What's With The Heigl Hate?

A vitriolic response to Katherine Heigl's new television show State of Affairs shows an ugly penchant for online lynching when viewers decide a high profile actress is no longer "nice".

The trailers looked promising, but interest in the series was sidelined by horror at the rampant anti-Heiglism on display. Online reviews dripping with scathing (and often personal) sentiments started breeding like Tribbles. Opinions on the program itself seemed secondary, reviewers reveling in the opportunity to go Mean Girls on Heigl's ass.

Heigl Hate is in full effect, and from what I can gather the vitriol is fueled (and defined acceptable) by the American viewer’s belief Heigl isn't a "nice" person. From sweetheart to bitch in the public eye, Heigl’s no longer allowed a seat at the A table.

The "nice" issue that women face in today's world is often pondered; regardless of how you wile away the years, being "nice" is (more often than not) paramount. Fail to be perceived as nice, especially in the public eye, and you will invariably professionally suffer. Nothing highlights this more than Heigl's online takedown when she dared step back into the public eye after a brief hiatus. 

 Scroll through the comments on reviews of her new television show online and you'll see Heigl's makeup, hair, and clothing criticized. You'll see her face criticized. She's criticized for wearing heels on the show. Then criticized for wearing flats. And that's before you even hit twitter, where the Heigl Hate really amps up... Boy, do they get personal.

It’s okay, though. We might never have met the woman, and it seems kind of weird some of her past castmates stand firmly by her (I mean, if she was so awful, wouldn't they all shunning the she-devil?), but the media's made it clear she is not nice. Saying horrible things about an actress is totally excusable if she’s, you know, not friendly. Or something. Continue lynching without qualm.

 The form her "bad character" takes, for those who are curious, is a penchant for expressing opinions. Intelligent and articulate, Heigl chose to leave popular television series Grey's Anatomy and was known for commenting on the quality of the scripts. (Something I agreed with wholeheartedly, unlike the majority.) She described a film she appeared in, Knocked Up, as sexist. She's also cited as being difficult and demanding on set. (To be fair, many actors are described as divas at some stage; these kind of claims make for spicy press.)

To my mind, the hate for Heigl doesn't quite match the reasoning. Aside from having an "outspoken" reputation, her record's clean. No kitten kicking or yelling at other people's kids. As a star of romantic comedies, was projecting a "sweet" demeanor implied in her job description? If so, it appears she didn’t get the memo, and the fallout’s lasting YEARS. 

I won't lie; I like Katherine Heigl (although even holding this opinion feels slightly risque right now). In past interviews it appeared she was speaking honestly, possibly too bluntly for the PR machine, but that was part of the allure. She sounded intelligent, funny, and had opinions she wanted to express that were interesting (and that I often agreed with). 

 Remember when, in the Heigl Heyday, she refused to lose weight to suit the standard Hollywood starlet requirements, standing firm on positive body issue endorsement in response to veiled (and not so veiled) comments? Ah, those were the days.

Now, of course, Camp Heigl's been forced into damage control. All they can do is try to rebrand. Not surprisingly, these attempts aren't going too well. Once the audience has a villain in sight, they're not letting go of the idea, however misguided. Recent photos of the actress on set with her kids were met with condescending sneers all over the web. The general consensus? Online sniggering as Heigl "tried" to "prove" she was a "nice" person. As if it's too late; as if we, the viewing public, are now in the know, and cannot be fooled again. 

There's a sad lesson to be learned here. For a pretty actress in Hollywood (especially one with a rom-com history), being perceived as nice is apparently the most important "skill" on your resume. Criticizing elements of the process of your craft is strictly prohibited.

Just smile for the cameras, Katherine, dim that impression of intelligence right down, start pretending you love everything about every script you come across, and maybe one day (if you're lucky), America will forgive you.

The 100 : Fog of War Recap (season 2 Episode 6)

Okay, I don't usually do photo recaps, or episode recaps, but since it's December, which is practically Christmas, I decided to blog something fun. And what could be more fun than lighthearted comments/jokes about a dark dystopian drama? Am I right, or am I right?

