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“Beverly Hills, 90210” debuteer

“Beverly Hills, 90210” debuteer


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Op 4 Oktober 1990 Beverly Hills, 90210, 'n TV -drama oor 'n groep tieners wat in die luukse Beverly Hills, Kalifornië, woon, debuteer op Fox; dit sal uiteindelik een van die gewildste vertonings word op die nuwe "vierde netwerk", wat in 1986 van stapel gestuur is. Die vertoning, wat deur Darren Star geskep is en deur Aaron Spelling vervaardig is, het die relatief onbekende akteurs van die reeks verander, waaronder Luke Perry, Jason Priestley en Tori Spelling (Aaron se dogter), in huishoudelike name. Dit het ook 'n aantal aktuele kwessies aangespreek, wat wissel van huishoudelike mishandeling tot tienerswangerskap tot vigs en het die weg gebaan vir ander gewilde tienerdramas, insluitend Dawson’s Creek en Die O.C.

Beverly Hills, 90210 oorspronklik gesentreer rondom Brenda (Shannen Dougherty) en Brandon Walsh (Priestley), middelklas tweeling op hoërskool ouderdom uit Minnesota wat saam met hul ouers na die ritige Beverly Hills verhuis. Die Walshes woon die fiktiewe West Beverly Hills High School by, saam met die seuntjie Dylan (Perry), die gewilde blonde Kelly (Jennie Garth), die ryk kind Steve (Ian Ziering), die maagdelike Donna (Spelling) en die nerdige David (Brian Austin Green). In die loop van die tien seisoene van die program het die karakters verstrengel geraak in talle liefdesdriehoeke, afgestudeer aan die hoërskool en na die universiteit en loopbane gegaan.

Die vertoning was die eerste groot treffer vir die draaiboekskrywer en vervaardiger Darren Star, wat voortgegaan het om die 90210 spinoff Melrose Place, wat oorspronklik van 1992 tot 1999 uitgesaai is, en die gewilde HBO -TV -reeks Seks en die stad, wat oorspronklik van 1998 tot 2004 uitgesaai is. Aaron Spelling, wat in 2006 op 83 -jarige ouderdom oorlede is, was een van die produktiefste vervaardigers in die geskiedenis van televisie. Spelling se krediete sluit in The Mod Squad, Charlie's Angels, Dynasty, Starsky and Hutch, The Love Boat, Fantasy Island en 7de hemel.

Die laaste episode van Beverly Hills, 90210 uitgesaai op 17 Mei 2000. 'n Nuwe weergawe van die program, getiteld 90210, die première op 2 September 2008. Die vertoning volg op 'n Kansas -gesin wat na Beverly Hills verhuis. Van die oorspronklike Beverly Hills, 90210, Jennie Garth speel weer haar rol as Kelly, nou 'n beradingsberader by West Beverly Hills High, terwyl Shannon Doherty die hoofrol speel as Brenda, wat 'n aktrise geword het. BH90210, 'n herlaai van die oorspronklike, met die meeste van dieselfde rolverdeling, wat in Augustus 2019 op Fox verskyn het.


BH90210

BH90210 is 'n Amerikaanse komedie-drama-televisiereeks wat op 7 Augustus 2019 op Fox verskyn het. Dit is die sesde reeks in die Beverly Hills, 90210 franchise. Die oorspronklike reekse sterre Jason Priestley, Shannen Doherty, Jennie Garth, Ian Ziering, Gabrielle Carteris, Brian Austin Green en Tori Spelling keer terug in die nuwe reeks, en speel hulself in 'n verhoogde weergawe van die werklikheid wat geïnspireer is deur hul werklike lewens en verhoudings, waarin die akteurs handel oor die begin van 'n herlaai van die TV -reeks van die 1990's, Beverly Hills, 90210. [1] [2] In November 2019 het Fox die reeks ná een seisoen gekanselleer. [3]

  • Jamie Nelsen
  • Richie Edelson
  • Justin Chinn
  • Wendy A. Smith
  • David Dean

Nuusmakers/Getty Images

Dylan McKay is oorspronklik geskryf as 'n bietjie speler met 'n verhaalboog wat net 'n paar episodes sou duur. Maar Aaron Spelling was so tevrede met die optrede van Luke Perry dat hy besluit het om die deel uit te brei. 'Ek was 'n gasster, en Aaron wou my gereeld maak,' het Perry, wat in Maart 2019 tragies oorlede is, vertel Die Hollywood Reporter in 2015. Hy wou nie hê dat ek met die netwerk in die kamer moes gaan nie, maar hy kyk rustig na my en sê: 'Gaan haal hulle', '(dit is ook opmerklik dat Perry eers 'n oudisie vir die rol van Steve gedoen het) Sanders, wat na Ziering gegaan het.)


Shannen Doherty noem gerugte van vete oor die stel van Beverly Hills, 90210 & lsquoa Misverstand '

Vir Shannen Doherty, hereniging met haar voormalige Beverly Hills, 90210 costars na 15 jaar was nogal 'n onvergeetlike ervaring.

Dit is altyd interessant om terug te kom by 'n groep waarmee u soveel geskiedenis het, en Doherty (47) vertel aan MENSE. “ Ons kan sien hoe ons gegroei het, of nie gegroei het nie. Dit is 'n baie interessante dinamika om in die omgewing te wees. ”

Doherty, saam met Jennie Garth, Tori Spelling, Ian Ziering, Jason Priestley, Gabrielle Carteris en Brian Austin Green, speel op Fox ’s BH90210, 'n gonsende herlaai van die oorspronklike reeks. (Die vertoning, wat saamgestel is deur Spelling en Garth, het die somerdebuut met die hoogste telling in meer as twee jaar gehad en is die mees gestroomde somerdebuut ooit van Fox.)

Om terug te wees op die spel met haar kostuums, het Doherty ook die kans gegee om jarelange gerugte van vete en slegte gedrag aan te spreek wat haar geteister het tydens en na haar vertoning in die periode 1990-94 (die reeks eindig in 2000).

  • Kyk na die volledige episode van People Features: Shannen Doherty wat nou op PeopleTV.com stroom, of laai die PeopleTV -app af op u gunsteling toestel.

“ Ek voel my hele lewe lank verkeerd verstaan, ” sê sy. Die enigste verskil is dat dit nou goed gaan met my. Maar daar was oomblikke dat ons oor dinge kon gesels. ”

Doherty vervolg: Iemand het 'n probleem gehad dat ek laat was, maar miskien het hulle nie geweet dat ek laat was omdat my pa in die hospitaal was nie, of miskien omdat ek in 'n aaklige huwelik was. Ek het nie gedeel nie, of ek is nie gevra nie. Ek sê nie dat dit alles 'n misverstand was nie, maar 'n groot deel daarvan was 'n misverstand. ”

Nou, “I het genoem wat ek destyds persoonlik gehad het en 'n paar van die rolspelers het gegaan, ‘ Oh my God, what? ’ ” sê Doherty. Dit was baie interessant om daardie gesprekke te voer, nie net oor my nie, maar ook oor wat hulle deurgemaak het. En mekaar hierdie keer regtig verstaan ​​as volwassenes. ”

Daardie oomblikke, ek was baie organies, ”, sê Doherty. Daar was nooit 'n sitplek nie, soos laat ons hieroor praat. Dit was net, ons is grootmense, ons is op 'n ander plek. Jy begin weer van voor af, maar jy begin weer nader. ”

Maar Doherty sê dat die hele rolverdeling steeds sukkel om die afwesigheid van Luke Perry, wat op 4 Maart skielik aan 'n beroerte oorlede is, te verwerk.


