more often than not, doesn't work out, adding to the potent mix of chemistry/history (making shared screen time between two characters more interesting every time).

Say hello to more kinds of supernatural beings onscreen. (Hey, the more, the merrier. Just no dryads. True Blood STILL hasn't recovered from that early plot monstrosity.)  We see more kinds of relationships (ie siblings) explored in more complex ways. Not to mention more exploration of the concept of leadership and how it interacts with individuality.

The adults have been incorporated more readily into the narratives, which lifts it out of the "teen-show-with-clueless-authority-figures" category. (Making parents idiotic is the downfall of many a teen show. Supposedly appealing to the youth market, but I'm not sure if this approach holds true in the longterm, because over time it tends to damage the quality of the show, ie parentals stand out as poorly developed rather than deliberately flat.)

Oh, also, female characters get more screen time en masse and more power (in terms of supernatural skill sets, I mean. Trust me, that's the only way to stay alive on this show). There's also more humour, woven adroitly through more intense scenarios, which I always like because it makes me think of Buffy.

I've never been a fan of the idea that shows can "grow" over time, it always sounds quite naff, but I think Teen Wolf actually has grown past its predecessor, and is in the act of creating its own (entertainment?) identity. 

Overall, there's just a whole lot more happening. Need I say more? (Maybe one more time... 'cause that's not annoying.)

Tempted to finish with some "if you don't agree, bite me" humour, but that's too tacky. Masterful Restraint, Table For One.

CW Goes Scifi

The American network known for it's 18-34 market focus isn't going to rest on its  supernatural laurels (ie The Vampire Diaries, Supernatural). Mid-season has a surprisingly futuristic/science fiction slant, thanks to new shows The 100, Star-Crossed, and The Tomorrow People.

Last season CW paid tribute to the superhero revival with Arrow. While many thought this season would be all about Hunger Games spin-offs, more superheroes, and maybe a zombie effort, the network has surprisingly bucked expected trends, choosing to run with teen scifi instead.

I, for one, am celebrating, following the scifi fiasco that is Defiance. (Thank God for quality like Continuum). And yes, while CW shows are slightly "younger" in demographic, and occasionally less than challenging, in terms of narrative... it doesn't mean some standout writing won't slip into the mix. (Hey, I'm a mid-season optimist.) Scifi all the way x

The Tomorrow People

Have I seen This Before? Yes, it's a remake of a British show from way back when, aka the seventies. (Olden days for today's teens.) 

Basically, it's a little bit Heroes/Alphas, a touch of Jumper, also that character from X-Men who teleports (can't remember his name), a dash of the movie Dakota Fanning was in which nobody liked but me (Push), and about a dozen other films/books/comic/television shows... Repetitive? Sure, but hello, mutants are a never-ending fount of fascinating possibilities.

Notable Cast Includes: Mark Pellegrino, who played Lucifer in Supernatural. Plus there's an Asian character in the teen super-talent cliche who hopefully will not die immediately. CW also keeps it in the family with lead Robbie Amell, cousin of Arrow's Stephen Amell.

The 100 (Trailer One and my reactions)

So What's The Story? In the future (love typing that) one hundred juvenile delinquents have been sent back to a possibly-still-toxic-post-nuclear-conflict Earth. Personally, I find the juvenile delinquent sell quite tacky. Can't they just be teens sent back to Earth? Does it have to be emphasised they're Rebel Without A Cause types who have problems with cruel author-it-eys? Sigh.

Why The Premise Is Solid: Dystopian tales leave themselves open to a lot of survival/self-discovery arcs. The sets are also cheap, because mostly, you just need some fake ruins and a forest. This is the kind of show that relies on the narrative. (Fingers crossed.)

Not A Stellar Preview. This trailer involves a heap of kids in a large metal bin, that when opened, shows a forest. Totally lacking pizazz. Minimalist scifi scenarios need a combination of striking camerawork, lighting, editing, brilliant acting, stunning music, riveting dialogue... something to sell it. I'll watch the show despite the trailer, which is a bit of a marketing fail.