So the latest episode of The 100 (Season 2 Episode 6) is titled Fog of War, but could easily have been titled Girls Just Wanna Have Fun (While Leading) due to the outstanding equality on this show.

First up, the episode starts with a reminder of some stuff that's happened, like when the Mountain Men threw a forest rave for The 48 with laser pointers and everything, and the whole scene got wayyyy too wild:

Then there was Clarke's post-party comedown:

We were reminded of Jasper and Maya's attempts to hang out (dystopian dating sucks) and Jasper's clueless offer to replace her blood with his own radiation-proof red liquid gold. Although to be fair, the Mount Weatherians did give him chocolate cake, so they pretty much own his SOUL.

The episode begins two days after the village massacre. The time jump is appreciated, because, seriously, small talk is tough when you've just murdered your neighbors. (Betting that walk back to camp was awk-ward.) 

Here we are, at Camp Jaha (and yes, it is so entertaining).

Apparently the adults brought a bar with them. (Respect). And apparently a currency is already in place. #grownuppriorities 

Clarke's working on another map of Mount Weather. At first glance I thought she'd written "damn", like she was annoyed, and assumed the Ark-ers are mad Facebook users who can't spell. Then I realized Clarke meant an actual dam... my bad.

The crew's just chillin'. You know. Hangin' out.

Finn drops by, cleared of charges. (The Ark's never boasted a reliable justice system.) Avoiding talking about mass murder proves tough, and the mood turns awkward, so Bellamy bails. 

Of course, then Murphy shows up, making things AWKWARDER. Turns out sociopaths don't have rockin' social skills...

Luckily Raven comes over with some game-changing news. But first she makes it clear Murphy isn't welcome at the cool table.

She also tells Clarke the Mountain Monsters are jamming the radios, but all I hear is:

The girls get BUSTED planning an expedition to destroy Mount Weather's communications array thanks to the spying eyes of the mean security lady (creeper). 

We're expecting our dynamic duo to be grounded (get it?) but Mama Chancellor doesn't veto the plan; instead, she says she's coming along for the ride! ROAD TRIP.

Mount Weather Update: Cut to a quick and ever-so-creepy Mountain Monster's power trio convo about sucking The 47's blood. 

I can't even post a pic of Dante's son, who should be wearing a t-shirt that says, "I AM AN ACTUAL VAMPIRE" or Doctor Von Non-Humanity, who desperately needs a psychiatrist, because they freak me out too much.

President Dante surprises us all by proving to be a tad less creepy. Rather than rounding up The 47 like cattle, he wants to try the road less traveled (that would be the dirt track marked Not Violating Human Rights).

While Abby, Clarke, and co are busy trekking to Mount Weather, we cut to Kane and Jaha who are once again facing certain death. (These guys. Deja vu or what?) Today, detention for the Past Chancellor's Club is being held in the subway.

The Grounders take the opportunity to showcase their fashion motto: Go Hard, Go Apocalyptic, or Go Home. These besties know how to make a style statement. (I won't lie; the vibe's a little Single White Male.)

Kane's convinced he's going to actually die this time, but Jaha's all super-chill.

Turns out the Grounders want Jaha and Kane to kill each other, mostly because of this*.

Jaha tries to make friends with Grounder girl Lexa (placed in the corner to let the guards know when Kane and Jaha finish their No Holds Barred tournament to the death) but she's not uber chatty.

Back at Mount Weather, Jasper gets lots of presents. Think Christmas, if Santa were the kind of guy to demand a blood tribute. Dante tries to enlist Jasper's help in convincing The 47 to donate their magic space plasma.

Outside the mountain, Abby discovers Bellamy and Octavia (go team!) have snuck off to find a way into the mountain. She sends security to bring them back. Meanwhile, Finn isn't happy that everyone wants to take his fave toy away from him. 

Then the acid fog shows up. And one of the security guys, well...

