![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
It just occurred to me that none of Rachel Bilson's future employers are probably ever going to care enough to employ her range of ridiculous facial expressions to their fullest, greatest extent. Ugh.
It just occurred to me that none of Rachel Bilson's future employers are probably ever going to care enough to employ her range of ridiculous facial expressions to their fullest, greatest extent. Ugh.
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. )
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. )
Dudes, I have never really been a TV on DVD kind of person. I'm sure I own significantly more of it than your average non-fandomer, but my collection is mostly made up of gifts and "it was on sale at Target!" stuff. Furthermore, watching them is a pretty infrequent activity for me -- usually it's one episode at a time or a "HEY [FRIEND], YOU'D TOTALLY LOVE THIS SHOW" kind of situation. Until September 2009, I guess! I was sick earlier in the month and I developed a paralyzing addiction to background noise. Uh.
Anyway that lead to this week: the first time I have watched season 1 of the O.C. since our terrible horrible breakup during season 4 (which is a long and boring story and a couple of you had to live through it the first time, but suffice to say I am perhaps bitterer about the O.C.'s demise into suckitude than any other TV thing -- not because it was worse, but because we were in a loving monogamous relationship once upon a time, the O.C. and I, and it just hurt me and hurt me and I just took it until finally I couldn't take it anymore. I was also fifteen, so there's that). I thought about breaking strike and rewatching it this summer, but then I was distracted by... other things.
( In any case I've finally realized that my bizarre fascination with adult characters on teen shows stems from a love of playing 'put the small vague canon puzzle pieces together and figure out the backstory yourself!' which, HAR HAR, is probably totally unrelated to why I love Mulder and Scully so much. But let us get on with unraveling the mystery history of Sandy and Kirsten Cohen. )
In conclusion, I totally did not realize until today that Rufus Humphrey's band name is an O.C. homage.
Anyway that lead to this week: the first time I have watched season 1 of the O.C. since our terrible horrible breakup during season 4 (which is a long and boring story and a couple of you had to live through it the first time, but suffice to say I am perhaps bitterer about the O.C.'s demise into suckitude than any other TV thing -- not because it was worse, but because we were in a loving monogamous relationship once upon a time, the O.C. and I, and it just hurt me and hurt me and I just took it until finally I couldn't take it anymore. I was also fifteen, so there's that). I thought about breaking strike and rewatching it this summer, but then I was distracted by... other things.
( In any case I've finally realized that my bizarre fascination with adult characters on teen shows stems from a love of playing 'put the small vague canon puzzle pieces together and figure out the backstory yourself!' which, HAR HAR, is probably totally unrelated to why I love Mulder and Scully so much. But let us get on with unraveling the mystery history of Sandy and Kirsten Cohen. )
In conclusion, I totally did not realize until today that Rufus Humphrey's band name is an O.C. homage.
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif){kind=small}
elapses