The 100 (Another Trailer Online and My Reactions)

Why Did I Watch That Other Trailer?? Or more importantly, what was the network thinking?! This trailer looks like it's for a different series. Starts with cool shots in space, has some scary Orwellian inferences, and gets all Survivor. We barely see the annoying actress who dominated screen time in the other trailer. 
There's more of a sense of story here. I like the lead, she's convincingly emotive. Plus, this offering makes it more obvious the creepy kid who plays the young terrorist in Continuum also stars! And the dumped boyfriend from Suburbia's also in the mix.

Only Dodgy Moments: The obligatory ass-and-tits shots of a teen girl... yes, the nubile hottie gets her kit off, sigh. I also get kind of weird about dystopian prison environments where women somehow still manage to procure, and apply, impressive eyeliner (check the 30 second mark). But hey, I guess this is the survival of civilisation we're talking about, right? O_O

Star-Crossed

I'm Just Gonna Say It: Online this clip is garnering the most criticism because it's generally considered cool to sneer at teen romance. I'm happy to admit I'll be a sucker for this one, because I was a sucker for Roswell! Teen romance at it's sweetest, with the ultimate outsider (and no, I don't mean a vampire). 

Unlike Roswell, in this aliens-at-a-high-school series, the aliens are out of the closet (so to speak), but alien-a-phobia seems to be running high. Basically, these kids from another planet are the ultimate refugees, having spent a decade interned in camps.

Why I Like The Idea:  Alien tv storylines are out of this world (had to do it). I've enjoyed aspects of many, from childhood exposure to The Powers of Matthew Star and the original V, not to mention Alien Nation (best theme music ever), the slightly saccharine Roswell, and the darker Invasion. I think the idea of aliens appeals to my inner anthropologist. 

Nice Production Values. In this clip, I like the way it's filmed, all sun soaked and kind of dusty (nice lens), I love the almost jagged camera work, the use of slow motion and some wide frames. I like the editing. Oh, and I love the aliens' tatts. I also respect that the actress made an impact with only one line to deliver, and there's no denying lead Matt Lanter's great onscreen.

SO, OKAY, THIS ONE ISN'T SCIFI, BUT STILL...

The Originals

"Welcome to the dark side of New Orleans, where the living are easily lost, and the dead stick around to play."

Why I'm Sneaking This In To A Scifi Story: Because it's also on the network's mid-season list and I'm going to watch it. Reason enough.

What's It About? CW keeps one foot in the (bloody) vampire pool with The Originals, a spin-off from The Vampire Diaries that looks like it might out-rate its predecessor. (That's awkward.)
Best Selling Point: The Originals isn't hampered by a high school link-up, because these vamps left teen angst behind long ago. Setting the series in New Orleans invariably makes me think of Anne Rice's iconic crew of glamorous undead, and I'm guessing I'm not the only one. The Originals should be interesting, partly because the writing can take a more adult direction, and partly because it's shot in New Orleans; the vibrant location is bound to become an extra character in and of itself.

Truth is, Klaus, Elijah and Rebekah are three fan favourites on The Vampire Diaries. The first of the vampires? The strongest? The original family with issues? How can teen storylines compete with that? I think The Originals is going to be kick-ass.

Twisted Teen Thriller

Tv shows about teen psychos are all the rage right now (Did you see what I did there?). Bates Motel focuses on the formative years of Norman Bates (yes, the character from Psycho), but personally, I'm more interested in Twisted, a tamer take (I need to stop doing this) on the subject of young sociopaths.

ABC Family ran the first episode of Twisted in March as a preview to the show's June release. The concept is tre unexpected for the network and there was a period where the series seemed uncertain for pick up, given events in the US at the time. While murder mysteries are the network's style, they don't generally opt for programs that have such potentially disturbing core material, with a primarily teen target audience.

(Note: I think the promo's weak, considering how surprisingly intriguing the episode was.)