Abby and Raven are ok though. Somehow.

Meanwhile, Clark and Finn are safe in the bunker, and I don't want to go into it but...

Sometimes the elephant in the room isn't just metaphorical; here The 100 writers opt for an actual corpse. Finn tries to cover up his crime (literally).* 

*Too sad for a picture.

Bellamy, Octavia, and the security guys have taken shelter from the acid fog in an underground car park. At this point, security guy Scott makes a really bad life choice.

Things continue to suck at the bunker (let's not go there). I will say Clarke got her dad's watch back, but as far as gifts go, it was expensive, at a cost of, oh, around 19 lives? :(

Let's visit The 47 at Mount Weather instead.

Jasper tries to get everyone to volunteer to be blood sucked, but they're not excited. Maya decides to be a turncoat and join Team 100. (Sorry, 47).

Instead of just telling the guys what's going on, Maya makes them look through a vent with a slow turning fan. (Never go near a slow turning industrial fan! Horror staple.) They see this:

...proving when it comes to delivery, Maya is the (drama) Batgirl to Jaha and Kane's (drama) Batman and Robin.

Returning to the creepy underground garage (they're always creepy!), the security guys are dead and Octavia discovers Lincoln hasn't survived the fortnight break between The 100 episodes too well...

Back in the subway, Kane decides if one of The Chancellor Club has to die, it should be him.

Jaha stops him, and in desperation, takes the Grounder girl hostage. Not cool!

(Quick cut to Bellamy and Octavia hiding in the underground garage, just to ratchet up the tension.) 

Meanwhile, in a twist, Jaha is disarmed by the young Grounder girl. Reveal! She's the Commander. (Which doesn't explain her disguise-that-made-no-sense. Maybe it was a psychological prop?)

She also announces she's keeping Kane (who wouldn't want to keep Kane?) and sending Jaha back with a message for the Ark crew.

Back in the creepy car park, Octavia and Bellamy agree Lincoln needs a reality check.

Over in the Bunker Of Sad, Clark says the saddest line of the whole episode, "They were unarmed" (in regards to last eps village massacre that no one wants to talk about). Finn's face proves he aint no Murphy; there's an ocean of remorse behind those pretty eyes.

On the Mount Weather front, in an attempt to stay on Dante/Vampire/Dr. Horror's good side, Monty and co donate blood in a hospital set from a sixties scifi movie.

And Dante reminds his son he's no pushover.

Then we cut to The 47, and we're glad to see Miller, as always! I wish Miller and Monty were a gay couple on The 100. They might get more screen time. At least Miller's not dead. (Yet.)

Jasper has a plan that's perfectly in character.

Abby and Clarke and co are heading home when Jaha stumbles out of the bushes, and Abby's face is like WTFOMFGx10.

While most would say, "Don't worry, you didn't eat the wrong mushrooms, I came down in a rocket," Jaha's inner thespian takes over and it's all a bit Shakespeare In The Park.

We learn the Grounders are planning another attack in 2 days. (Although considering how well the last one went for them, I'm not quite sure why they're so cocky...)

Can't wait for next week x

The Art of Opening Credits

In the world of modern television, opening credits have become an unexpectedly complex art form. No longer thrown together by the show's editors, many are outsourced to specialist companies who painstakingly piece together each and every image and effect, before sourcing/commissioning the perfect music to complement their beautifully crafted visual feast.

For a relatively small slip of time, the opening credits of a television show have become increasingly important; instead of merely listing actors' names and the program title, that initial space now attempts to communicate moods, themes, even clues to the seasonal (or series) narrative. It is, in the truest sense, an "introduction" to the program.

Many of today's opening credits are beautiful, hypnotic attempts to lure in and grab a hold of viewers on a kind of instinctive, even subconscious, level; an opportunity to preset the viewers' minds, creating the right kind of frame for the program they're about to experience.

