Page 70 - A Handbook Genre Studies in Mass Media

FORMULAIC ANALYSIS

Characters. In 2004 Fox introduced House, M.D., a new series about
medical investigators, in which the distinctive element is the lead character
—Dr. Gregory House, a blunt nonconformist. This character is a twist
on the stock character of the smooth, omnipotent physician.

Gender. The gender of characters can also be switched to give a
formula a fresh look. For instance, in Trial by Jury, a derivative of Law
& Order, the dominant roles are played by women. Alessandra Stanley
describes this “feminization” of the formula of Law & Order: “There
are a few token men in the latest Dick Wolf series. A cad interrupts
passionate sex to answer his telephone, a weak defendant is bullied
by his brassy female defense attorney. . . . Justice is meted out almost
entirely by women.” 28

Sexual Orientation. The success of Queer Eye for the Straight Guy led
to the development of a derivative program: Queer Eye for the Straight
Girl. The shows have an identical premise and format. But instead of five
gay men “making-over” a straight male, the latter series involves three gay
men and one gay woman transforming a “fashion-challenged” woman.

Age. Changes in the age of the characters can give a show a fresh ap-
pearance. For instance, prime-time soap operas, which harken back to
the 1980s heyday of Dynasty and Dallas, have reemerged in the form
of teen-centered dramas like O.C.; One Tree Hill; The Brotherhood of
Poland, New Hampshire; Joan of Arcadia, and Skin.

Setting. A change in setting can create a fresh appearance for a genre.
For instance, the fall 2004 schedule for the WB network included The
Mountain, a dramatic series, described by critics Bill Carter and Stuart
Elliott as “‘Dynasty’ on skis.” The series takes place at a luxury sky
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resort inherited by a young man. According to LAX executive producer
Mark Gordon, the setting makes the difference: “This arena is fresh and
different and someplace that we haven’t seen before.” 30

However, this imperative to “push the envelope” can sometimes cross
the bounds of propriety and taste. Vince Russo, a scriptwriter for World
Championship Wrestling’s Monday Nitro, recalls, “We would look at each
other and say, all right, let’s see how far we can go this week. How much
can we get away with?” As an example, in a pay-per-view episode, a
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