Vandag in TV -geskiedenis: Brenda en Donna was die meisies wat na Parys gegaan het op � ’

Van al die wonderlike dinge oor televisie, die grootste is dat dit aan is elke liewe dag. TV -geskiedenis word dag vir dag op groot en klein maniere gemaak. In 'n poging om hierdie geskiedenis beter te waardeer, kyk ons ​​elke dag terug op 'n spesifieke TV -mylpaal.

BELANGRIKE DATUM IN TV -GESKIEDENIS: 29 Julie 1992

PROGRAM OORSPRONKLIK OP HIERDIE DATUM GEHUUR: Beverly Hills, 90210, “ Te min, te laat / Parys 75001 ” (Seisoen 3, episode 3). [Stroom op Hulu.]

WAAROM DIT BELANGRIK IS: Die Beverly Hills 90210 Summer of Deception ” het 'n besondere belangstelling in die geskiedenis van somertelevisie, al was dit net omdat dit bewys het dat FOX sy gehoor goed genoeg ken om die waarde daarvan te sien om die somerprogrammering gedurende die maande wat kinders uit die skool was, uit te saai. Dit het daartoe bygedra dat Summer of Deception verskyn het 90210 op sy seepste. Die groot idee vir seisoen 3 was dat na twee jaar van die bende bymekaar gekom het - Minnesota -oorplantings Brandon en Brenda Walsh, die cool Bev Hills -kinders Kelly, Donna en Steve, die eensame rebel Dylan, jong dork David en bejaarde dork Andrea - 'n tiener liefdesverhouding hulle uitmekaar sou skeur. Brenda en Dylan was die handtekening 90210 kragpaar, maar Dylan wat by Brenda se beste vriend Kelly aangesluit het, sou die vertoning in die tienerstratosfeer skop.

Maar hoe om dit te doen? So slordig as wat Dylan Brenda bedrieg het met haar bestie, dit sou waarskynlik te veel wees om dit reg onder die neus van Brenda te doen. Om Brenda uit die prentjie te kry, het die program 'n storielyn bedink waar Brenda en Donna die somer in Parys sou gaan studeer, terwyl Dylan en Kelly tuis was. Op die strand. In daardie romantiese middernag -branderplankry.

Brenda en Donna in Parys was moontlik sy eie spin -reeks. Kyk hoe hierdie twee meisies kultuurskok ervaar - die rook! die ryk Franse geregte met die brein van lamsvleis! - was nie 'n ongelooflike gesofistikeerde komedie nie, wat dit perfek gemaak het 90210, wat meestal 'n slegte TV -program was wat tot grootheid gedryf is deur hoeveel dit 'n generasie betower het.

En soos Brenda Walsh leer om die Franse rookgewoontes te omhels na haar aanvanklike afkeer, 90210 was ook aanpasbaar. Die verbrokkeling van die Brenda/Dylan-koppeling op so 'n skouspelagtige manier het ons nie net 'n seisoen vuurwerke gegee nie (of, oké, meestal het Brenda 'n wapenstyl gegee), maar dit het die vertoning ook in 'n beter posisie gelaat om Shannen Doherty ’s se afrit te verduur uit die vertoning. Wen-wen!


Inhoud

By die beplanning van 'n nuwe tienerdrama in 1989–1990, het FOX verneem van Darren Star se belangstelling in die skryf van jeuggerigte draaiboeke. Nadat hy deur die netwerk aangestel is, het Star die konsep en karakters geskep vir die reeks wat uiteindelik sou word Beverly Hills, 90210. Die onverwagte wêreldwye sukses van hierdie projek, sowel as dié van die afslag Melrose Place, het grootliks erkenning gekry aan die bekendstelling van Star se loopbaan, terwyl hy in die proses vroeë fortuin aan FOX gebring het. [8]

Aaron Spelling, wie se onderneming die programme vervaardig het, was bekend daarvoor dat hy 'n paar van die bekendste trefferreekse op televisie vervaardig het, waaronder Charlie se engele (1976–81), Die liefdesboot (1977–86), en Dinastie (1981–89). Spelling sou ook die volgende vertoning in die franchise lewer, Models Inc., in 1994. [9]

Melrose Place is aanvanklik geïnspireer deur Star se eie professionele aspirasies gedurende sy twintigerjare, [8] Models Inc. is gebore toe FOX Spelling gevra het vir 'n somerreeks van agt dele. Toe die beoordelings voldoende was, het die program gedurende die daaropvolgende televisie -seisoen voortgegaan. [10] Models Inc. gesluit in 1995, [11] Melrose Place voltooi in 1999, [12] en Beverly Hills, 90210 geëindig in 2000. [13]

In 2008 keer die franchise terug via die vierde produksie, 90210, wat 'n nuwe versameling bekende skeppers lok. Rob Thomas, bekend vir die televisieprogram Veronica Mars, begin met die aanvanklike werk aan die projek. [14] Voor die première is Thomas opgevolg deur die vervaardigers Jeff Judah en Gabe Sachs, albei bekend vir die reeks Freaks and Geeks en Onverklaarbaar. [15] [16] Gedurende die eerste seisoen het Rebecca Sinclair, waaraan hy voorheen gewerk het, gewerk Gilmore Girls en Buffy the Vampire Slayer, het die reeks se nuwe vertoningsloper geword. [17] In Junie 2009, 'n vyfde produksie, 'n opvolg van Melrose Place, is amptelik bevestig. [18]

Emmy-genomineerde skrywer Charles Rosin het aangesluit Beverly Hills, 90210 in sy eerste jaar en was 'n skrywer en uitvoerende vervaardiger, en het in seisoene verskeie episodes saam met sy vrou Karen saamgestel. [19] Ander prominente skrywers van die eerste reeks was John Eisendrath [20] en Steve Wasserman. [21]

Charles Pratt, Jr. en Frank South, werk nou saam met Darren Star aan die skryf van vroeë seisoene van Melrose Place, wat help om die toon van die reeks aan te gee namate dit in gewildheid toeneem. Pratt en South sou dan dieselfde kleur toon Models Inc. [22] [23] Rebecca Sinclair het geskryf vir 90210 gedurende die eerste seisoen voor haar promosie. [17]

Gedurende sy loopbaan het die franchise verskeie gevestigde akteurs gelok, terwyl dit bekendheid verwerf het vir ander en die rolle wat hulle vertolk het. Die karakter wat die meeste in die verhaal gesien word, is Kelly Taylor van Jennie Garth, wat 'n belangrike rol gespeel het in die bekendstelling van twee spin-offs, [24] [25] en in die meeste episodes deur die hele kontinuïteit gebruik is. [26] [27] Die manlike hoof Jason Priestley, wat ook 'n Golden Globe -benoeming verdien het en 'n regisseurloopbaan begin het deur die reeks, [28] en die akteur Luke Perry, wat lof verwerf en vergelyk het met James Dean . [29] Die eerste reeks het ook bekendheid verwerf vir verskeie ander rolspelers. [30]

Melrose Place featured voormalige Dinastie en T.J. Haker ster Heather Locklear, wie se optrede een van die mees prominente in die program genoem is [31] en ook die voormalige kinderaktrise Alyssa Milano vertolk het. [32] Models Inc. featured voormalige Dallas aktrise Linda Gray, en later bygevoeg Dinastie veteraan Emma Samms. [33] Boonop het verskeie akteurs wat bekend is vir hul werk op Amerikaanse dagtelevisie - waaronder Kristian Alfonso, [34] Stephen Nichols, [35] Jack Wagner, [36] en Vanessa Marcil [37] - in die franchise verskyn.