In celebration, here are a dozen of my favorite opening credits currently on television (although loving the credits doesn't always make me a fan of the show). Only television shows still in production are included (to narrow the field).*

*Interestingly, shows on cable television generally have a larger budget and greater artistic freedom, so programs on those networks are more likely to make this list, but there are also programs on more traditional networks offering memorable opening sequences.

My response to these examples is also more emotional and instinctive than technical. I've tried to write my reaction as a viewer who's just sat down to relax, and engage.

In no particular order:

Outlander
Firstly, the music. Oh, the music. Such an incredibly appropriate selection. Also, the inference of magic, with all the light and shadow, suggestions of dawn and dusk. We never get to meet anyone's gaze, a very deliberate choice, but we see parts of people's bodies in motion. (Not to mention, guns, knives, historic costumes and props that place the story in a particular period.) Disjointed, but beautifully composed. Even in shadowy shots that hint at a certain uneasiness and the possibility of future violence, there is still light. Overall, a sensual, dreamy atmosphere prevails. 

True Detective
This opening sequence won a Creative Arts Emmy. I actually find it unexpectedly sleek, given the gritty style of the show itself; at first I thought it was almost too slick a pairing for the program, but despite that hint of disparate visualization, there's no denying a moody, minimalist atmosphere is successfully created. The projection and layering make the characters' bodies part of the location. It's almost like our heroes (antiheroes?) are embedded in the setting itself, and since you get that kind of dragged down feel from the narrative as well, it's a very clever presentation of certain themes.

True Blood
Some of my absolute favorite opening credits from recent years. (Show's finished, I know, but am making an exception!) Blunt, sexual, religious, violent, blood and more blood, death and decomposition. Swamps and heat and night and darkness... Utterly perfect for a vampire show set in the south. (Not to mention the choice of film stock.) This clip is a making-of featurette that follows the team behind the title sequence. I think focusing on themes rather than characters was key. Gritty, messy, and extreme, this visual injection is simultaneously seductive and distasteful.

Halt and Catch Fire
I like the red-to-pink-to-red here, as if the mood of the piece is in constant transition, opening credits flickering between passive and aggressive, i.e. threatening and non-threatening, which is the feel I get from the show; as if conversational scenes are prone to switching from chatty to confrontational, and back again. I like how the characters' profiles are literally consumed by shades of tech, as if computer science is obscuring my take on them, and I appreciate the movement forward, toward a goal. Quite simple, stylistically, but to me, thematically spot-on.

The 100
Season two of this show offers a revamped opening sequence. Not what I expected, but the visuals totally work contextually. The show is violent, and emotional, and doesn't back away from investigating shades of gray in the human psyche, but location also plays a very important part in the story, so mapping out the external journey of the characters in this dystopian environment is a solid choice. Obviously there are clues and references embedded here, but it feels like information is flooding you, reflecting the pace of the season. (And the slightly primal, slightly adrenalizing soundtrack is an apt fit.)

Penny Dreadful
A program that feeds on dark and dramatic texts, so cadavers and scorpions were kind of a given... But I like the angles/slant of this opening sequence; everything is leaning, and surrounded by darkness. Even the credits barely make it out of the shadows. White, yes, but not a bold presence onscreen, more struggling to be seen, even. Most of the characters are glancing away, and they all seem troubled. Everyone, and everything, is destined for imminent disaster. That's the feeling the audience can't shake (and the visual of the blood-filled tea cup certainly stays with you).

Game Of Thrones
The great thing about the opening sequence for this series is that it puts aside character intrigues and focuses on what fuels the entire narrative... The power to rule. After all, this is a game of thrones, and the beautifully crafted, unfolding three-dimensional "map" is an intricate reflection of the players in this gruesome, high stakes game. The aerial image is empowering for viewers, as we zoom in and out of various locations. What fans love the most, though, is the way the opening sequence changes each screening to reflect the content of the episode you're about to watch. So engaging.