Twisted kickstarts with a slightly saturated flashback scene including a swing set (cue recognised television symbol for innocence/childhood). Two eleven year old girls are talking about their friend Danny, who's been acting strangely.

Danny emerges from the house carrying a red skipping rope. Turns out he then confesses to murdering his aunt whose corpse is inside (she was babysitting). Not a casual opener for what is ostensibly a teen drama...!

Now sixteen, Danny's returning to school, fully rehabilitated (in theory), and determined to reconnect with his two best friends. They're both harbouring a boatload of issues as a result of what happened back in the day, and are none too happy to see old Danny Boy.

Initially. 

Turns out, teen Danny is determined, confident and charismatic. By the end of the episode, each girl is bonding with him, albeit reluctantly. We think we know where the story's going now (in broad terms)...

...until a classmate is murdered. Either Danny's back to bad habits, or someone's setting him up. Say hello to the season's narrative arc.

The genius aspect here is that the premise allows leeway for moments of awkwardness in the pilot. What would a teenage girl say to a childhood friend slash murderer? The whole scenario is so brutally uncomfortable for all the characters involved, that it excuses moments of clunky dialogue or the occasional wooden performance.

 Even better, by writing the two best friends as girls who've since had a falling out, there's a neat love triangle already set in place for the show's hero(?).

While watching the pilot, I assumed Danny's innocence for a few reasons. He won't talk about what happened that fateful day (love that phrase), which to me implies some kind of conspiracy (keeping in mind this is the channel responsible for Pretty Little Liars and the unsolved murder at the core of that show has kept it on air for four years). Also, this isn't HBO, so if he is a budding sociopath, ABC Family are pretty far off their usual content course. Finally, Danny is written rather sympathetically.

(And yes, before you ask, everyone's good-looking and full of sassy, referential teen dialogue, because hello, ABC Family).

Still, there's enough elements in the pilot to keep the viewer uncomfortably aware of the possibility Danny might be guilty of murder. There's something detached and slightly calculating about the character. You're hoping because as a victim he's had to learn to disconnect to survive, and not because as a killer, he's watching, planning, and working to stay a step ahead...!

There's something's odd about Danny, and the murder of his aunt is never far from the characters' (or viewers'), minds. It's like you can never quite relax into the story while you're watching it, because you're just not sure about this kid.

I think actor Avan Jogia's experience on the Nickelodeon series Victorious has paid off because while he's obviously capable of acting troubled and dark (Ben the bomber in the opening episode of Caprica), he can also turn on the smooth friendliness that's de rigeur for tween/teen shows, which comes across as borderline chilling in such an emotionally complex scenario.

The pacing's interesting, the pilot moving very briskly through the set-up. You start in the past, move to the present, and from then on you're walked through (jogged through?) moments in the school hallway, a teen party, interactions in the car, a cafe, there's a murder, post-murder, a school assembly, the sheriff's interrogation, a few home time interactions with parents... Basically a flood of character introductions and developments. I wonder if these short scenes are a stylistic response to reduced teen attention spans? 

Like most modern shows aimed at the youth market, the parents are all a bit weird (read lame), but I definitely liked the adult casting here, including Kathy Najimy as a teacher. (Though I wonder, do they really teach Psychology in US high schools?)

Will definitely watch on to see how the story unfolds...

And yes, I won't lie, the skipping rope opening credits freak me out a tad.

Dirty Dozen (Veronica Mars Style)

Looks like the cool kids from Neptune High are back. On the big screen this time!* (I'd make an "out of this world" pun, but I'm saving that for the Roswell reunion). 

*For anyone who missed the news, show creator Rob Thomas is making a Veronica Mars movie. HUZZAH.

There's no denying Veronica Mars had some of the hottest bit parters, guest stars and cameos in town. (Remarkable really, considering the show only ran for three seasons.) The big question is, who to invite back for the party? Here's the dozen faces I'd love to see pop up at the ten year reunion:

JOSS WHEDON

Joss Whedon (creator of Buffy, director of The Avengers) was such a fan of Veronica Mars in it's heyday that he even made a cameo. Maybe he could rent Veronica a car on her return to town? Actually, since it's Joss Whedon, maybe he could just do WHATEVER THE HELL HE WANTS in the movie.