In 2009 sluit die sanger-aktrise Ashlee Simpson aan by die voorgestelde vyfde reeks van die kontinuïteit, 'n opvolg van Melrose Place, soos Violet Foster. [38] Later is aangekondig dat Laura Leighton haar rol as Sydney Andrews sou herhaal (ondanks die karakter wat blykbaar tydens die oorspronklike reeks gesterf het), wat erken word deur Die Hollywood Reporter as 'een van die gewildste karakters' uit die vorige vertoning. [39] Vrydagaandligte aktrise Aimee Teegarden verskyn in die vierde reeks, 90210, tydens sy eerste seisoen. [40] Verder, 90210Sara Foster en Shenae Grimes het onthul dat hulle aanhangers van die oorspronklike program was terwyl hulle groot was. [41] [42]

Verskeie akteurs het nog meer bekendheid verwerf ná hul werk in die franchise. Marcia Cross, wat later sou speel Desperate huisvrouens, speel Kimberly Shaw in die oorspronklike Melrose Place van sy eerste seisoen tot sy vyfde. [43] Kristin Davis het aangesluit Melrose Place in 1995, en speel daarna in die HBO -reeks Seks en die stad. [44] Boonop Kelly Rutherford, later bekend vir haar werk in die reeks Skinder meisie, aangesluit MP in 1996, met die vertoning tot die einde van 1999. [45] Carrie-Anne Moss, van Die matriks roem, vertolk in Models Inc. gedurende sy duur. [46]

Dean Cain, wat sou speel Lois en Clark: The New Adventures of Superman, verskyn in Beverly Hills, 90210 gedurende 1992, [47] terwyl Eddie Cibrian, later bekend vir sy rol in Derde wag, gaste in 1996. [48] Vivica A. Fox, Hilary Swank, Jessica Alba, Matthew Perry, Peter Krause en David Arquette verskyn ook almal in die eerste vertoning. [1] [49] Die akteur Kellan Lutz het gedurende die eerste seisoen in die vierde reeks gaste gespeel. [50]

Beverly Hills, 90210 Redigeer

Die eerste reeks, wat op 4 Oktober 1990 verskyn het, volg aanvanklik die tienerlewe van verskeie vriende wat die West Beverly Hills High School bygewoon het: Brandon Walsh (Jason Priestley), Brenda Walsh (Shannen Doherty), Kelly Taylor (Jennie Garth), Steve Sanders (Ian Ziering), Andrea Zuckerman (Gabrielle Carteris), Dylan McKay (Luke Perry), David Silver (Brian Austin Green), Scott Scanlon (Douglas Emerson), en Donna Martin (Tori Spelling). Namate die reeks vorder, is verskeie ander karakters op verskillende punte bekendgestel. [51]

Die reeks was oorspronklik gesentreer rondom die kultuurskok van die tweeling Brandon en Brenda toe hulle aangepas het by die nuwe ervarings en vriende wat op hulle gewag het toe hulle gesin na Beverly Hills verhuis het. [52] Namate die vertoning vorder, het dit egter geleidelik meer 'n ensemble -drama geword, met gelyke aandag aan die familiekwessies, akademiese aangeleenthede, loopbaanaspirasies en liefdeslewe van die ander karakters. [53] [54] [55] Een van die vroeë fokuspunte van die reeks behels 'n kort verbode Brenda-Dylan-verhouding-saam met 'n daaropvolgende driehoek waarby Kelly betrokke was. [56] Ander prominente verhale sluit in die begin van 'n lang verhouding tussen Brandon en Kelly, [57] 'n soortgelyke band tussen Donna en David, [58] en 'n byeenkoms wat namens Donna gereël is om 'n skooluitspraak teen haar om te keer. [59] Die reeks eindig op 17 Mei 2000 na 293 episodes en verskeie veranderings in die rolverdeling, en dit is die langste vertoning van die franchise tot nog toe.

Teen die einde van die tweede seisoen het die karakter Jake Hanson - 'n ouer vriend en mentor van Dylan - kortliks aangekom vir 'n bouwerk by Kelly se huis. Die daaropvolgende aantrekkingskrag wat ontwikkel het tussen 'n weerstandbiedende Jake (Grant Show) en 'n gewillige Kelly, het gelei tot die tweede reeks van die Beverly Hills, 90210 franchise. [24]

Melrose Place Redigeer

Darren Star se volgende vertoning, wat op 8 Julie 1992 in première was, het die lewens van verskeie jong huurders in 'n woonstelkompleks in Los Angeles gevolg. Die verhouding tussen Kelly en Jake is opgelos oor 'n reeks episodes, met 'n aanhoudende Kelly wat Jake in LA besoek het, en uiteindelik laat gaan en terugkeer na Beverly Hills. [60]

Oorspronklik bedink as 'n redelik reguit drama oor die persoonlike en professionele lewens van mense in hul twintigs en vroeë dertigs, Melrose Place het begin verander met die aankoms van die beproefde Amanda Woodward (Heather Locklear), wie se konflikte [61] met die algemeen reguit gespanne Alison (Courtney Thorne-Smith) oor Alison se kamermaat Billy (Andrew Shue) vinnig die middelpunt van die program geword het. Die owerspelige verhouding tussen dr. Michael Mancini (Thomas Calabro) en sy kollega Kimberly Shaw (Marcia Cross), wat uiteindelik deur Michael se vrou, Jane (Josie Bissett), ontdek is, was ook gefokus. [62] Die eerste seisoen het ook Jane se suster Sydney (Laura Leighton), 'n af en toe vixen, bekendgestel, wat een van die mees gelaagde en prominente karakters van die reeks sou word. [63]

Met die vordering van die tweede seisoen - wat beklemtoon is deur egskeiding, afpersing, wraak, karakteropknappings en baie angstigheid tussen paartjies - het die reeks 'n reputasie begin kry vir donkerder, meer buitengewone verhaallyne. Hierdie soort skryfwerk word gedurende die res van die reeks standaard vir die reeks. [64] Die reeks eindig op 24 Mei 1999 na 226 episodes.

Teen die einde van seisoen 2 is 'n ietwat versagtende Amanda herenig met haar lang vervreemde ma Hillary (Linda Gray), die eienaar van 'n modelagentskap. Hierdie ontwikkeling sou 'n basis bied vir die derde verhaal van die franchise. [65]

Models Inc. Redigeer

Debuteer op 29 Junie 1994, Models Inc. is vervaardig deur Spelling Television en geskep deur Charles Pratt, Jr. en Frank South. Die reeks volg die lewens van Hillary en verskeie van die uiteenlopende, ambisieuse modelle in die titulêre agentskap - vroue vir wie Hillary soms 'n moederlike band voel. Ook teenwoordig was Hillary se seun David (Brian Gaskill), die lojale, dapper en soms warmkoppige vise-president van die onderneming. Aan die begin van die eerste episode verskyn die akteurs Grant Show en Daphne Zuniga kortliks as hul eie Melrose Place karakters, terwyl sy 'n jong model met die naam Sarah Owens (Cassidy Rae) sien uitstap terwyl sy na die agentskap gaan. [66] [67]

