Dec. 5th, 2009

elapses: (b. like a juggernaut brow)
Lately I have been thinking a lot about the cultural impact of The O.C., and how it fits into the way Hollywood copies everything that is a little bit successful. Every new sitcom is Friends meets The Office meets Family Guy, and every new drama is Dynasty meets CSI meets The Sopranos. NOT REALLY, but you are catching my drift. It is a pattern we are all aware of, thanks to remakes and spinoffs and respins (that's my made up word for Psych-Mentalist and X-Files-Fringe type situations). Money money money.

But the O.C.'s remaining cultural influence isn't about that. And it isn't about the fact that we can totally blame Josh Schwartz for Spencer and Heidi, although, in fact, we can. No. It is about Alexandra Patsavas, and the way the O.C. changed the way TV uses music. The fact that suddenly every TV show wanted to be the O.C., that cool show with all the indie music that sells their own mix CDs! The fact that everyone started hiring Alex P. so that they too, reach that same glory. The fact that montages are something that occurs in pretty much every episode of television, rather than a sometimes thing (compare Friends' use of music to How I Met Your Mother's use of music).

So that was going to be this post. And I would still be interested in going into that in the comments! But you see, while I was looking up who Bones' music supervisor is on imdb, I inadvertently got spoiled for the title of episode 11. There aren't spoilers besides that, but there are... words. And graphs. So. Duly warned. )

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