I just watched the commentary for "Dog with Two Bones" last night and apparently Browder and Black worked closely with David Kemper the writer and the director in blocking and writing their final scene. They did it once, hated it, rewrote it, and redid it. Everyone had input. Claudia even came up with the coin toss. It's a brilliant scene and very satisfying - explaining clearly why she is taking off - it's not just because he's not the guy that died, but that she has to figure out what she wants. She's pregnant with the other Crichton (the double who died on Talyn) child, she has not had a sexual relationship with this Crichton (outside of A Human Reaction) that we know of. And on top of that - she had to deal with her mother - who had killed Aeryn's father to protect Aeryn, and as a result became a bitter assasin, filled with nothing but resentment for the people she once loved. And - while she loves him, she fears him, fears he'll die and leave her alone again. And this time, not just her, but her and her child. Does she even want this child? A child by a human man, who is dead, with an exact double who is alive? Does she want to be a mother? She doesn't know and she can't think with him around. While from his perspective - he's just gotten her back. He's had to spend months without her. And he has been a bit lost, gone a bit nuts - she's his touchstone, what keeps him grounded and sane. Without her - he obsesses about wormholes and goes nuts inside his own mind. She saves him from himself. And he fears that he lost her already to his other self. That finale blew me away. Actually the whole season did - with a few exceptions, there's about two or three really bad episodes. But that appears to be another unwritten rule of tv - you'll always have two or three bad episodes. (Meltdown (silly - a little Stark goes a long way), Eat Me (saved solely by the great plot-twist it sets up), and Scratch n' Sniff (which was just offensive, although also sort of saved by Frances Buellor - Browder's wife, who astonishes me with her range.))
Imagine what BTVS would have been like if Whedon worked that closely with his actors? If Gellar and Marsters were permitted to collaborate? Granted it may not be fair to compare the two - since Browder and Black had more experience, and in Australia there's no star system or hierarchy like there is here.
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branchandroot
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Date: 2010-07-08 04:45 pm (UTC)And this time, not just her, but her and her child. Does she even want this child? A child by a human man, who is dead, with an exact double who is alive? Does she want to be a mother?
She doesn't know and she can't think with him around. While from his perspective - he's just gotten her back. He's had to spend months without her. And he has been a bit lost, gone a bit nuts - she's his touchstone, what keeps him grounded and sane. Without her - he obsesses about wormholes and goes nuts inside his own mind. She saves him from himself. And he fears that he lost her already to his other self. That finale blew me away. Actually the whole season did - with a few exceptions, there's about two or three really bad episodes. But that appears to be another unwritten rule of tv - you'll always have two or three bad episodes. (Meltdown (silly - a little Stark goes a long way), Eat Me (saved solely by the great plot-twist it sets up), and Scratch n' Sniff (which was just offensive, although also sort of saved by Frances Buellor - Browder's wife, who astonishes me with her range.))
Imagine what BTVS would have been like if Whedon worked that closely with his actors? If Gellar and Marsters were permitted to collaborate? Granted it may not be fair to compare the two - since Browder and Black had more experience, and in Australia there's no star system or hierarchy like there is here.