Additionally, because these isolated plot threads seem unable to generate conflicts and evolve naturally, the writers frequently have to introduce new plot developments (often out of nowhere) to keep the show moving forward. The silly adventures of Rebecca, Sandy's long lost love turned fugitive, serve as a perfect example of this type of plotting. One day everything's fine, and then the next day Sandy's old law professor arrives to say he's dying and he wants to see his daughter. It's like the writers basically said to us "Okay, we don't have any ideas left so we're going to bring in something from left field that has nothing to do with anything." Other characters seemingly forced on us were Zach, DJ, Alex, and Lindsay, all of whom appeared in the first two or three episodes of this season. We're expected to care about these characters to some degree, but if a plot moves forward before we're on board with the new faces, chances are we're not going to care.

In contrast, look at Anna and Caleb during season 1. Both characters showed up for a few episodes but stayed on the sidelines, sometimes not reappearing until several installments later. We weren't expected to care about them intensely off the bat, but we grew to enjoy their presence because they were assimilated naturally into the flow of the season. Alex, on the other hand, arrived out of nowhere this season and within a few episodes was already dating Seth. Then they broke up, and we actually had to endure several episodes of Seth getting over her. Meanwhile, we never even cared in the first place.

6) Stop eliminating good characters.
Now, I know sometimes this isn't really the writers' choice. Sometimes actors get better gigs elsewhere or sometimes politics send a person from a show. But still, the rapid emigration of enjoyable characters from The OC is somewhat alarming. First fan-favorite Anna fell by the wayside, then Luke, then Hailey, then even Jimmy. And let's not forget the minor characters we would have liked more of: bratty Kaitlin Cooper (Marissa's little sister); slutty Holly (Marissa's rival); and seductive Rachel (Sandy's co-worker). There's so much potential in all these characters that it baffles me why the writers keep dropping them in favor of new faces. Even Renée Wheeler, Caleb's mistress and mother to Lindsay, could have promise as The Other Woman of The OC, but alas, it seems as though she and her daughter are off to the character graveyard of Chicago. Again, the writers should work with the what they have and gradually integrate new characters and scenarios in a natural, unforced way.

7) Stop taking us out of the moment.
A major problem with The OC this season is that it's become too smug, too cute, too self-aware for its own good. Again, this is a trend that began last year and has fully grown into an enormous hinderance. When The OC first hit the airwaves back in 2003, people praised its smart dialogue and witty cultural references. Somehow though, these savvy observations about pop culture morphed into ironically self-aware comments about the show itself, and what was once the great defining voice of The OC became a wink-wink, nudge-nudge parade of in-joke allusions. It's reached a point where it seems like the writers are trying to outsmart us or at least reassure the audience that they, in fact, know what's up. Unfortunately, all this does is take us out of the moment. We become keenly aware that we're watching a written form of entertainment, and whatever momentum had been building in the scene is completely lost. Yes, people are self-aware in real life, and I'd expect so much from the characters, but we don't need cutesy comments like Summer's latest "Are you going to advance the plot?" Particularly garish in this respect is the presence of "The Valley", the fictional soap that every teen watches in The OC. Ha ha. We get it. Just this week though, the writers took a stab at MTV's Laguna Beach by introducing "Sherman Oaks: The Real Valley." It's one thing to parody pop culture, but quite another to wink at the audience while doing it.

Perhaps the most egregious change in season two, however, is the sudden inclusion of guest bands. The OC has always been known for its keen ability to popularize various indie bands, but now the show has gone from casual hipster to blatant name dropper as acts such as The Killers, The Shins, and Modest Mouse have all graced the hallowed stage of the Bait Shop. Each time one of these bands pops up, it seems as though the show grinds to a halt in order to give ample screen time to the Very Special Guests. Sometimes entire episodes seem centered around having the teens wind up at the Bait Shop so they can ogle at the indie music unfurling in front of them. Frankly, it's distracting, and it's patronizing. We are immediately removed from the moment as we ponder who the musical act is or how contrived it is that they're playing some random club in Newport Beach that's helmed by a seventeen year old girl. That the writers wish us to suspend disbelief so they can get their musical jollies is a cocky gesture at best.

Part of me fears that the show has simply veered into wish fulfillment for the writers. Here we have a cast of mainly outsider characters, and yet they wind up triumphing over assholes like Luke and nabbing all the girls. Their favorite indie bands coincidentally hang out at the local bar, and Zach, the coolest guy in school, just happens to think the rather dorky activities of Seth and Ryan are awesome. I can't help feeling like this is the high school experience Josh Schwartz always wanted but never had.

Posted by B-side on February 28, 2005 3:04 AM