Consistency.
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That is something that the second half of the season failed miserably at maintaining. Narrative arcs started and ended abruptly and were hard to maintain up with or even understand. The first half of the season was definitely solid. I would even dare say that episodes 1-14 were better than all of season one with episodes like “Summer Kind of Improbable”, “The Shaded Night”, “Pret-A-Poor J”, “Oh Brother Where Bart Thou” and “In the Realm of The Basses”.
As a devoted fan of Gossip Girl I have to say that the dynamic duo Chuck and Blair played by the Astounding British actor Ed Westwick and Leighton Meester were the downfall and the salvation of the explain. Westwick and Meester’s on-screen chemistry is so tangible you can prick it with a knife. They are very noteworthy actors separately but when they are together it is explosive. Westwick and Meester basically carry the indicate on their shoulders throughout the whole season. Chuck and Blair is what makes you want to continue to search for but the writers and producers persistent narcissistic tendency to hold them apart is what ruined the second half of the season. It almost seems like you are watching a different indicate when you earn to episode 2.21. By this moment in the season most if not all of the characters are written completely out of character and their behaviors are erratic and hard to understand all for the sake of an “OMFG Moment”.
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I continued to gape until the demolish because I am a masochist and will probably behold season 3 as well. But I was very disappointed with the second half of the season. I purchased the DVD honest because the first half of the season was enormous and I can’t lift it separately.
I’m probably going to be in a minority here, but more and more I became poor with GOSSIP GIRL in its second season. It isn’t the characters. The note has a nice ensemble cast, nearly all of them nicely acted by the performers portraying them.
To justify why I have been increasingly discontent with the explain, I need to call attention to one of the reasons I have enjoyed Josh Schwartz’s two other shows. Both THE O.C. and CHUCK are character based serials. Both declare stories about how characters change and evolve over multiple episodes. For instance, a conflict between Summer and Seth on THE O.C. might produce and accept resolved over a 14 or 15 episode arc. Myth arcs for any of the major characters would extend over whole seasons. Considerable the same is good with CHUCK. The friendship between Chuck and Casey, for instance, took heavenly remarkable two chunky seasons to fabricate.
Now, incompatibility this with GOSSIP GIRL. More and more GOSSIP GIRL has become a prove for viewers with attention deficit disorder. My guess is that the main inspiration for the increasingly shorter and shorter record arcs is the CW. This isn’t the kind of change in a point to that producers like to acquire. I blame the CW. Basically networks despise yarn arcs. They absolutely disfavor shows have complex epic arcs that extend over 7 or 8 or 9 episodes. This tension has been a share of prime time television ever since HILL STREET BLUES popularized chronicle arcs on American television. But the network decreed that there could be only six separate arcs at a time, that preferably no arc would extend beyond six weeks, and at least one arc would be choose each week.
Dedicated fans of shows generally treasure myth arcs. Shows like BUFFY THE VAMPIRE SLAYER, ANGEL, FRIDAY NIGHT LIGHTS, LOST, BREAKING Dreadful, Right BLOOD, DOLLHOUSE, THE GILMORE GIRLS, VERONICA MARS, and BATTLESTAR GALACTICA gather fanatical fans in gargantuan allotment because of the complexity of the stories. Networks despise the complex arcs because while the stories are thrilling for the ongoing fans, potential original fans can score the complexity of the stories too intimidating. The pattern for most such shows is a general loss of viewership as the shows go along. If you didn’t rep into LOST at the beginning, it is tough to jump in later.
Along the diagram — that is, between 1981 and the expose — TV developed some alternatives that for casual TV viewers are ideals, but that for serious TV viewers felt regressive. The network that has almost completely embraced these alternative is CBS, which is almost fully committed to procedurals, whether medical, true, or criminal. These shows do not have arcs. Each episode tells a self-contained epic. All the conflict introduced in each episode is resolved in that episode. There is no character development. In a device, nothing ever happens on those shows. Jerry Orbach’s character on LAW AND ORDER was the same on the last day of his very, very, very long race on the reveal as on the very first day.
Which brings us to GOSSIP GIRL. Season One of GOSSIP GIRL more or less focused on long account arcs. Dan and Serena’s relationship developed over considerable of the season. Blair and Nate’s relationship ended very, very slowly and her relationship with Chuck developed even more slowly. This made for pleasurable TV and for very satisfying viewing.
Season Two of GOSSIP GIRL, however, almost completely abandoned the long anecdote arc. What would have been major romantic arcs in Season One were completed in two or three episodes. We frequently saw a character meet a modern romantic interest, have that relationship dealt with in a couple of episodes, and then ended. If you catch any character on the present and device their anecdote over the course of the year, they went through a spacious number of changes. The walk of the note was dizzying. And increasingly unsatisfying. The point to repeatedly proved that more is sometimes less.
By the slay of Season Two, I was on the fence about whether to continue watching it. I level-headed am. By the slay of Season Two I was so irritated by what I knew was going to be merely a two or three episode arc that I could barely effect myself peer it. The display became trivial. If something happened between Nate and Blair, you knew that two more episodes might seek a complete reversal. Any relationship between any two characters was rendered almost meaningless. I knew that nothing that happened on the exhibit would enjoy legal for more than a couple of episodes. Inequity this with Seth and Summer’s relationship on THE O.C. One reason that it was compelling was that while they went through their ups and downs, they managed to stick together for several years.
Is there any hope for GOSSIP GIRL? I’m doubtful at this point. Although the ratings for the point to were improper, it scored high in the demographic that the CW is targeting as its main viewer base: young girls. But more and more it ceased being a explain that could also appeal to adults. The WB accomplish grand of its immoral on shows that appealed both to teens and adults, shows like BUFFY, THE GILMORE GIRLS, and FELICITY. But if it continues to avoid long memoir arcs, the viewership for GOSSIP GIRL is going to be increasingly that of people who only like very short account arcs. I’m not optimistic. This is too abominable, because they have some superior, likable characters. I would like to be given stories concerning them about which I could be involved.
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