Anders as die vorige twee vertonings in die kontinuïteit, Models Inc. het geen noemenswaardige veranderinge in karakterfokus of toon ondervind nie. In plaas daarvan het die skrywers gekies om die ensemble -rolverdeling van die begin af te ondersoek en onmiddellik die soort storielyne wat gemaak het, voor te stel Melrose Place beroemde. [2] Die aanvanklike fokus van die reeks was 'n raaisel rondom die moord op model Teri Spencer (Stephanie Romanov), wat haar voorneme bekend gemaak het om die agentskap te verlaat. [68] Vir 'n aantal episodes gedurende die eerste verhaalboog het verdagtes Hillary, Teri se voormalige kêrel Brian (Cameron Daddo), Teri se mededinger Julie (Kylie Travis) en Teri se eie suster Carrie (Carrie-Anne Moss) ingesluit. Nadat die moordenaar onthul is, het die karakters verder gegaan, met die fokus wat oorgedra word na die aankoms van Stephanie Romanov se nuwe karakter Monique, 'n model wat 'n byna dooie luitoon vir Teri was. Die res van die reeks fokus grootliks op die groeiende verhoudings van die modelle met hul kêrels en mekaar, terwyl dit ook handel oor die kwessies van dwelmmisbruik en die druk van die onderneming. [69] [70] Primêre antagoniste het verskeie figure uit die verlede van die modelle ingesluit-waaronder 'n stalker, 'n jaloerse suster en Grayson (Emma Samms), die listige en kragtige eksvrou van Monique se verloofde. [71] [72]

Die reeks is in Maart 1995 gekanselleer. Jake Hanson, wat oorspronklik in die eerste program van die kontinuïteit bekendgestel is, was die enigste karakter wat in albei verskyn het Beverly Hills, 90210 en Models Inc. [66]

90210 Redigeer

Première op 2 September 2008, 90210 is vervaardig deur CBS Paramount Network Television. Die reeks stel twee broers en susters bekend - Annie en Dixon Wilson (Dixon word aangeneem), gespeel deur Shenae Grimes en Tristan Wilds - wat saam met hul gesin na Beverly Hills verhuis en in West Beverly High inskryf. Soos Brandon en Brenda 18 jaar tevore, ontmoet Dixon en Annie verskeie nuwe vriende uit die res van die rolverdeling, waaronder Erin Silver (Jessica Stroup), die halfsuster van David en Kelly uit die oorspronklike reeks. [25] Die karakter Naomi Clark (AnnaLynne McCord) het gedurende die eerste seisoen beduidende aandag gekry in die media, [73] en het aan die begin van die tweede verhoogde fokus gekry. [74]

Onder die terugkerende karakters was Kelly Taylor, wat in 'n herhalende rol verskyn het terwyl hy as begeleidingsberader by die skool gedien het. Brenda Walsh keer ook terug in 'n herhalende deel, herenig met Kelly en regisseer 'n skoolmusiek. Donna Martin het ook teruggekeer, teruggekeer na Beverly Hills uit Japan, waar sy as modeontwerper gewerk het. [3] Daarbenewens het Joe E. Tata gasverskynings gemaak, wat sy rol as Nat Bussichio, eienaar van die Peach Pit -koffiewoning waar Dixon gewerk het, weergee. [25] Die reeks eindig in Mei 2013, na die vyfde seisoen.

Melrose Place (2009) Redigeer

Op 19 Januarie 2009 het Vermaak weekliks bevestig dat Todd Slavkin en Darren Swimmer geïnstalleer is as vertoners van 'n Melrose Place spin-off, wat dieselfde titel as die vorige vertoning gebruik het. [75] Die reeks het die première op 8 September 2009. [18] Ashlee Simpson, Shaun Sipos, Jessica Lucas, Stephanie Jacobsen, Katie Cassidy, Michael Rady en Colin Egglesfield is in 'n gewone rol gespeel. Gedurende 2009 is ook onthul dat Laura Leighton, Thomas Calabro, Josie Bissett, Daphne Zuniga en Heather Locklear as hul karakters uit die oorspronklike reeks sou verskyn. [4] Die vertoning is amptelik gekanselleer op 20 Mei 2010. [76]

BH90210 Redigeer

In 2017 onthul Jennie Garth dat 'n moontlike sesde reeks in die franchise, 'n opvolg van die oorspronklike program, amptelik bespreek word. [77] In Desember 2018 is daar berig Sperdatum Hollywood wat 'n herlaai of herlewing van Beverly Hills, 90210 word na verskillende netwerke gekoop. [78] Die projek is aanvanklik ontwikkel deur Tori Spelling en Jennie Garth in samewerking met CBS Television Studios, en die eerste keer is dit deur Spelling op haar Instagram -bladsy in die vorige Maart aangedui. [79] Die grootste deel van die oorspronklike rolverdeling is aangeheg, insluitend Garth, Spelling, Shannen Doherty, Jason Priestley, Ian Ziering, Brian Austin Green en Gabrielle Carteris. CBS het op 18 Desember bevestig dat die projek in 'vroeë ontwikkeling' is, en voeg by: 'Ons bevestig nie veel besonderhede nie, behalwe dat dit 'n ongewone herbegin is met 'n paar van die oorspronklike rolspelers'. [79]

Op 27 Februarie 2019 is aangekondig dat Fox 'n herlewing van ses episodes beveel het. Volgens 'n persverklaring op 26 April 2019 het die herlewing - herhaal as BH90210 - sal die rolverdeling speel met 'verhoogde weergawes van hulself' in 'n oneerbiedige drama 'geïnspireer deur hul werklike lewens en verhoudings met mekaar'. [80] Op 8 Mei 2019 is aangekondig dat die herlewing op 7 Augustus 2019 om 9/8c op Fox in première was. [81]

Verskeie akteurs het gedurende die kontinuïteit meer as een karakter uitgebeeld, baie van hulle verskyn gereeld in een reeks en as gassterre op 'n ander. In sommige gevalle het 'n kunstenaar in verskillende rolle in dieselfde vertoning verskyn.

Akteur Beverly Hills, 90210 Melrose Place Models Inc. 90210 Melrose Place (2009)
Linden Ashby [82] Charles Reynolds
Brett Cooper
Rob Estes [83] Sam Towler
Kyle McBride
Harry Wilson
Nancy Lee Grahn [84] Denise Fielding Speurtorings
Linda Gray [85] Hillary Michaels* Victoria Brewer
James Handy [86] Tom Rose Matt Fielding, Sr.
Teresa Hill [87] Claire Duncan Linda Holden
Stanley Kamel [88] Anthony Marchette Bruce Teller
Brooke Langton [89] Suds Lipton Samantha Reilly
Laura Leighton [90] Sophie Burns Sydney Andrews*
Jessica Lucas [91] Kimberly MacIntyre Riley Richmond
Dina Meyer [92] Lucinda Nicholson Shelia
Claudette Nevins [93] Vivian Carson Constance Fielding
John Haymes Newton [94] Ryan McBride Mark Warriner
John Reilly [95] Bill Taylor Mack McBride
Stephanie Romanov [96] Teri Spencer*
Monique Duran
Lonnie Schuyler [97] Alan Ross Ben Singer
Greg Vaughan [98] Cliff Yeager Kai
James Wilder [99] Reed Carter Adam Louder
Nick Zano [100] Preston Hillingsbrook Drew Pragin

* Die karakter is ook in meer as een program te sien.

Die volgende karakters verskyn in verskeie reekse.