The Leftovers
A stunning example of a beautifully communicated premise. You feel like you're inside a cathedral, looking up, seeing a fresco representation of the characters' suffering as loved ones are torn from them, into the light. The experience feels religious, but somehow blasphemous, and very tragic. The way it's filmed is also slightly disorienting; you feel like you're moving through the air with no real control, seeing other people's stories/suffering from uncomfortable angles. The camera also pans out rather than in, and there's a disconcerting fluidity/inference of depth to the artwork.

Teen Wolf
Aimed at a teen audience, this sequence employs motifs popular in supernatural cinema and television to create a dark celebration of youthful beauty, sensuality, and isolation, while highlighting a simmering potential for violence. Interestingly, it could be argued the male characters are more overtly sexualized than the female leads, which is against type. I also like the use of water/chalk/dirt (or oil?). Simple, but visually effective. Likewise, the understated, hurried music suits. The opening sequence differs a little each season, but each offering stays stylistically similar.

Banshee
I love the Banshee opening credits because in a field of blurry, low-lit offerings, the stark bluntness of this sequence stands out. (The way the letters alternate in size is also a nice touch.) Fans know the spinning lock combination during each season has a certain meaning (but no spoilers here, I promise). The photo evidence is clearly delineated, falling in and out of focus, some pieces degrading, some receiving more screen time than others. You know all the images are clues and pieces that you have to decipher, but it's going to take you time, and it feels a tad Memento... 

Intruders
It kind of surprises me how much I've enjoyed this show. The story just gets under your skin. The opening title captures the eeriness that makes this program addictive viewing, what with the flood of creepy, disconcerting symbolism. (I won't lie, I'm a sucker for a good close-up eye-shot, and that opening graphic is one of the best.) "An unhealthy metamorphosis" is the feel I take away from this viewing experience, and a focus on the fragility of life. My final impression? "We are grey and fragile, something unsettling is happening, and the storm is coming."

American Horror Story: Freak Show
Each season of this program has a different opening sequence to match the changing theme of the narrative, but this one is my favorite, because instead of being overtly scary, the stream of animated characters appears beautifully macabre more than anything else. (I get a bit of a Jan Svankmajer vibe.) The carnival freak show has long been a metaphor for society's fascination with the perceived grotesque, and this opening title feels like a twisted celebration of said legacy; the supposedly "deformed" become uniquely riveting, presenting as powerful and darkly enchanting entities.

Eliza Interview (Flashback to 2010)

I've been busy finishing up my novel Sound, to the point where I didn't have time to write a blog this month. A flashback to a 2010 interview with Eliza Dushku will have to do instead!

For those who aren't familiar, Eliza played Faith in Buffy The Vampire Slayer and spin-off series Angel, Tru in Tru Calling, Missy in Bring It On, and Echo in Dollhouse.

It's a transcript (with the last few minutes of casual chitchat left out). Fans of Buffy and Dollhouse should enjoy the read. 

We laughed a lot, and Eliza remains one of my favorite celebrities: very friendly, thoughtful and articulate. As a major fan I was having a problem forming whole sentences (haha), but luckily, she offered indepth answers so my inability to speak coherently for long periods never became an issue(!).

Here goes:

Operator: I have Eliza on the line now please go ahead.

Me: Okay, thank you.

Eliza: Hello there.

Me: Hello, how are you going?

Eliza: Hi, I'm going good, how about yourself?

Me: Oh, I'm good, thank you. Are you enjoying Australia?

Eliza: I am, it's our second day here, but we got to walk around a little bit yesterday, inbetween fighting off jetlag. We went down to Darling Harbour and everything's in good walking distance from where they have us.

Me: Excellent. Have you been here before? You haven't?

Eliza: This is my second time, I was here fifteen years ago, I did a film here, kind of a crazy little film with Halle Berry and Jim Belushi. We spent a month in Sydney, we went out on the road and we worked in Alice Springs and Broken Hill, but we were here for about three months. I loved it then, and I was so excited to come back.

Me: Oh, excellent, have you been to Perth before?

Eliza: I've never been to Perth, no.

