Oh, and Robin, I'm writing an essay aboutthis very thing, about how writers have done such a fantastic job when an audience feels so deeply connected to a character. And the sort of Misery Factor that can happen.

There was a corkboard at Angel where the Craxy Mail would get pinned. And I always wanted to talk to the writers about it. It's an interesting phenomenon, I think, the sense of ownership some fans can develop. "I watch, so you owe me."

They certainly arent the majority, but they're a really loud, really crazy bunch.

I think, the sense of ownership some fans can develop. "I watch, so you owe me."

I've always been blown away by this. I mean, there are times when I love an artist or band or TV show and then for whatever reason whatever they are doing doesn't work for me. So I either watch and gripe, or I stop watching. But I don't see it as a personal betrayal, nor do I feel ownership of someone else's creation, however much I may relate to it (or feel like they are speaking to me and only me!).

I would have loved for Spike to been offed in Season 4 of Buffy, but that Joss didn't is all his, and I can like it or lump it.

Cool, Allyson! I know writers are less attached to what has been written than what they are working on now. So people will get passionate in The Room as decisions are being made in the creative process and while they are writing and revising and maybe even during shooting, but once it's done, it's done.

Oh, sorry, Kate. The deaths of Wash and Book.

I think some fans are assuming something evil was done to the actors, or there was a Terrible Falling Out.

Got it. I wasn't sure if you were referring to what anyone here had said. For my part, my reaction to Wash's death in particular was extremely emotional, but entirely character-related. I have no idea why that decision was made, and knowing wouldn't change the way I felt when I watched him die. I was shocked and hurt and even a little angry, because it felt like we'd just gotten him back, and then he was killed so suddenly and awfully, and there was almost no time even to grieve. But I don't think anyone here has made any assumptions about what went on between the actors and Joss.

Sorry, it's possible I'm feeling a bit defensive and wanting to distance myself from Craxy Save Wash! Lady.

When What Scrappy Said says What You Said, it's such a special feeling.

Wrod.

I know Alan Tudyk's been getting a lot of work in various things lately (besides I, ROBOT, I caught him in a large-ish one-shot guest role on ARRESTED DEVELOPMENT a little ways back). No idea about Ron Glass, but he seemed so broken up about the end of Firefly (at least in the interviews on the DVDs) that maybe he didn't want to commit again. Pure speculation on my part, of course.

Got it. I wasn't sure if you were referring to what anyone here had said.

I think she mentioned it in conjunction with my post about how when the movie was ramping up, Ron Glass and Alan Tudyk were the last to sign on (something that got noted on the internet somewhat prominently). I didn't attach motives, but it's not too large an assumption to guess that they might have been hesitant about committing to more than just SERENITY.

Can we have coffee or something sometime soon, Robin? I'd love to sort of go through this and get your take on it all.

Sure! Aren't I gonna get to read some of your stuff too?

Should I send? No obligation, busy lady.

Just to clarify, I haven't even looked at the "Save Wash" campaign after reading the various comments about it. I don't really need the headache that comes from dealing with that level of craxy.

I also never once thought about contracts or personal falling outs or any other meta stuff.

My reactions were, and continue to be, to the story and characters themselves. While I hate to lose Wash and Book, and it hurts, my main gripe continues to be the presentation. We're not given a chance to breathe. Wash's death is sudden and random and immediately on the heels of Serenity getting seriously shredded (and props to Joss and Tim for this even hurting. My reactions to the various versions of the Enterprise blowing up have always been more "Woah" than "Ow".) then we spend the next 20 minutes getting punched in the gut again and again without a chance to take it all in. Apparently this worked for some people. For me it just caused an emotional disconnect and pulled me out of the story.

It also caused me to be rather angry once I finally had time to take a breath and let it sink in, which was about 10 minutes after the movie ended. Both for the death itself and the fact I had been unable to "experience" the rest of the movie because of it. Obviously, I'm no longer angry, but I do still disagree with how it was handled.

If Wash's death is neccessary, and Joss obviously believes it is, the audience either needs a moment to grieve or it needs to get pushed back into the siege part so it becomes part of that scene rather than hanging over it.