CHARISMA CARPENTER

I love Charisma. Chick's got some serious onscreen sass. (Imagine if she'd won the role of Buffy, which she originally auditioned for.) In Veronica Mars, her character Kendall is assumed dead, and know this isn't the Vampire Diaries where undead roles rule, BUT, no corpse was ever found. I sense a big screen comeback...

ALYSON HANNIGAN

Obviously Buffy's creator and Veronica Mars' creator were mutual fans, what with Buffy alumni coming out of the woodwork. The good news is, Alison Hannigan played the loopy sister of Veronica Mars' main squeeze Logan, making it way easy to include her in the movie storyline. Woohoo!

NELSAN ELLIS

Yes, the actor who plays flamboyantly loveable Lafayette in True Blood appeared in VM too. (Seriously, at this point is there an actor who doesn't have this show on their CV?) Nelsan Ellis was brilliant as Apollo, a former Ugandan child soldier. Granted, he's from the college year of the show, but for Nelsan I'd take an implausible plot point any day.

AARON ASHMORE

Ah, Troy. The charming but dodgy drug dealer boyfriend from the show's first year, who Veronica later ran into at college. Despite some trust issues, she helped clear his name when he was falsely accused of rape. Also, the Ashmore brothers rule. Maybe Troy could be Madison's present-day hubbie, as penance for past sins?

KRYSTEN RITTER

With her latest tv show cancelled, Ritter's a perfect choice for the VM movie AND she's already tweeted her enthusiasm. Her character Gia was the happy-go-lucky daughter of mayor Woody Goodman. Sadly, Woody turned out to be a paedophile. It's been a decade since that shocking revelation- I'm betting Gia's a changed woman now.

PAUL RUDD

Rudd embodied a burnt out muso for one episode during Veronica's year at university, where a run-in with Veronica and Piz helped him get his life back on track. The character could easily be written back in, especially if he played a set at the school reunion. What are friends for, right? 

JANE LYNCH

Before she was a bitch on Glee, Lynch played a mean teacher on Veronica Mars (minus the humour). If she rocks up at the school reunion, Thomas should write her a little funnier and slightly less distasteful this time around. Even better, she could pop up onscreen wearing a Sue Syvlester-style tracksuit... How meta.

LEIGHTON MEESTER

Gossip Girl's over, meaning Leighton's got some spare time. Plus, in real life she's dating Adam Brody (aka Seth Cohen from The O.C.). Adding the Veronica Mars movie to her pop culture CV would just rule at this point. WE LOVE YOU LEIGHTON.

SYDNEY TAMIIA POITIER

Sydney Poitier's daughter was my fave out of all the teachers at Neptune High. I'm not sure why she stopped appearing in the show? In one episode Veronica explains her character's absence as the result of an accidental pregnancy. Here's hoping she decides to rock up at the reunion, for old times sake.

SAM HUNTINGTON

I really like Sammy boy in Being Human. On Veronica Mars, he played spoilt rich kid Luke. He's alumni, so it would be easy-peasy for him to saunter into the reunion. Luke might not be as memorable a character as Dick or Madison, but I for one would enjoy seeing him in the mix.

JESSICA CHASTAIN

Funnily enough, I thought Chastain's performance on the show was kind of awful. She plays a pregnant girl who lives in Veronica's apartment complex, who it turns out, was raped by her stepfather. She only appears in one episode, never to be seen again, but I just like the idea of including an Oscar nominee in the list!

Oz Comic-Con Smallville Dinner

My friend Adam bought me an Oz Comic-Con special event ticket for my birthday. Basically, there's a plethora of dinners you can choose from, attended by one or two genre stars. He wisely let me decide which dinner he'd gift (because I'm fickle) and read me the list of actors (from various tv shows) scheduled for each event. 