Me: The most isolated city in the world, that'll be an experience for you.

Eliza: Oh wow, yeah, I'm excited. This was sort of a perfect opportunity. Having had Dollhouse just finish a second season here, it was just a nice opportunity to come and thank the fans and, you know, it's been so many years that I feel like, ever since Buffy, I've had such Australian support from followers and fans. It was just really the perfect opportunity to come.

Me: Oh definitely. Someone at the office said to me, I can't believe you're interviewing the five-by-five girl, and I said it must be amazing to think five episodes of Buffy you were originally meant to do, and eleven years and people are still yelling Faith, Faith. Like, they just love you.

Eliza: I know, I know, I had no idea. I was literally supposed to come out and just do a few shows. I just graduated high school and I was enrolled in university in Boston. Actually, my mum's a Professor and I was enrolled at her school, and I was going to come out and make some tuition money. Four episodes turned into seven, turned into, you know, a lifetime of Buffy support, and fans, and Faith fanatics, but I love them, you know? 

I realized at a certain point how incredible that role was when I had young women come up to me on the street. They were writing me letters, and telling me stories about how they had been abused, and when my character came on Buffy they confronted their abusers. It just empowered all these young women, and I just I couldn't believe it, it was unlike anything- You know, I'd already been in the business for about seven years at that point, but I'd never had a role that affected people that intensely, and it really felt good, it really felt meaningful. So it was reason enough to withdraw from school, and put off my education, to empower young women in another way, for a short time.

Me: Oh definitely, and I just wondered, actually, when she turned to the dark side, I consider Faith turning to the dark side, like, Darth Vader's number one, and then Faith's turn to the dark side in pop culture would probably be number two.

Eliza: Wow, I'm after Darth Vader? 

Me: Yep.

Eliza: Huge. I have three older brothers, they would- that's amazing. Ah yeah, she did, she turned to the dark side, but you know, what I loved about her was that even when she was completely in the dark side and completely out of her mind, and, um, killing people and torturing people, there was something... You know, she was written in a way, and we played her in a way, that people still felt for her, people still pulled for her, and so it wasn't it wasn't just black and white, good and evil, it was this really complex grey area, you know? People loved her, in spite of everything she did, and it was really sort of fascinating to me.

Me: Did they actually let you know that your character was going that way, or was it sort of sprung on you in one episode?

Eliza: With Joss it depends. I mean, I feel like, over the years, both in Dollhouse and in Buffy, and also in Angel, you know the writers will come to you, I feel like they sort of reveal things as they should be revealed to the actor; like they don't tell you two months in advance, but about a week in advance they'll come to you and tell you that I'm going to be torturing Wesley with cooking spray and a lighter, and slashing his face up, and trying to kill Buffy’s boyfriend, and yeah, they'll tell you in just sort of a nonchalant way, and then you just trust them, because every time I've ever worked with that group, they found a way to make it make sense, and you know, definitely, it's provoking and it's- they push the envelope, and they provoke the audience that they love so much, but I think that's why the audience loves them back, because they never know what to expect, and they don't ever do something without there being, you know, something that's revealed from it, other than what's expected.

Me: Well I thought it was wonderful that you produced Dollhouse as well, I thought that was really impressive, and I just wondered, did you find your relationship with the writers and such, as a producer, is it different, and since you're an actress as well, was it a different experience for you?

Eliza: It was, and it was definitely a different turn for me, being the main role and being a producer and being, you know, sort of the centre of it, and I think when Joss- I first called Joss and sat him down and he was not planning on doing a television show, but over a four hour lunch (this infamous lunch), I talked to him, I told him I wanted to do something and I really wanted it to be with him, and he sort of started brainstorming and we came up with the show over lunch. It just really, to us, meant that we were going to be a true team going into this, and that it wasn't going to be just Joss delivering this whole world to me on a silver platter. I mean, he wanted me-

(Eliza cut off by music)

Eliza: Hello?

Me: Hello?

Eliza: Oh sorry, somehow the phone just cut out, it went blank and then it came back.

