Ode to 'The O.C.'
As the teen serial drama concludes, we say our proper goodbyes
By Sarah Haas
MSN Entertainment
In its first-season heyday, the California-set, often sardonic and always operatic teen soap "The O.C." was a pop-culture phenomenon. It introduced the masses to Mischa Barton, emo music and Chrismukkah, while simultaneously spawning a geek-chic revival. Premiering in summer 2003, it seemed to connect with a generation too young to have saturated itself in the hyper-emotive glory days of The WB, but it also hit home with those who craved the resurgence of a delicious soapy drama.
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After its debut, the show's fresh take on teen life gave it a frenetic popularity, placing it atop the high-school-show heap -- a sort of 21st century "Beverly Hills, 90210," minus the cheese. And for a moment, its influence was ubiquitous.
But almost as quick as its rise to the top, "The O.C." fell off the trendy radar. A victim of its own hype, lazy storytelling, new timeslots and pop culture's 10-minute attention span, the show about a rebellious teen outsider (Benjamin McKenzie) who is taken into the home of an affluent California family saw its popularity dwindle during its second season. By Season 3 it seemed destined to suffer a slow, ratings-deficient death. However, after the surprise death of Marissa (Mischa Barton), arguably the show's most melodramatic character, something strange happened. The show entered its fourth season with new breath and a renewed sense of creativity that garnered a bout of critical praise not seen since its debut.
The show's ratings, however, were not as easily revived. In January, FOX announced its decision to cancel "The O.C." because of its sagging ratings. The show's first season pulled in nearly 10 million viewers weekly, making it white-hot with advertisers because of its youthful demographic. But that number decreased 40 percent by the end of the third season, and although there was talk that the newly-minted CW network might take on the show for another year, nothing materialized.
"This feels like the best time to bring the show to its close," says Josh Schwartz, the show's creator and executive producer.
"We have enjoyed our best season yet, and what better time to go out than creatively on top? For a certain audience, at a certain time, 'The O.C.' has meant something. For that we are grateful."
"It's a little bittersweet, a little sad," adds Melinda Clarke, who plays the often-scheming Julie Cooper, "but I think we are all happy with the way it is ending. The audience will be very satisfied with the story line; they won't feel there is anything left to question. I think it's a wonderful way to end."
Unlike many once-hot shows that were canceled after their creativity fizzled ("Melrose Place," "The X-Files," "Dharma & Greg"), "The O.C." was canceled just as it was gaining its creative second wind. "The show was just such a phenomenon when it first came on the air," says Autumn Reeser, who plays the persnickety Taylor Townsend. "It's nice to be able to go out and know that we did a really good season this year."
Though the show contains any and all combinations of over-the-top drama, angst and clichés, it's also a show that is fun to watch, and its witty humor demonstrates just how smart it could be. "This show will be remembered as a hip, pop-culture reference of this time," Clarke notes.
And it should be.
However, the show might best be remembered for providing a platform for previously little-known rock acts (Death Cab for Cutie, Bright Eyes, Phantom Planet) who lent their melodies to "The O.C." and instantly saw their record sales skyrocket.
With the series' ending episode airing this week, we'd be remiss if we didn't praise the show for pulling itself up by its proverbial bootstraps and heading out to pasture at the top of its game.
And if that's not enough, Adam Brody (who plays Seth Cohen) notes, "If you're upset, don't worry. There are DVDs."
The series finale of "The O.C." airs this Thursday at 9 p.m. on FOX.