At one point I yelled "Stop! Did you say just say Aaron Ashmore??" He confirmed AA would indeed be at the Smallville dinner, before starting to read down the list again. I cut him off with, "No, that's enough- I'll go to that one!"

I'm a longterm fan of the Ashmore brothers. I like them for a lot of reasons, including the fact twins fascinate me. Most of the stories I've written have a set of twins in them. (I could go on about why I find the concepts of twins endlessly interesting- but I'll refrain.)

Twins who also happen to be actors? That's a whole other level of interesting. Separately, I enjoy/appreciate the Ashmores' performances (though Aaron more so). Weird fact: For quite a few years I thought they were one actor, and was slightly puzzled at odd differences in the looks and gestures between each of Aar-awn's performances. (Yes, explained by the fact I was actually watching two completely different people in various separate roles- and morphing them!)

Originally, I loved Aaron Ashmore in the tv show Veronica Mars, portraying the charming but dastardly Troy. I also thought he was great in Smallville as the earnest Jimmy Olsen. Lately he's popped up in Lost Girl and Warehouse 13, both shows I watch, and been fantastic in each (playing extremely different personalities), so I was more than happy to eat dinner at the same table as him.

Onscreen, both Ashmore brothers have what my mother calls "speaking" eyes; the kind that emote, making them perfect for television and cinema. Secondly, they have an almost impeccable sense of timing, in terms of performance. I'm not sure if that's instinctive, or learned, but somehow they always work a scene to borderline perfection.

When Aaron Ashmore appears onscreen, you really do believe he's a spoilt rich boy conning Veronica/photojournalist who married Chloe/musician in love with Kenzi/gay Warehouse agent partnered to Claudia, and so forth... by which I mean, his performances are alway understated, yet strikingly realistic. (It's also interesting to note he's often cast in roles that see him paired with multi-faceted female characters). He never overpowers his co-stars, making no attempt to dominate ensemble scenes (a professional show of restraint too often underrated). Somehow, he consistently projects a certain authenticity, as if the character he is playing really is someone you might meet on the street. 

 My goal is to write for television, so I watch and study television the way Tarantino studied film... Noting popular narrative arcs, the power of ensemble casts, discrepancies in editing and pacing, preferred narrative templates for various networks and demographics (God save us all from television's dependency on procedurals). I process the structure for myriad reasons, ie to understand why some shows are successful, to pinpoint when popular programs jump the shark- and so on. I devour all the behind the scene information I can find. This way, when I do get my break, I'm pretty much as informed as I could possibly be without actually working on a set (& dare I say, possibly more informed than some with experience under their belt).

The idea of chatting with someone who had worked on various shows I admired, for whom television production is how they make their living (and who is notably good at it)… well, that was definitely something I wasn't going to pass up! Insider info over a meal sounded like a divine birthday present.

Off I went to the Smallville dinner. I was slightly nervous someone would start quizzing me on arrival and I'd be ejected for not being a "real" Smallville fan (yes, these are the things I worry about). I'll admit I even read ScifiNow magazine's Complete Guide To Smallville feature the night before the event, LOL.

The email notification specified the dress code was smart casual, which made me wonder if this was to subtly dissuade costuming? (Or maybe I was reading too much into it?). Either way, I left my Peter Alexander superhero nightie in the wardrobe HAHA and went for an all-black ensemble with a Great Gatsby original cover print bag. 

Note: There's always time for literary pretension in the form of a book-based fashion accessory, especially if said novel is currently experiencing a resurgence in popular culture. (Thanks Baz.)

The most surreal moment of the evening took place upon arrival. The dinner events were on the first floor of the hotel, but since they weren't finished preparing the rooms, we were told to wait in the foyer.  A few couches were arranged in a circular pattern, with a couple of dozen people waiting (if not more). I sat down next to two teenagers, then realised, hey, wait a minute… some of these people look HIGHLY FAMILIAR.