Me: Yeah, I got music, so I was like, oh, she's gone...

Eliza: Oh, okay. But anyways, so it was really something, you know, that he wanted to have be collaborative, and we wanted to pull together the right group of people; we only wanted, you know, we've both been in this business for a long time, and we've worked with some lovely people, and we've worked with some not-so-lovely people, and so we really said we would only pull together a group of people that would bring their A-game, and that wanted to be there, and that would make the best show that we could possibly make.

And that we would do it together, and that there was no, you know, there was no question that we were a team on this, so as far as working with the writers and developing stories, I mean, I never pretended that that was a role that was, that I felt that I could- you know, I'm not a writer, and I'm not a story breaker, but we would, you know, they would bring ideas to me and we would talk about different possibilities and different ways that the characters should go, but I think once we got into filming, it became pretty clear pretty fast that it was, that there was, ah, there were a lot of plates spinning in the air. There was a lot going on, and again I just; I really trusted Joss and the team, as far as breaking stories and as far as directions that all the characters, including Echo, went in.

Me: It seems like a lot of the material that you've been involved with, like even the movie that's coming out soon, Locked In, there's no, there's not a lot of lighthearted romps in there. Do you like a certain level of intensity in your scripts? 'Cause there seems a lot of morality and sense of self and destiny and questions of such; a lot of the material you work with has those themes.

Eliza: Yeah I think so, and I think for me, my art has, that saying art imitates life, it's always been very true. And I think especially with Joss, he got to know me from seventeen years old and as we sat down for lunch two years ago, at twenty seven years old, he looked at things that were happening in my life and, you know, I was at a point two years ago that I didn't know sort of who I wanted to be in this business, and people were sort of pulling me in all these directions. 

So I wouldn't say it was biographical, but I think that was absolutely something that we drew from, was this parallel of who am I, and who do people want me to be each day, and exactly, that sense of self. 

So those are things, that's a level of intensity that I do enjoy, but I have to say you know I would love to, and I think I'm going to be involved in, something a little more lighthearted and comedic in my next project (which I think I'll be announcing maybe in a couple of weeks). But it's definitely, it's one of those things where the grass is always greener; when you're doing a comedy you feel like a total goofball, and you would do anything to do something serious and intense and artistic, and then when you're doing that, you would kill to do a comedy. So, mix it up.

Me: I was going to say after all the intense kind of genre shows and unusual, I don't like the term scifi but that sort of unusual genre, you must sometimes think maybe I should do a procedural cop drama, just to balance it out?

Eliza: I don't know, I mean I feel like I had a bit of an experience with a procedural type show with the other tv show I did, Tru Calling. And while I enjoyed it, and it was something that I'm glad that I tried, I have a little bit too much ADD to do the sort of same procedure every episode in a row, but I would like to do more comedy and something more comedic. 

I feel like it's a part of me, and when I meet fans or when I meet new people or you know writers or directors in town, they always comment on sort of what a funny goofball I am in real life, and how that’s something that hasn’t really been seen. I mean, it was seen a little bit in Bring It On, and I did a few comedies over the years, and they were really fun for me, and they were just a great opportunity to show other colors, and I think I want to do some more of that, and explore some more of that.

Me: Are you focusing more on film, or on television, or on producing, or are you just open to opportunities that come?

Eliza: I think, I mean I'm open to opportunities that are coming and that I've created, and I'm definitely producing and working behind the camera as far as a few films that we have that we're working on. And you know television, you never know. I mean, it might be something also I would see myself producing again, and I think I guess there's no crystal ball in Hollywood and things are always changing, and the climate’s always changing. As far as television versus film, I don't think that I'll be headlining a television show for some time, but who knows, that could change in six months.