Karakter Beverly Hills, 90210 Melrose Place Models Inc. 90210 Melrose Place (2009) BH90210
Sydney Andrews [4] Y Y
Nat Bussichio [25] Y Y
Jake Hanson [66] Y Y Y
Jane Mancini [4] Y Y
Michael Mancini [4] Y Y
Donna Martin [101] Y Y Y Y
Hillary Michaels [102] Y Y
Sarah Owens [103] Y Y
Jo Reynolds [104] Y Y Y
Steve Sanders [105] Y Y Y
David Silver [106] Y Y Y
Erin Silver [25] Y Y
Teri Spencer [96] Y Y
Jackie Taylor [107] Y Y
Kelly Taylor [27] Y Y Y Y
Emily Valentine Y Y
Brandon Walsh [25] Y Y
Brenda Walsh Y Y Y
Cindy Walsh Y Y
Amanda Woodward [76] Y Y
Andrea Zuckerman Y Y
Hannah Zuckerman-Vasquez Y Y

Beverly Hills, 90210 is 'een van die definitiewe shows van die 1990's' genoem. [13] In 'n terugblik op die reeks, televisie gids het die program "seepglad en verslawend" genoem. [1] In 1994 was die reeks nommer 1 onder kykers tussen 18 en 34 jaar. [6] Die vertoning is genomineer vir "Beste drama" tydens die Golden Globe -toekennings in 1992 en 1993, en Jason Priestley is genomineer vir "Beste optrede deur 'n akteur in 'n televisiereeks - drama" in 1993 en 1995. [108]

Vermaak weekliks's Ken Tucker het die oorspronklike toon van Melrose Place in 'n artikel uit 1992 wat lui dat "op hierdie program almal 'n filosoof is - nog meer ongewoon, 'n filosoof met 'n oulike onderkant." Ten spyte daarvan dat hy die reeks 'n gemengde resensie gegee het, het hy erken dat hy 'daardeur gehypnotiseer is' en het hy bygevoeg dat 'Melrose is die skuldige plesier wat 'n bietjie sout en sweet by die somer -TV voeg. "[109] Die program het 'n opknapping gekry toe dit na die tweede seisoen vorder televisie gids en noem die 'bed-hop, rugsteek en kranshangers' as sleutelfaktore in die sukses daarvan, en let ook op die koms van Heather Locklear se Amanda Woodward. [64] In 1994 word die reeks die nommer 2-drama onder kykers tussen 18 en 34 jaar (agter Beverly Hills, 90210), met Mense tydskrif wat dit 'n "kompulsief kykbare, hoë-asblik-treffer" noem. [6] Locklear en Laura Leighton is in 1994 genomineer vir Golden Globe -toekennings, met Locklear wat bykomende benoemings van 1995 tot 1997 ontvang het. [110]

In sy resensie van Models Inc., Ken Tucker beweer dat die program "te veel probeer om by te pas Melrose vir selfbewus verregaande onnoselheid. "Maar hy het die werk van Kylie Travis as vixen Julie Dante geprys. [111] Vermaak weekliks het die reeks ook voor jong werklike modelle vertoon, wat tot die gevolgtrekking gekom het dat die program onrealisties maar verslawend was. [112] Die reeks eindig in 1995, maar later word 'n ander einde uitgesaai tydens 'n heruitsending van die finale, wat die storielyne afsluit. [2]

Ten tyde van sy première, 90210, wat 'n terugkeer vir die franchise behaal het na 'n afwesigheid van agt jaar, het die debuut in die geskiedenis van The CW-netwerk geword met die hoogste telling. [7] In die middel van sy eerste seisoen is die program genomineer vir 'Favorite New Drama' tydens die 2009 People's Choice Awards. [113] Na afloop van seisoen 1 het die program bykomende benoemings ontvang van die Teen Choice Awards, waaronder 'Breakout Show' en 'Choice TV Show: Drama'. AnnaLynne McCord is genomineer vir 'Breakout Star Female' in die rol van Naomi Clark, Tristan Wilds is in die wedstryd vir 'Breakout Star Male', en Dustin Milligan is genomineer vir 'Choice TV Actor: Drama'. Boonop was Rob Estes en Lori Loughlin genomineer vir 'Choice TV: Parental Unit'. [114] Die volgende jaar is Shenae Grimes genomineer vir "Choice TV: Female Scene Stealer". [115] By die 2010 Breakthrough of the Year -toekennings wen AnnaLynne McCord in die kategorie "Breakthrough Standout Performance". [116]


Feministiese geskiedenis van die tienerdrama

In September 2017, enkele dae nadat president Donald Trump sy beoogde herroeping van DACA aangekondig het, het die kabelkanaal Freeform (voorheen ABC -familie) 'n episode uitgesaai van Die Pleisters Dit fokus op immigrasie, protes en die belangrikheid van DACA vir baie jong immigrante na die Verenigde State. Dit lyk miskien verrassend polities vir 'n tienervertoning, maar Die Pleisters is 'n program oor 'n tweerassige lesbiese egpaar, hul aannemingsgesin van gemengde ras, en die geboorte-ouers, eks-mans en ander wat daarmee saamgegaan het. Alleen hierdie seisoen het 'n hoofkarakter Callie 'n ernstige verhouding met 'n transgender aangegaan, 'n ander karakter het 'n aborsie gehad, en die res van die gesin het meer tiener -drama (verhoudings, universiteitsaansoeke en seksversorging) hanteer.

Die Pleisters is baanbrekerswerk, en vir sommige, verrassend. Die materiaal kan soms deel uitmaak van 'n eindelose siklus van drama, maar behandel in die algemeen beide sy karakters en sensitiewe storielyne met respek. As 'n lewenslange liefhebber van die tienerdrama, is dit vir my duidelik Die Pleisters bou slegs voort op die nalatenskap van vertonings wat op tienermeisies, gedelegitimeer vanweë die gehoor, gedelegitimeer is, wat skynbaar radikale kwessies op die voorgrond gebring het.

Ek is nie die eerste om op te let dat die dominante verhaal van "die goue era van televisie" fokus op programme soos Die draad, Die Sopranos, Speletjie van trone, en Breaking Bad - dit wil sê, toon aan dat manlike karakters sentrale en manlike idees van geweld 'belangrik' maak. Wat sou dit beteken om tienerdramas in hierdie vertelling in te voeg? Die New York Times het onlangs aangevoer dat tiener -TV die perfekte wegbreek van "piek -TV" is en dat baie die radikale temas van hierdie programme opgemerk het. Maar dit is belangrik om die geslagtelike elemente van hierdie verskynsel uit te haal. Van LGBT -verhoudings tot haweloosheid tot opsluiting, tienerdramas het dit alles reggekry. As gevolg van die groot ontslag van tienermeisies (alhoewel hulle 'n baie sterk gehoor/demografie is), word tienerdramas veral deur kritiese gehore geïgnoreer. As kritici hierdie programme ignoreer, mis hulle goeie televisie, progressiewe uitbeeldings van sosiale kwessies en die media wat jong vroue direk beïnvloed.

Die tienerdrama as genre het nie baie duidelike grense nie, hoewel dit gewoonlik uit die première van Beverly Hills, 90210, vervaardig deur Aaron Spelling. Alhoewel Beverly Hills, 90210 het baie kritiek gekry en was ongelyk in die graderings, maar dit is grootliks toegeskryf aan die skep van nuwe tienerdramas. Soos die vertonings wat daarna gekom het, Beverly Hills, 90210 gefokus op kwessies soos homofobie, verkragting, dwelmgebruik, gesinsgeweld, rassisme en ander omstrede kwessies.

In hierdie opstel beskou ek tienerdramas as hoofsaaklik uurprogramme met tieners as sentrale karakters (selfs al is hierdie karakters, soos dié in die O.C, Skinder meisie, en Gilmore Girls, uiteindelik universiteit toe gaan). Hulle is dikwels op netwerke soos die CW (voorheen die WB) en Freeform (voorheen ABC Family). In die vroeë dae van die tienerdramas was ouers en volwasse figure min meer as bykomstighede, maar danksy programme soos Die O.C. (en Sandy Cohen se wenkbroue, swem), die ouers van die tienersterre het ook hul eie storielyne. Dit maak die lyn tussen tienerdrama en gesinsdrama vaag, maar ek sal programme soos hierdie oorweeg 7de hemel en Gilmore Girls tienerdramas. Ander, soos Aasvoël, het die tienerdrama as 'hoërskool' gedefinieer. Soms is daar 'n kruising tussen die tienerdrama en prestige -TV (dink Buffy en Vrydagaandligte), maar dit is redelik ongewoon.