Basically, the stars from Oz Comic-Con booked to attend the dinners were also waiting in the foyer and appeared to be in no hurry to get upstairs and segregate themselves from their fans (serious kudos for that). It was bizarre, though, to be surrounded by cast members from so many popular genre shows!

To set the scene: Aaron Ashmore and Patricia Quinn (Rocky Horror Picture Show) were chatting nearby. A guy who looked vaguely familiar waved, & it took me a second to realise it was Eddie McClintock, and he looked familiar because I'd been watching Warehouse 13 on Foxtel that morning! 

Glancing around, I noticed some Star Trek alumni mingling, and was trying to take all this in when Jason Momoa from Game of Thrones and Stargate Atlantis rocked up and started high five-ing people... at which point my brain literally short-circuited. (The list of stars goes on, but I'll stop here so no one dies of envy.)

We finally went upstairs, trudging into the elevators en masse. I think it's fair to say you couldn't have found a friendlier, chattier group of Comic-Con celebrities. Major props to whoever selected the easygoing crew (visiting Perth in Australia, in case I hadn't mentioned).

Dinner was nice, although sitting with people you don't know is always kind of weird. (I guess it's weirder for the actors, although the paycheck probably helps!). A little like being at a wedding, except everyone was wayyyy more excited to be there- and we actually wanted to hear some speeches.

Aaron Ashmore proved to be as charming and intelligent as the organisers (and diners) could have hoped for, with a lot of interesting and insightful things to say about his career and place/s of work (ie the sets of small screen productions). He even took extremely predictable questions seriously and refrained from the eye rolling I would have probably indulged in, LOL.

I mentioned that I'd heard the set of Lost Girl it was in a warehouse, with small corridors between each "location", and he added that the corridors have green screens at the end, to make it appear that they go on for miles… basically he was full of these sorts of tidbits which (of course) I soaked up like a sponge. He laughed when we all pointed out that extras in Canadian shows seem to pop up repeatedly, over seasons and across many a' show. When talked turned to movies, he admitted he can't stand people who talk in cinemas, to the point where he'll tell them to can it… which led to a pros and con round-up of Cabin In The Woods, randomly enough. (AA was pro, btw).

When someone asked if there were any difficult people among the casts of the shows he's worked on, I like the way he tried to explain that the set of a tv show isn't really a place where actors can throw tantrums. He said that some actors may have what he would call big personalities, but that's a different thing. From what he was trying to articulate, I got the impression television productions are primarily a business, and that to stay employed on a set, people have to work hard, that the tv community in Canada is quite small, and you basically need to have a good professional reputation to continue to even hope to gain employment- like any workplace, really.

On the Smallville front, someone mentioned the fact his brother Shaun also appeared on the show and he said he'd been surprised to be considered for a role after that- but it hadn't appeared to bother them at all. He admitted he'd been waiting for a sly reference to Shaun's character Eric (and their startling physical similarity perhaps?) to show up in the script- but surprisingly, it never did.

Overall, just awesome dinner conversation with a soft spoken, polite and interesting special guest! Definitely worth the money, and I completely urge anyone who loves Oz Comic-Con to save the cash and go to a special event next year. They're basically a much more informal meet 'n greet, with some lovely grub thrown in the mix...

...Speaking of eating (or not), the funniest moment was when the waitress put my main course down just as someone realised she'd missed Aaron. Flustered, she grabbed my plate and whisked it away to give to him, pretty much the exact second I was about to eat from it. That provided a few laughs for the table. (Later, I pointed out to him it was pretty clear which one of us was the celebrity in this scenario.)*

(*I feel I should mention Callum Blue was also at the Smallville dinner- but since I don't really know him from any shows, I can't say much aside from the fact he was sassy, cheerful, and bought the entire table a round of drinks).

By the by, everyone working for Oz Comic-Con was polite and helpful. A great relief, considering someone else bought my ticket for this name-on-the-door event and I had to rock up kind of hoping for the (organisational) best.