But I do feel that right now I really now am looking for the material, and so I'm excited about this project that I have coming up, and I know I can't talk too much about it so I don't mean to tease you with it, but it’s just, as far as we were talking about, in terms of a genre that I've worked in and that I sort of have all of these fans and followers from, I felt in a way, that with Dollhouse - it came out and it was so exciting when it first came to be, and everyone was on board, and all the fans internationally were as excited as we were, and then the show ended, and yeah, I guess it sort of ended in a dark way, and I have this feeling that fans sort wonder if I'm okay, or wonder if I'm broken? 

And you know, it's quite the opposite- we were grateful for the opportunity, I feel like we created this exciting and smart world for people with the two seasons of the show, and we were grateful that Fox let us finish out the story and finish out the second year, and now it's time to move on to something else.

(The project I have coming up, it's more satirical and it plays with the genre.)

This is still the entertainment business, and it's not- you know, I am okay and I am moving on, and this is still fun for me, and it's not something that I'm really licking my wounds over for the rest of time, you know? It's movies and tv, and you have an opportunity, and when that ends you pick up and do something else, so I am excited to let my fans know that I'm okay. We're all okay.

Me: Well I just thought I'd ask... You played the iconic vampire slayer, and I wonder, with the vampire resurgence now, if someone actually asked you to play a vampire, if you'd consider it?

Eliza: I've been asked that question! I mean it all depends on the material. Again, I think I've been offered a few of the shows that I've seen come out, or a few roles, and there is the part of me that says to follow one of the most iconic vampire shows of all time with one that is sort of subpar is not something that I would want to do, so I think (with as far as my agents) when a vampire thing comes along, unless it's, you know, Bram Stokers something, we’ve been a little selective about that.

Me: A lot of critics have always put out that you tied up the storylines beautifully in the finale of Dollhouse in the second season, it was quite brilliant. Do you think it makes a difference to fans when you can tie up your stories like that?

Eliza: Absolutely, because you ask them to become invested, and come along on this journey with all of the characters, and I think it's absolutely important to give them an ending, and to give them a finale. Again, that was something that we were really proud of and also something that we were grateful that we had the opportunity to do.

Me: I always thought it was interesting (the show) because my dad had a brain tumor and it's the same, ie the personality, people have no idea that the mind (the brain and the personality), is so much more fragile than people imagine, and that’s why I just thought the story was brilliant in Dollhouse, because it’s not- people think the concept is so science fiction, but it’s actually really quite possible. Like, you don’t realize the mind is like a computer program, and that’s why I thought the show was fantastic, because it was actually quite close to real life in a way.

Eliza: Yeah, I mean I think that’s, again, something that Joss is just so amazing at doing. And you know, of course, even Buffy, it was vampires and monsters, but it was the themes of the show that people connected to, and that people felt like they could understand, and everyone could somehow relate to the characters and to the situation. Obviously Buffy was about high school, and it was something that everyone could understand. 

Dollhouse had themes and characters as well, and some outsiders looking in would talk about how confusing a world it was and how, you know, that it was quite simply human trafficking and prostitution and all of these things that we heard, but I think we all knew it was something deeper, and people who really got into the show felt like they could relate in some way with it.

Me: Would you happily work with Joss again?

Eliza: What's that?

Me: Would you happily work with Joss again?

Eliza: Of course. He's my buddy, he's my bro.

Me: A fantastic partnership.

Eliza: I just have so much respect for him. I've been in this business now for almost twenty years, I can't even believe it, I'm not even thirty and I never imagined myself saying, I've done that for twenty years, but here I am. And I've worked with a lot of people, and I just have genuine respect and admiration for him and his storytelling and his, you know, his themes about young women. 

I mean, I sort of tripped and fell into this business when I was nine, and my mother is s professor, a feminist, and she has raised us travelling the world, and being involved in women's rights and issues, and I don’t know if I would of stayed in this business had I not had the opportunity to be working with Joss. Working with Joss on Buffy, like I said, was the first time I felt like the work I was doing had social and emotional relevance; that I felt like I was really contributing something to the world, and it gave me faith that I could be an actress and not just be superficial, and play a role on a greater level and a greater scale, and I've always been grateful to him for that.