Everybody Wants Somethin': Part III
What (the 30-Something) Dreams are Made Of: Lizzie McGuire
At first consideration, discussing this next series seems
impossible because it does not yet exist. The Disney+ reboot of the early 00s blockbuster
Lizzie McGuire was two episodes into production when its original
creator, Terri Minsky, departed the project in January. Since then, Hilary Duff
has advocated for the production, determined to move forward, ideally, on Hulu.
With this production turmoil, we see the importance of shared experience and
of/by/for considerations in real time.
If That’s So Raven’s Home moved from an
audience of 00s children to an audience of present-day children, Lizzie
McGuire represents a vastly different shift for the revival of a children’s
show. The new Lizzie McGuire was to begin on Lizzie’s 30th
birthday – she has a NY apartment, a dream job, and the ideal boyfriend (who
apparently is not Gordo – not all 8th grade relationships can last
forever). In the pilot, Lizzie “has it all,” until an unknown event happens
that changes her life and begins the series of events for this new show.
Already, we can spot the difference between Lizzie
McGuire and Raven’s Home in how they address the for element
of a reboot. While Raven’s Home does continue Raven and Chelsea’s
stories – primarily Raven’s fashion design career aspirations – they are not
the focus. We are wrapping up more aspects from That’s So Raven and
beginning more new ones focused on the child characters. With Lizzie
McGuire, the intended audience is unequivocally the original audience who
are now, like Lizzie, approaching 30. This is not a children’s show. Because this
project is made with the original audience in mind, these reboot
characteristics become even more important.
Additionally, this series would be, like all reboots, of
its source material. Because it would continue the protagonist’s story
rather than shift the story to new characters, this source material becomes
that much more important. There is additional pressure to capture not just the
feel of the past show but also the most logical and fulfilling continuation for
this cherished character. Audiences do not want to rehash old plots or hear
repeated catch phrases, not that Lizzie McGuire had them. We are catching
up with an old friend from middle school, and we, too, are not in middle school
anymore.
When considering the by element of a remake, we
see just how vital this decision is based on Hilary Duff and Terri Minsky’s
passion for this project. After two episodes, Disney halted production and
fired Minsky due to concerns of adult content. This content dismissal is intriguing
for several reasons. First, while Disney is a family-friendly brand, they
produce plenty of adult content and it in no way detracts from their brand. Disney
operates as an umbrella brand that can shuffle its content around to protect
peoples’ notions of what it means to be Disney. Under Disney, content can exist
with Hulu, ABC, Marvel Studios, Lucas Film, 20th Century Studios,
and formerly Touchstone Pictures, to name a few. I understand the concerns of Lizzie
McGuire not fitting with the Disney+ brand, but if Disney is anything, it
is an empire with room in the kingdom for all types of projects when done
correctly. Secondly, Disney approved the project and its concepts up until the
point production was stopped. This begs the question: What could possibly
happen in two episodes of Lizzie McGuire to caused that much concern for
a project Disney was so proud to announce?
In
consideration of who this project should be by, the answer is who has
the character’s best interest at heart. While Disney would never not be
involved in this project, the answer is absolutely Terri Minsky and Hilary
Duff. On this matter, Minsky
commented, “Hilary has a grasp of Lizzie McGuire at 30 that
needs to be seen…It’s important to me that this show was important to people. I
felt like I wanted to do a show that was worthy of that kind of devotion.”
After knowing this structure was a possibility, I cannot imagine a
family-friendly version of Lizzie. Unlike most children’s reboots, we would get
an unmarried, unmothered 30-something that is here for us now at 30 like she
was when we were 13. This is not to say those things necessarily could not or
should not happen to her over the course of the reboot, just that we have the
opportunity to begin in a familiar place with this character before we continue
her story.
Current 13-year old girls be dammed, this show is for
ME. It could exist on Disney+ among their plethora of content without
disturbing their brand, but it could also move to another platform. I understand
why they would want to focus new content on Disney+ over Hulu, but not at the
expense of one of their most popular characters that means so much to the
fanbase that wanted Disney+ the most.
When I consider the power of shared experience through
a television character, Lizzie McGuire is the number one character that
will always come to mind. Lizzie taught me that a normal person can be
extraordinary through the people they surround themselves with, the choices
they make, and the compassion they demonstrate. I got a dual role model in
Lizzie and Hilary, who built her “Tween Queen” empire that I and others could
not get enough of.
If this show never gets off the ground, it will be
because the Lizzie McGuire creators refuse to abandon their original
audience. They know who best can tell this story, who this story is for, and
how to handle their source material. The best route for Lizzie McGuire is
the route that leads to me and my peers, and our shared experiences are sacred.
It is obvious to me that Hilary Duff and Terri Minsky understand a very
specific road to success for Lizzie McGuire. I believe that they “have a
picture-perfect plan, and they’ll figure it out on the way.”
|
Use of Shared Experience and Audience Focus in
Reboot Television |
|||
|
A tool to connect a previous product to a new
one. To wrap up the loose ends and move on to your new audience. |
|
|
Use of To continue, and ultimately finish, a story for
the same audience. |
|
|
|
||
|
For Whom: Original
or New Audience |
|||