Category Archives: Fantasy

What’s “Better Than Dreaming?”

Composer Joy Son and I met in the Lehman Engel Musical Theatre Workshop — and never got to write together. We stayed in touch, however, and when we finally had a chance to collaborate, it was a blast. Joy can simply write anything and make it fresh and beautiful. Each song we produced was different, fun, and like nothing I had ever done before.

So, when we finished writing “The United States of Us,” one of my first reactions was panic. I wasn’t writing with her! I needed to come up with another idea for a show! Now!

Fortunately, it was Pledge Week on PBS. [There’s a phrase you don’t ever hear.] This meant that they showed a documentary about Broadway, this particular one being about the contributions of Jews to musical theater. Apparently, there were some. Who knew? I was watching the section on “West Side Story,” and my mind drifted into thinking about Shakespearean musicals. There basically have been four successful ones on Broadway: “The Boys From Syracuse,” “Kiss Me, Kate,” “West SIde Story,” and “Two Gentlemen of Verona.” I have seen other smaller adaptations  [check out Dave Hudson and Paul Libman’s “Muskie Love” for a hilarious setting of “Much Ado …” and the more recent “Desperate Measures” for two good examples], but the one that jumped into my mind was “A Midsummer Night’s Dream.”

I had been a fan of this play since my first exposure, the Mister Magoo version. My writer brain jumped into What If? mode. What if Titania, after spending the night with Bottom, decided to stay with him? What if they had a child? What if she chose to live as a human with her family? What if she had to return to the Fairy Realm? What if later she decided she wanted her child back?

What if we set it in modern-day NYC?

By the end of an hour, I had put together the basic premises of the show and pitched it to Joy. And she said yes.

More conceptual breakthroughs would come. We decided to free up the plot and not be an analog of the original play. Alec, the central male lead, became a mixture of Bottom, Oberon, Theseus and Egeus. The mechanism of the magic changed, and every alteration of a premise sent the plotlines careening in directions Shakespeare never anticipated.

Joy’s score was earthy for the humans, ethereal for the fairies, funny and romantic and heartfelt. Once again, it was a blast working with her, and you can hear the results on the Musical Theater page.

I can’t wait to write with her again.

Embracing The Mass Murderer — A Trope

I enjoy fantasy and science fiction shows when they’re done well. Major “Buffy” fan back in the day, and number “iZombie” and “The Magicians” among my current shows. I’ve also kept up with my Marvel Universe movies, although I am cutting their network offerings down to “Jessica Jones” because the writing and plotting of the others, both on Netflix and ABC is subpar. [The only reason “Iron Fist” is called that is because “Dumb As A Sack Of Hammers” isn’t catchy enough.]

However, there is a long-term plotting trope common to these shows and movies that continues to bug me, because it is essentially unacknowledged. A character, usually taken over by a curse, will go on a killing binge as one does, but when said curse is lifted, will be taken back into the loving arms of his/her previous community, with relatively little censure. Even more, will team up with the heroes without any real consequence as to their previous actions.

There are several characters in the Buffy universe who follow this pattern, but the most egregious example is Faith, her fellow-slayer, who became a murderer for hire without any supernatural excuse. She did go to prison after a remorseful arc in “Angel,” but came back for the Buffy final season and went on essentially unchallenged. [I haven’t read the story-lines past the third comic book, so there may have been more. She seems to be in the wild.]

Blaine, the principal villain of iZombie, has a massive body count to his credit, yet has not met his come-uppance despite multiple opportunities, legal and otherwise. Clearly a Spike-derivative down to his bleached blonde punkish persona, he’s a walking plothole in an otherwise beautifully plotted series.

Julia of “The Magicians,” is a fascinating character. At one point, she goes sociopathic, having lost her “shade,” which seems to be a soul-equivalent. During this period, she at one point obliterates an entire population of sentient trees [long story]. But when she gets her shade back, she’s back on the team, no further consequences.

In the Marvel Universe, Gamora, the fighting blue sister in “Guardians of the Galaxy,” assists in a few mass murder events in the first movie, yet rallies to help her fighting green sister in the sequel and is allowed to run off scott-free. Loki kills a ton of people [oh, he’s so mischievous!], yet teams up with Thor many times — and he’s charming. We’ll see how they do in the upcoming Infinity Wars. My bet — she dies, he doesn’t.

And, speaking of Marvel, how about the Hulk in “Thor: Ragnarok.” He’s the champion fighter in the Grandmaster’s tournaments. Which means a history of opponents going splat permanently. But he’s lovable, so he gets a pass.

This is all fantasy, yet several of these shows aspire to bring in real emotion to drive the drama. You can’t have it both ways. It inures the characters to violent death, and by doing so, us. Only “Buffy” attempted to deal with the consequences, particularly with Willow, but redemption was generally only a few episodes away [and was rewarded with hot sex].

I realize that I am asking too much out of what is meant to be entertainment. But it’s one thing for a character to commit murder, or mass murder, as part of his/her story. It’s another for everyone else to ignore it — or worse, go “That’s cool. What can you do for me now?”

And don’t get me started on Darth Vader.