ENGL 2030: Experience of Literature— Drama [Lavery]

New Media for Theatre The Big Screen The Small Screen

The Horrible Website ENGL 2030: Experience of Literature— Drama [Lavery] The Internet

ENGL 2030: Experience of Literature— Drama [Lavery]

Dr. Horrible’s Sing-Along Blog In the wake of the November 5, 2007-February 12, 2008 Writers Guild of America strike—during which Whedon walked the picket lines— another Whedon venture debuted, not in movie theatres, not on television, not in a comic book but on the internet. Dr. Horrible’s Sing- Along Blog (hereafter DHSAB) premiered, free (for a limited time) on the web, posted, one act at a time, July 15 th, 17 th, and 19 th of Dr. Horrible then disappeared (midnight July 20 th ), available only on ITunes until its release on DVD in December. ENGL 2030: Experience of Literature— Drama [Lavery]

Dr. Horrible/Billy (Neil Patrick Harris) The Horrible Cast ENGL 2030: Experience of Literature— Drama [Lavery]

Penny (Felicia Day) The Horrible Cast ENGL 2030: Experience of Literature— Drama [Lavery]

Captain Hammer (Nathan Fillion) The Horrible Cast ENGL 2030: Experience of Literature— Drama [Lavery]

Moist (Simon Hedberg) The Horrible Cast ENGL 2030: Experience of Literature— Drama [Lavery]

Watch Dr. Horrible (42 minutes) ENGL 2030: Experience of Literature— Drama [Lavery]

In a letter available on the website, Whedon offers, in his inimitable way, Dr. Horrible’s origin myth: Once upon a time, all the writers in the forest got very mad with the Forest Kings and declared a work-stoppage. The forest creatures were all sad; the mushrooms did not dance, the elderberries gave no juice for the festival wines, and the Teamsters were kinda pissed. (They were very polite about it, though.) During this work-stoppage, many writers tried to form partnerships for outside funding to create new work that circumvented the Forest King system. Frustrated with the lack of movement on that front, I finally decided to do something very ambitious, very exciting, very mid-life-crisisy. Aided only by everyone I had worked with, was related to or had ever met, I single- handedly created this unique little epic. A supervillain musical, of which, as we all know, there are far too few. ENGL 2030: Experience of Literature— Drama [Lavery]

In other words, during the Writers Guild of America’s strike (November 5, 2007-February 12, 2008)—of which he was a stalwart and outspoken supporter, Whedon hatched a scheme to create, with the help of scores of others, including his brothers Zack and Jed, Jed’s fiancée Maurissa Tancharoen, School of Whedonites Ben Edlund (uncredited), David Fury, and Marti Noxon, ________________ * In Dr. Horrible’s Sing-Along Blog: The Book we learn that both Moist and Bad Horse—originally pitched for Angel—were Edlundian ideas (10) Ben Edlund ENGL 2030: Experience of Literature— Drama [Lavery]

DHSAB was quintessential Whedon: naughty, hilarious, cultish, exhilarating, genre-bending, virally memorable—especially its catchy music and Sondheim-goes-geek patter lyrics: a near-perfect manifestation of the “loser aesthetic” identified by Richard Burt and elucidated by Matt Hills (Fan Cultures) that has been Whedon’s TV auteur signature in Buffy, Angel, and Firefly. And, needless to say, it was inherently collaborative. ENGL 2030: Experience of Literature— Drama [Lavery]

DHSAB is set in a world populated by superheroes with a variety of powers (mention is made of “the Mayor’s dedication of the Superhero Memorial Bridge”) and supervillains (the “thoroughbred of sin” Bad Horse, Dead Bowie, Fake Thomas Jefferson, Fury Leika, Professor Normal, Johnny Snow, and, of course, Moist (Simon Helberg), Billy’s “evil, moisture buddy,” a friend indeed when anything needs to be “dampened or made soggy”). ENGL 2030: Experience of Literature— Drama [Lavery]

Anything but horrible, DHSAB, clearly indebted to Sondheim’s Sweeney Todd (1979), was a complete success. The music and the acting are both delightful and hilarious, the production values and special effects amazingly good (considering the low budget). That was the master plan, after all: ENGL 2030: Experience of Literature— Drama [Lavery]

to make it on the fly, on the cheap—but to make it. To turn out a really thrilling, professionalish piece of entertainment specifically for the internet. To show how much could be done with very little. To show the world there is another way. To give the public (and in particular you guys) something for all your support and patience. And to make a lot of silly jokes. Actually, that sentence probably should have come first. ENGL 2030: Experience of Literature— Drama [Lavery]

Whedon discounts any claim to internet guru status— claiming to be so ignorant he can’t even find porn—or being a business pioneer--“Somebody coming to me for business advice is like somebody asking a guy who makes balloon animals how to pick up women.” ENGL 2030: Experience of Literature— Drama [Lavery]

“I’m interested in being an Internet Roger Corman [pictured]. He’s responsible for a slew of the greatest directors of the last couple decades, because he was the only B- movie system that there was. Now the whole world can be that system.” --Joss Whedon (Rosen 33) ENGL 2030: Experience of Literature— Drama [Lavery]

Dr. H, Captain Hammer, Penny ENGL 2030: Experience of Literature— Drama [Lavery]

Hammer and Horrible ENGL 2030: Experience of Literature— Drama [Lavery]

Dr. Horrible Hears About His Application to Join the Evil League of Evil ENGL 2030: Experience of Literature— Drama [Lavery]

The Horrible Cast ENGL 2030: Experience of Literature— Drama [Lavery]

The Horrible Cast ENGL 2030: Experience of Literature— Drama [Lavery]

The Horrible Cast ENGL 2030: Experience of Literature— Drama [Lavery]

The Horrible Cast ENGL 2030: Experience of Literature— Drama [Lavery]

who pursues membership in the “Evil League of Evil”... ENGL 2030: Experience of Literature— Drama [Lavery]

Horrible would eventually be released on a loaded DVD (including a unique sung commentary track: “Commentary, the Musical”), at which time DHSAB’s cast and crew got paid, proof positive of Whedon’s strategy to “turn Dr Horrible into a viable economic proposition as well as an awesome goof” that he hoped would “inspire more people to lay themselves out in the same way.” “It’s time for the dissemination of the artistic process. Create more for less,” Whedon would proclaim. ENGL 2030: Experience of Literature— Drama [Lavery]

Tired of struggling against the men in suits, bored with “there’s no business like show business” clichés, he has now established himself as a major figure out to change “the face of Show Friendliness.” With his usual humility and generosity, Whedon refused to take much credit for DHSAB: “I would like to say I directed this thing, and occasionally I told the camera where to be, but every one of these guys showed up so dialed in that I was just like, “I’m happy to be here.” (Dr. Horrible’s Sing-Along Blog: The Book 78). ENGL 2030: Experience of Literature— Drama [Lavery]

In October 2011, soon after wrapping filming of The Avengers, The Hollywood Reporter and various internet sites reported that Whedon had “relaxed” after completion of the massive project by shooting, at his house in Santa Clara, California, his own script of Shakespeare’s Much Ado About Nothing. ENGL 2030: Experience of Literature— Drama [Lavery]

Much Ado was a production of a new “micro studio” Whedon had established with his wife Kai Cole as co-head. ENGL 2030: Experience of Literature— Drama [Lavery]