Hierdie werkdefinisie is onvolmaak, laat baie shows uit en beklemtoon die problematiese grense van die genre. Selfs al het hy 'n aantal kwessies waarmee tieners te doen kry, aangespreek, het die tienerdrama hom hoofsaaklik gedefinieer rondom 'n mitiese, verenigde, wit hoërskoolervaring. Die tienerervaring van kleurlinge word meer gereeld uitgebeeld in 'n halfuur -sitcoms soos Moesha, 'N Ander wêreld, en Suster Suster. Dit is 'n probleem wat aangespreek moet word, en Issa Rae wil 'n drama skep wat fokus op tieners van kleur. Die verhale van tienermeisies, insluitend tienermeisies van kleur-en die dikwels gewelddadige, politieke en omstrede kwessies waarmee hulle te kampe het-verdien om vertel te word.

My love of the teen drama started early, when every Monday night in second grade, I would sit on the couch and watch 7 th Heaven with my stepfather. We agreed on little, entertainment wise: he wouldn’t watch my Nickelodeon shows and almost every movie he watched terrified me (Night of the Twister, anyone?). But we watched 7 th Heaven together, a WB drama produced by Aaron Spelling that ran from 1996-2007. That only lasted a little while, before it was just me, wrestling with the rabbit ears and climbing into my top bunk to watch. I watched Reverend and Annie Camden’s seven children grow from young teenagers to married parents. I imbibed so much Protestant morality from the show that I sometimes jokingly claim to have been raised in the Church of 7 th Heaven.

As you may know, 7 th Hemel centered on Reverend and Annie Camden, their children, and Glen Oak Community Church. Eric and Annie had seven children, many of whom we saw develop through their teen years, plus tons of kids who moved in, dated their children, or were just kind of there. These teens were central to the arc of the show, moving it forward. And yes, sometimes the drama revolved around who Lucy was dating or Matt’s crazy search for a wife. But, taking the lead from Aaron Spelling’s other teen show, Beverly Hills, 90210, the show also dealt with racial violence and STD scares, school shootings and alcoholism, teen pregnancy and drug abuse in ways that humanized the kids involved. Even with its often heavy-handed discussions of abstinence, the teenagers were portrayed as kids who have sex, do drugs, go to college, and make their own choices, good and bad. Sometimes it felt like an after school special. Whether it be Mary trashing the school gym, the sister of one their friends joining a gang, or Lucy’s constant make up and break ups with all of the boys in Glen Oak, the arc revolved around teenagers and their feelings and aspirations and lives. The show took itself way too seriously, but in a world that still refuses to take teenage girls seriously, that isn’t always a bad thing. You can draw straight lines from the Protestant white morality of 7th Heaven to shows like the Fosters, deftly handling (with a lot of drama) issues about foster care and child abuse, rape and trans* issues, interracial relationships and non-traditional families. Maar 7th Heaven showed that *adult* issues impacted kids too. And I know that, for many of the teenage girls who grew up watching it, it was important.

This isn’t to say that 7 th Heaven isn’t problematic. There are allegations of sexual assault against Stephen Collins. There were very few characters of color. And really, it talked a lot about the evils of pre-marital sex. But even still, in the 1990s, the show was beloved, and ardently followed, by teenage girls. And that makes it important (even if, in retrospect, we wish it wasn’t).

The mid 1990s may have lacked an abundance of teen television, but those years didn’t lack critically-acclaimed television. To give just one example, Seinfeld ran during much of the time 7 th Heaven was on the air. I realize comparing Seinfeld (one of my favorite shows) to 7 th Heaven is asking for criticism, but hear me out. Seinfeld was sharp and very funny. Maar Seinfeld (like Friends, Gilmore Girls, and a whole host of other shows) had issues with homophobia, racism, and sexism. There was little or no attempt to represent people of color, differently abled people, or the LGBT community in any way other than to mock them. Beyond the general treatment of women, the deportation episode, George’s super gross ogling of a teenager, and the Puerto Rican day episode (which was pulled in re-runs), Seinfeld attempted to “discuss” racism without any characters of color. Seinfeld seemingly hadn’t even caught up to second wave feminism by the mid 1990s. And even now, some 20 years later, Jerry Seinfeld is still defending problematic jokes and criticizing college students for demanding trigger warnings. Op dieselfde tyd, 7 th Heaven (while corny, often poorly written, and emphatically not funny) focused on racial violence, sexual consent, and gave a main character, Matt, a deaf love interest. It might seem, then, that in terms of representation and social issues, a very conservative and obviously religious show was doing better than it’s comedic “prestige” contemporaries.

Premiering two years after 7th Heaven, Dawson’s Creek, which ran from 1998-2003, featured the first “passionate” gay male kiss on TV (in the year 2000), openly discussed teen sex in its first scene, and scared many a conservative parent group. It is so corny and earnest (in a lovely late nineties way), but is also responsible for starting the awful student-teacher relationship trope (that continues with Ezra and Aria on Pretty Little Liars and Archie on Riverdale). The show wasn’t perfect, and Dawson was at best a whiny “nice guy.” But it was transformative. Teen characters openly talked about sex and relationships for all to see. Watching it now, nearly twenty years after its premiere, it is often cringeworthy. But at the time, it was incredibly transgressive. It centered teenage emotions in a way that anything rarely does. It made them important. And it didn’t talk down to teenagers. On the contrary, the dialogue is often criticized for being unrealistically complex. It’s impossible to discuss the origins or intellectual contributions of the teen dramas that followed without acknowledging the groundwork laid by Dawson’s Creek. While Dawson started out as the insufferable lead, it was very clear by the third season that Joey was the star of the show. I wasn’t nearly as attached to Dawson’s Creek as I was to many other shows, but I know that it hooked many of my age group on the drama.

Gilmore Girls premiered on the WB (may it rest in peace) in 2000 and aired until 2007. It would be a few years before I watched it, when in 2005 ABC Family started showing reruns in the five o’clock time slot. They advertised it so often that I started with the pilot until I caught up with the fifth season. I got the first and second seasons on DVD that year (this was pre-streaming) and watched those seasons ad nauseum. I would faithfully record each new episode on a VHS while I was at dance lessons. I would watch repeats over and over through high school, as the show got me through depressive episodes, boyfriends, and college applications. A love of Gilmore Girls is emphatically unsurprising now, after the cultural renaissance Netflix created.

Na Gilmore Girls: A Year in a Life, more and more people have critiqued Gilmore Girls for its unabashed whiteness, homophobia, and failed acknowledgement of privilege. And they should. But let’s take a moment to remember that it premiered on the WB in 2000. So Gilmore Girls, with its single mother, charming small town, and ambition was fairly progressive compared to other TV offerings. Everyone from Angela on My So Called Life to most of the cast on Dawson’s Creek had pretty traditional families or importantly, desperately sought them. Selfs wanneer Dawson’s Creek introduced complicated family dynamics, the two parent suburban family was held up as the ideal. So a show about a single mother and her teen daughter, raised almost collectively by a town of eccentrics, (and with a kind of dead-beat dad) was shocking. Radical, even. While I love the men of Gilmore Girls (#teamjess, RIP Edward Herrmann, and all of that), it’s no secret that Emily, Lorelai, and Rory are the stars of the show. Strong, very flawed women, and their complicated relationships could create a whole world on TV.