After dessert, both stars were told the event had officially finished, so they were free to leave, but of course, welcome to stay. They chose to stay. Interestingly, none of the stars from any of the other meals seemed to be bolting for the exit, either.

I left feeling inspired and determined. It was fantastic to be around people who work in scripted television- to feel that for some, your dream is an everyday reality. It made me realise entering the industry is not so much about making a wild leap, as it is about about taking well planned steps to render your goal achievable. 

Undoubtedly a brilliant birthday present. Sure, I enjoyed meeting the celebrities, but the impression that working on a narrative-based television show is a job I'm just as capable of doing as the next (creative) person, was the truly priceless gift.

Lucky Dip aka Something For Everyone

'Tis the season! No, not Christmas, the one after that... when new scripted television shows hit our screens and we cross our fingers for a fresh find, always hoping for a brand new cult series just over the horizon, something wildly entertaining and ever-so-addictive.

Here's a dozen contenders to kick off the year:

1.Banshee 

What's It About? An ex-con who poses as a murdered sheriff. Apparently includes kick-ass martial arts and violence (sorry, the PC term is, 'action sequences'). Sadly, no mention of actual banshees.

Why Watch It? Because Banshee is the new show from Alan Ball, creator of True Blood and Six Feet Under (not a bad track record!).

What Else? The promotional poster made me think the show was animated. Trying for the look of a pulp novel cover, perhaps? 

2. Cult

What's It About? You had to ask, didn't you? It's a tv show about people who watch a tv show. The tv show is about a cult, but I think the fans become a bit of a cult? And there's missing people. Or something. (Hey, there's a lot of cutaways in the trailer!) 

Why Watch It? For the conspiracies and the Big Brother aspect (by which I mean grim Orwellian-style cleverness and not reality tv bastardisation of the concept). 

Who's in it? Matthew Davis, who played Alaric in The Vampire Diaries, and Alona Tal, who played Meg in Veronica Mars and Jo in Supernatural. Two actors that I love, so I'm in. 

3. Zero Hour 

What's It About? A guy whose wife is kidnapped after she buys a timepiece that gets them tangled in a Da Vinci Code/National Treasure-style conspiracy. Expect more metaphors/puns/play on words involving the concept of time than any one show should ever indulge in. 

Why Watch It? Not for the dialogue, if the trailer's anything to go by. Those are some SERIOUSLY generic lines. "Some say the Nazi's stole that secret in an attempt to harness evil... return the clock to me, or she dies." Actually, the voicover's worse: "To find his wife, one man will have to unravel one of the greatest conspiracies of all time." COME ON. But let's be honest, most of us are suckers for a treasure hunting/save the world tale.

Who's In It? That actor from ER with the kind face, Anthony Edwards (also from Northern Exposure back in the day) and Jacinda Barrett, one of my favourite Australian actresses. 

4. The Following 

What's It About? An (ex) Federal Agent finds out the serial killer he helped put away has a cult-like following of fellow serial killers spread across the United States. One thing's for sure, with this premise, they're not going to run out of storyline options anytime soon.
Why Watch It? I'd say the network's attempting to tap into the Dexter market, albeit with a slightly different angle. A very dark, intelligent procedural, which I'm guessing will appeal to a large audience.
Who's In It? Kevin Bacon and James Purefoy, both very talented. There's also an Ashmore brother in the mix (Shawn this time around, aka Iceman in the X-Men movies). I am so there! 

5. The Americans 

What's It About? A normal American family during the Reagan's reign, who just happen to be Russian spies. Attempting to entertain American audiences by forcing them to empathise with undercover Russian operatives during the Cold War era is an interesting idea, but will it work?

Why Watch It? For the sleeper spies, a concept I have always found utterly fascinating, especially if the faux couple have children. The creator of the show is a former member of the CIA, so I'm expecting authenticity.

What else? I think Keri Russell (yes, Felicity) will surprise everyone with the calibre of her performance. 

6. Red Widow 

What's It About? A woman whose husband is killed as a result of his links with organised crime must handle the aftermath to ensure her children's safety. Rhada Mitchell stars. (So many Aussie's in US tv shows right now.)

