"I'd generally lost interest"

TV  Oh Dawson's Creek.  If you'd all been here for the germination of this blog you would have enjoyed my love hate relationship with this My So-Called Life placebo.  I might have been fan enough to write this rather epic piece of crossover fiction but as the years went by, well ...  Here's me venting back in 2004 about the opening episode of the sixth season:

"But the problem is that the show has said everything it can about the subjects it's trotting out. I've an idea of the upcoming plotlines and they really feel like reruns of old stories. The very English waitress and musician Emma Jones could have been an interesting character if she hadn't stolen her accent from the potentials in the last season of Buffy: The Vampire Slayer, but she's another Gretchen or Amy, someone to buzz around the main characters, create complications, let Pacey save her (possibly), then buzz off again. It's tired and tiring."

Probably due to scheduling and how my consumption of television has changed there are few shows I can become quite as passionate about. Fringe certainly, but one of the results of having to watch such things via the boxset is that your critical faculties find it almost impossible to consider each episode individually and rather judge a series as a whole.

Anyway, Entertainment Weekly have decided to dredge up the past with a short interview with Creek creator Kevin Williamson about the show's central love triangle and how he finally chose who would end up with whom:

"Originally, I really was going to go down that Dawson and Joey route and something didn’t feel right about it. One of the reasons I wanted to write Dawson’s Creek to begin with was to write my version of the teen drama. Back in the’90s when everyone was doing that whole self-aware thing, I was very aware of 90210. The characters in my show were very aware of 90210. They referenced it. They talked about it. This show was supposed to be the spin of the teen drama and if Dawson and Joey had ended up together, that wouldn’t have been the spin."

Having missed much of Season Five due to weird scheduling and a sense that the show had drifted from its original much smarter roots into becoming a more generic relationship show with product placement (the episode set at a No Doubt concert which seemed to consist of mostly the No Doubt concert a particular low), I'd generally lost interest in the story by the end.

I remember being especially angry about the treatment of Michelle Williams's character Jen who was essentially treated as the tragedy magnet in the final episode, her ultimate destination lacking the subtlety that Joss Whedon and his cohorts bring to such things (is it weird I'm trying not to spoil an eight year old television episode?).  In what should have been a celebration, Williams was essentially called upon to cry for two hours.