So Gilmore Girls, for all its homophobic humor and virulently white cast, centered a single mother in a television landscape filled with two parent households, changed TV. While it lasted for seven seasons, surviving the UPN/WB merger, it was tragically undersold at the time (though there was definitely a very vocal fan base). It was hard to sell a show with alliterative title featuring “girls” in it to “serious audiences.” But as we all know, Netflix elevated Gilmore Girls from a small but devoted fandom to a craze. It had a second coming. And maybe it shouldn’t have. The humor and relationships aren’t nearly as progressive or transgressive as they were 17 years ago.

Premiering the same year as Gilmore Girls was The Wire, one of the pillars of prestige TV. The Wire is an outstanding show. The writing, the actors, and the storylines are all sharp, and in so many ways, ahead of their time. In die besonder, The Wire was rightly lauded for its diverse cast. But even still, the show was written by a white man, David Simon, and that is evident in its representation of women. Much of the story arch focuses on cops, detectives, drug dealers, and dock workers-all masculinized professions. Very few women are fully developed characters in the show and like much of peak TV (I am looking at you, Speletjie van trone) masculinized violence and the sexualization of women is common. When compared to Gilmore Girls, The Wire is certainly more diverse and racially sensitive (though most things are more diverse than Gilmore Girls). But it is also not coincidental that a show with almost all female leads, a large high school presence, and a focus on family dynamics would make Gilmore Girls a lot less critically recognized than its contemporaries (for example, Gilmore Girls was never awarded a Golden Globe, etc).

Friday Night Lights, which ran from 2006-2011, is the only teen drama I am writing about often considered “prestige television.” It is also one of only shows on this list that I haven’t been shamed for loving. And I can’t help but think that it’s because, although certainly a high school drama with tons of strong female characters, it’s a show that so often captures issues of football and masculinity and features gritty episodes that would not be out of place on premium cable shows (The ferrets. Prison. Basically everything involving Tim Riggins). How many teen and family drama’s take place in some small town? (Dawson’s Creek, Everwood, Pretty Little Liars, Riverdale, etc). But not many of them have inspired the ardor that Dillon has. I certainly paid more for my Dillon Panthers shirt than I did for any T-shirt I have from my own high school (#sorrynotsorry Red Lion).

Somehow, Friday Night Lights captured (in one small town in Texas) love and football, trailer parks and small town royalty, disability and incarceration. Serious issues were being discussed through the lives of teenagers. These aren’t the suburban teenagers of Gilmore Girls, 7th Heaven, en My So Called Life. One of the lead characters, Tyra, is afraid of ending up a stripper like her sister. Tim Riggins ends up serving jail time so his brother can take care of his family. Jason Street, the town’s golden boy, ends up paralyzed after a football game in the show’s first episode. And even the beautiful and privileged cheerleader daughter of a town businessman, Lila Garrity, suffers through her parent’s divorce and her father’s loss of her college money. After struggling alongside Coach and Mrs. Coach, and all of the teenagers, over five seasons I felt pride. And ordered a T-Shirt. #texasforever.

Was Friday Night Lights a teen show? Does it belong in this essay? I spent a lot of time thinking about those questions before realizing that the questions themselves betrayed Friday Night Lights’ significance. Friday Night Lights is a teen drama, just like Dawson’s en Skinder meisie are teen dramas, but because the main characters are men, it’s often cast in a different light.

In 2007, only a year after Friday Night Lights began depicting working class Texas life, Skinder meisie ran a purposely, gleefully, inappropriate ad campaign. It was “bad for you,” although the first two seasons were nothing short of perfection. I never quite understood the adulation of Serena, and Dan Humphrey is a mansplainer (who, like Rory Gilmore, would never have actually been published in Die New Yorker). But I owe so much to Blair Waldorf. Her hand bands, her ambition, her desire for perfection. She was a mean girl, but a mean girl you could love. She just wanted it all and knew she deserved it. The backdrop of Skinder meisie was pre-2008 Manhattan and watching it now feels like a time capsule to a New York that never really existed. These kids had unlimited access to alcohol, AmEx Black Cards, cars with drivers, and Ivy League colleges. The outsiders, Dan and Jenny, were two hip white kids who grew up in a Brooklyn loft with a musician dad and an artist mother. (I am so sad for them). It’s absurd. Maar Skinder meisie never tried to be anything but absurd. It took the lessons learned on the O.C. and magnified them. It didn’t cave to parental ridicule it mocked it on advertisements. These people weren’t like us. They were glitzy and ridiculous, beautiful and immoral. And the show went crazy, like so many teen dramas before it, around the second season.

And sure, Skinder meisie is the quintessential guilty pleasure. But it’s designed to be. And it did more than it was given credit for. In the first episode, Chuck attempts to sexually assault both Jenny and Serena. Dan punches him as a result, something that would rarely happen in real life or most television. Blair’s dad leaves her mother and marries a man. Serena’s brother tries to kill himself and later comes out as gay. Drug and alcohol abuse are rampant. And Blair’s eating disorder is shown as a direct result of the pressure from her mother to be perfect (like Serena). Nate’s dad, not unlike Marissa’s in the O.C, does some casual embezzling and winds up in prison.

Skinder meisie, like the O.C before it, centered pop culture. I first discovered Passion Pit in a 2009 episode. It was largely recognized as significant in the fashion world. And websites like Aasvoël followed the show religiously. In New York’s recap of the very first episode, they wrote: “Last night’s giddily awaited premiere of Skinder meisie did not disappoint. This is partly because ever since the day Models Inc was cruelly pulled off the air, we have grown to not expect much from television. But it’s also because in many ways, Skinder meisie was the show we’ve been waiting for our entire lives: Dinastie meets Harriet the Spy meets Beverly Hills 90210 meets Melrose Place. Of course the show it most resembles is Seks en die stad (although, since this show is about teenagers, does that make it Statutory Rape in the City?).” I think that about says it all. By not even trying to stay on the same planet as realistic, Skinder meisie gave us real, serious *stuff* painted across a background of glitter, sex, and Fergie’s Glamorous.

Pretty Little Liars, which premiered in 2010, ushered in a new genre for ABC Family (now Freeform). They had found previous (kind of) success with the Secret Life of the American Teenager, but I can’t even deal with that here. Pretty Little Liars, did a lot wrong: like all the teen drama before it, it became an apologist for statutory rape. There are entire characters and plot points that nobody remembers and mysteries with unresolved or confusing endings. The introduction of a transgender villain was widely and rightly panned. But, as Constance Grady argued in Vox, it is one of the only shows that has given insight into what it is like to be relentlessly stalked and threatened: in other words, what it is like to be a teenage girl in the 21 st century. Though some storylines are contentious, Pretty Little Liars featured LGBT characters, in a way that has helped normalize their presence in the teen television landscape. Pretty Little Liars has been a lot of things: confusing, campy, bat-shit crazy-but it has never been afraid to “go-there.” More practically, the success of Pretty Little Liars paved the way for ABC family to take more risks. To debut shows like The Fosters, the under recognized Huge, en Switched at Birth.

Switched at Birth, which ran from 2011-2016, had a whimper of a final season but was one of few television shows to center deaf characters (7 th Heaven is the only other teen drama to do this, way back in in the 1990s). This wasn’t one character, but large numbers of the cast, as one of the protagonists, Daphne, attended a school for the deaf. The show (often heavy handedly) dealt with racial issues, adoption, and class dynamics all while centering (but rarely objectifying) its deaf characters.

