There's nothing new under the sun in tv and movies. Whenever someone thinks they've done something new and inventive, it's really taking an existing framework and implementing it in perhaps a different way. WH13 was no different. Their framework was the oft-used male/female duo solving mysteries and fighting the good fight. If I thought about it hard enough I could probably come up with a few shows from every decade since tv came into existence that uses this. Off the top of my head: Hart to Hart, Scarecrow and Mrs. King, Father Dowling Mysteries, and Moonlighting for historical fare (is my age showing yet?); Bones and X-Files for something a little more current (probably reaching with X-Files, but my tv-watching dropped off with adulthood). Anyone remember Friday the 13th, the Series, which WH13 has been compared with on many occasions?
With a few exceptions (because yuck, Father Dowling Mysteries), this framework has been put to use to tell the story of partners working together and ultimately becoming "partners" in every sense of the word—even if it took several seasons (hi, X-Files!). Having attractive female and male co-stars whose characters don't eventually get it on? That's simply not done. It's become a given, something you can predict immediately. The crimes and mysteries may vary—and that's how the studios convince themselves that they're doing something "different"—but the romantic aspect is pretty much a done deal. This is why I was initially so impressed with WH13. In addition to being a funny show with a neat little plot (despite its resemblance to Ft13th), I didn't feel like the whole thing was just a mask for a romantic plotline. I enjoyed the sibling-like relationship between Pete and Myka. It was fun, it was funny. It worked.
And then the final episodes. They went and ruined everything by buying in to the played out romantic subplot between the two main characters. What made it extra ridiculous and frustrating was that it didn't even flow! Watching Pete and Myka kiss didn't feel like, "Aaahhh, finally; the romantic and sexual tension has been resolved." There was no sense of coming home, of closure, of meant-to-be. It felt like "Eeeewwwww" with a side of "What the fuck?!". It certainly didn't feel like this was something the show runners had intended to happen all along. If it was, then they either have zero skills in casting people or zero skills in creating romantic or flirtatious undertones.
Adding insult to injury is the fact that despite whatever their shortcomings in writing or casting they had—with little to no work on their end—an awesome alternative to doing the guy/girl partner/romance trope. Jaime Murray and Joanne Kelly had more chemistry in a handful of episodes than Kelly and Eddie McClintock had in 3 seasons.
You know what? Let's just lay the cards out on the table. If HG Wells had been realized as a male, and an actor had been cast that had the same chemistry with Kelly that Murray had...well, we would have seen another well-used plot device employed. How about the age old "good guy falls for the bad guy" story arc? Good guy tries to redeem the bad guy, maybe sees something in her that no one else does, sees potential for good? Or hell, maybe the bad guy is still a bad guy but the good guy really, really digs her? We probably wouldn't get a happily ever after, but we'd get some maintext, right? Yeah, except Jaime Murray is a woman, and they didn't expect the two of them to zing quite like they did. And rather than flesh that zing out, let it drive the creative process a little, give that chemistry a voice, the show runners decided to take the safe road. They used the chemistry to titillate, to draw in the fans, but never delivered, never committed, and in the end shored up the standard heteronormative story we've come to expect. And Jack Kenny is gay! I mean...that's not to say that every gay person has to put gay themes or characters in their creative work. But if the bug is biting and you swat it away? Feh on you. He had an interview with Collider.com where the question was asked: "How do you approach writing for this cast, to keep the great chemistry they have?" His response?
"We write them like family members. We write them like brothers and sisters, and daughters and sons. Everybody can relate to family. Everybody has a mother or father, or a brother or sister that drives them crazy."
Sure, sure. Makes sense. Until you read this SciFi Vision interview that has him saying that Pete and Myka were endgame from the beginning. He describes a "dynamic between the two of them that there was a will-they-or-won't-they kind of tension". I'm beginning to think I was on the money with the theory that they don't actually know how to write romantic tension, because that there that he's describing? I've seen that dynamic done expertly on many tv shows, and this wasn't one of them. Actually, I'm starting to think that maybe he didn't watch his own show. He goes on to say that it was never going to be about Myka and HG setting up house together...but that was apparently good enough to have Pete and Myka do in the end? He even directly contradicts the actresses themselves: "If you seriously sat down with Jaime or Joanne they would say, 'Well no, they're not going to go set up house somewhere.'". Murray and Kelly have been pretty vocal in their support of and openness to a Berings and Wells "partnership". And somehow putting them together would have been "trivializing" their friendship, but not so with Pete and Myka. Ugh.
I kind of want to put together snippets from his own interviews and email them to him like "What the fuck, man? Do you even know what you're saying?"
I didn't expect a Myka/HG sunset. I was hoping that they'd get some respect, that we might get to see some maintext, that the show would be brave and different. A torrid romantic affair between the troubled villain and the quirky hero for a short while would have been pretty rad. Instead they play into the same tired themes that Kenny himself acknowledges in that interview. As he said in regards to the Pete/Myka pairing: "...it's not like we're breaking any new ground here". And that is the biggest shame of all. When you hear a creative person admit, almost cynically, that they were just following the formula. How disappointing.