Why Watch It? Because Melissa Rosenberg is the creator, and she was the head writer on Dexter for the first few years. The lady sure knows how to tell a story (putting aside the Twilight film adaptations).

What Else? There's a bit of a Good Wife vibe here, in the sense that a homemaker has to step up to the plate and deal with the fallout of her husband's shady actions.

7. Ripper Street 

What's It About? Basically a cop show set in the East End during the Jack the Ripper period. (Yes, same music as used in The Great Gatsby trailer, but I don't blame them for the double-up, this track excels at creating atmosphere.)
Why Watch It? Because the BBC so often delivers. I don't like gory procedurals, but I do appreciate quality costuming, clever sets, strong cinematography, intelligent narrative and brilliant performances, all of which the BBC demands from its talent. I can see this making money for the network globally.
Who's In It? Matthew Macfadyen, who has one gorgeous voice to go with those startling blue eyes. 

8. The Carrie Diaries

What's It About? The teenage years of Carrie (yes, THAT Sex and the City character). After her mum passes away, as a way to help her deal with the tragedy, her dad secures Carrie an internship in Manhattan. Expect high school adventures with a dash of inner city cool.

Why Watch It? Because there has to be one lighthearted teen soap on the viewing schedule, for days when you've already used up your thinking quota.

What Else? The show is from the CW network, who needed something to replace Gossip Girl. The series is set in the eighties, so expect a lot of bold fashion and hair, which would look wild and crazy if there wasn't so much pseudo-eighties neon around right now...!

9. Deception 

What's It About? A woman returns to the wealthy family she grew up with, working undercover to investigate the murder of the heiress daughter. Think glamour, sex, secrets, and cruel rich people. General soapie-esque staples, really.
Why Watch It? Because while Brits have murder mysteries set in aristocratic country houses, nowadays Yanks are all about murder mysteries in upper echelon families, the kind who own holiday homes in the Hamptons. Instead of "Miss Scarlett in the library with a candlestick", think more "Blake in the poolhouse with daddy's revolver."
What Else? Stylistically, the trailer tries to draw parallels between Deception and Revenge, which makes sense, considering the ratings Revenge pulls in.

10. Do No Harm 

What's It About? A successful neurosurgeon is forced to deal with his alter-ego, a reckless individual (apparently) hell bent on ruining his life. The show's being sold as a modern day take on Dr. Jekyll and Mr. Hyde.
Why Watch It? Alternate personalities makes for entertaining fare, but the material needs to be handled with care. The quality of the writing and acting is key here, so only time will tell if this show works.
What Else? There's not much to say about this yet. It doesn't boast any standout talent I'm familiar with, and so far, there doesn't appear to be a lot of hype. Even though this is technically a medical drama (a genre that usually enjoys a certain longevity), I'd be surprised if it lasts past the original twelve episode order.

11. Defiance 

What's It About? Aliens who need somewhere new to live feel compelled to invade after the citizens of Earth prove less than accommodating (shocker). The planet gets accidentally (kind of) terraformed during the war. The show follows the trials and tribulations of life in a now less-than-friendly environment and a post-war mixed species society.
Why Watch It? Because the concept is challenging and could make for interesting television, if the writing is equal to the premise.
What Else? This doesn't hit screens till April, but I thought it was worth a mention because, hello, new scifi. Let's just hope the scripts are sharper than the first season of Falling Skies...

12. House of Cards

What's It About? Francis Underwood is going to be President, but first, it's going to get ugly. (Well, that's the tagline I would have run with.) Even his own party have Underestimated Underwood's ambition (see what I did there?). Cue multi-layered political machinations.
Why Watch It? Because it's an adaptation of a BBC miniseries. And let's face it, the road to the White House really does provide endless story fodder. 
Who's In It? Kevin Spacey, who rarely puts in anything but an Oscar-level performance. Robin Wright also appears. Definitely one to check out.