One of the most recent teen dramas to garner recognition is Riverdale, a 2017 mid-season premiere riffing off the Archie comics. Like in the Archie comics, Archie is a standard (read: boring) white guy with the luck to surround himself with interesting women and Jughead Jones in the idyllic (and apparently drug filled) town of Riverdale. Riverdale is kind of like if Everwood, Pretty Little Liars en Skinder meisie had a baby. It’s often very silly. And it’s dealt with its “serious” issues like class and violence decently enough (but I will say it again for those in the back: statutory rape by teachers IS NOT OKAY). But so far, besides being the best teen drama this side of Skinder meisie, its main contribution is it’s take on rape, sexual violence, and consent. I’ve written before about Betty’s fantastical (and creepy) revenge against a football player who pretends to hook up with girls. But when Veronica’s ex, who took a time machine from Gossip Girl’s New York, attempts to rape Cheryl, the girls attack him with stilettos and Cheryl promises revenge. This isn’t the pissed off punches of Skinder meisie: these girls are calling it what it is (rape) and promising to follow up with the law. It’s refreshing.

This isn’t to say that teen television doesn’t have its problems-for one thing, as a genre, it has defined itself as white. Though some shows have made real efforts to be inclusive of the LGBT community, many of the storylines are problematic at best (Pretty Little Liars for one). The love of statuary rape in teen centered story lines is still going strong. The genre certainly has a white feminist vibe. But, much of teen television has attempted to destabilize a vast dismissal of the very political issues faced by teenage girls and for that, it has value.

All of this is to say that, the show runners of one of the most revered shows of recent years developed a pilot about the Confederacy. The Fosters, a low budget show on a network still forced to air Die 700 Club daily, is explicitly protesting the Trump administration’s policies regarding immigration. Though this might be surprising to many, it shouldn’t be, as it is continuing the work teen drama has been doing for decades. Teen dramas have shown the ways in which so many teenagers find themselves inculcated in drama which is actually life or death (abusive parents, stalkers, drug addiction, sex trafficking). Teenage girls are constantly at risk and the world doesn’t see them as capable of making their own choices. And “nobody” cares, because teenage girls are the ones watching these. But the rest of us should be watching.


Impossibly fabulous: Beverly Hills, 90210 and the myth of teen glamour

Anne-iversaries is a bi-weekly column by writer Anne T. Donahue that explores and celebrates the pop culture that defined the ➐s and 2000s and the way it affects us now (with, of course, a few personal anecdotes along the way).

Perhaps one of the greatest disappointments of young adulthood is the realization that our fellow high school students do not look like famous people. Nobody looks like Seth Cohen, no one resembles Kelly Kapowski, and not a soul takes after Jordan Catalano. Across all eras, teen TV shows peddle the idea that the teen experience is glamorous, beautiful, and even dramatic to the point of being dangerous. But no one peddled it harder than Beverly Hills, 90210.

Upon its debut in the fall of 1990, the Aaron Spelling-bred juggernaut was clear in its mission: to make the lives of west coast teens seem just as compelling as even the most over-the-top prime time serials. (Here's looking at you, Dallas.) Based around the trials and tribulations of two Californian transplants, twins Brandon and Brenda Walsh (played by Jason Priestly and Shannon Doherty) offer a front row seat to a sensationalized take on life in one of America's most elite zip codes. And of course, for most of us viewers, this was our only way in. After all, most public high schools were nowhere near as fancy. Most of our campuses weren't a stone's throw from the beach. And while we all tried our best to look cool or seem interesting, none of us achieved the glamour of Tori Spelling, Luke Perry, or Jenni Garth. (Hell, even Gabrielle Cateris — who plays Andrea Zuckerman, billed as "the nerdy one" — is movie-star beautiful, yet suffered the She's All That curse of being largely invisible because she wore glasses.)

Beverly Hills, 90210 made high school look impossibly fabulous. And even though this was a cruel and blatant lie, it was one we desperately needed as we made our own journeys through those decidedly inelegant four years. We needed to believe that we could also strut down the hallway with the confidence of a multi-million dollar-earning actor. To know that doing so was impossible while wearing flip-flops and battling temperamental skin would've broken us.

Back when the show premiered, some of us (hello!) were literal infants and told by our parents that under no circumstances could we indulge in a series about a bunch of teens living life so breathtakingly. And in the early 90s, that was fine: I played with my friend's 90210 Barbies as if I understood the series (which was ruined when I tried to pair Brenda and Brandon as a couple, to my pal's horrified screams) and mastered the art of 90210 Twister (where I could put my hand on Dylan's face). For most of elementary and middle school, I didn't care what I was missing because Iɽ fallen under the spell of PG shows like Huis verbetering en Boy Meets World — series that starred actors who looked a little bit more like me and my friends, or at least our hipper, wiser, older siblings whoɽ graduated into the world of classmates who could legally drive.

But then high school began looming closer, and with it came the abandonment of childhood ideologies and the appeal of meeting a guy who looked like Dylan (Luke Perry) or acquiring the wardrobe of Donna (Tori Spelling). Alhoewel 90210 was winding down as I entered the ninth grade, I knew it had offered a promise that as boring as my hometown felt, high school would keep it interesting. And having to sneak episodes of the show at friends' houses made this brave new world seem like a tantalizing secret, about to finally be within reach.

It didn't matter that in real life, high school is awkward, painful, and truly lacking in gorgeous people who are visibly well into their 20s. Nor did it matter that the majority of actual high school drama revolves around school dances, who said what to whom on MSN Messenger, or the stupidest possible acts of revenge (like throwing ATM envelopes all over an enemy's lawn). TV taught us that high school is the backdrop to soaring romance, illicit parties, and finding oneself in a sea of brooding uncertainty. It made high school seem appealing in spite of all the warnings we got from anyone whoɽ been through it: "Ugh, I'm so glad it's over."

As obviously unrealistic as 90210 may have been, its allure made taking the necessary step into the tumultuous teens seem exciting. By watching characters like Brandon, Brenda, Dylan, and Andrea engage in grown-up behaviours while still taking math or history, we were given hope that young adulthood really can be interesting and dramatic and full of the sorrow and heartbreak that's made teen dramas thrive for generations. These shows offer a lifeline for surviving adolescence — the basis of the belief that school and life is more compelling than it actually is. It made existence feel less like a slog and more like our own version of an Aaron Spelling special. Who cares if we couldn't afford the same clothes or would never be pursued by the teen loves of our lives? 90210 whispered that the potential to exist fabulously was there — that maybe just by going to school, weɽ find our own Walsh contemporaries.

And ultimately, this is the myth that's at the heart of every teen drama. Because while shows like 90210 and successors like The O.C. en Een boom heuwel were over-the-top, melodramatic, and unrealistic, they gave us the dialled-up-to-11 version of teen life that we craved. Did it matter that the actual high school experience is largely a tedious, gruelling exercise in humiliation? Hell no: realism isn't what this subgenre of TV is built on. It's an escape from reality, not a life map.

The thing is, this fantasy version of what's often the worst, most unglamorous life experience most of us will ever go through can actually offer the push some of us need to make high school seem a little less terrifying. After all, teen dramas aren't meant to be a mirror. We're not supposed to see ourselves in these adult actors who have enough disposable income to never repeat outfits. But we're supposed to believe that magically morphing into them is possible — or at least that our bargain-discount brand of melodrama elevates us to levels typically reserved for beautiful grown-ups pretending to be kids. And when the rest of your life involves being trapped in class all day with other teens, feeling irritated and stuck and awkward and misunderstood, maybe that's enough.


Kyk die video: Бренда знакомится с Келли, а Брендон с Андреа. Беверли Хиллс 90210 (Julie 2022).


Kommentaar:

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