Watching last night’s Justified (“Blind Spot”), I exclaimed aloud when I realized that Ray McKinnon was playing the week’s shady character. Anybody reading this blog knows that I’m perhaps more attuned to character actors than I should be, but that’s not what caused me to clap my hands like a child who just got her first glimpse at birthday cake. Ray McKinnon played Rev. H.W. Smith on Deadwood with Justified‘s star, Timothy Olyphant. The two, sadly, never shared the screen on Justified, but I still felt the trill of happiness when I thought that the two actors were inhabiting the same universe again. But why? Why do I find pleasure in a casting happenstance?
Certainly part of it is the pleasure of recognition–and in this example, a particular recognition that leads to intertextual cultural capital transference– and of insider knowledge. Knowing that these two actors previously shared credits in a little-seen but much-lauded other television text lends cultural capital not only to me, the viewer, for recognizing the connection, but also the text itself through intertextual linkages. Deadwood fans who recognize McKinnon on Justified are instantly reminded of the other brilliant-but-canceled program, and some of the nostalgia and pleasure related to Deadwood overlays onto Justified. Moreover, the appearance has no “wink” at the audience or acknowledgment of the intertextuality so the pleasure in the moment of recognition also gains from the pleasure of solving a puzzle, but a puzzle that much of the audience–one assumes–can’t even see let alone solve.
I think the latter explanation for the sense of pleasure lies at the heart of what I felt. It resembles the kind of pleasure surrounding cult fandom as a way to exceptionalize the self in regard to vast swaths of apparent sameness. Part of the pleasure of being a fan of a cult text is the sense of distinction (generally without being elitist) from the masses through knowing and appreciating a text that few know. This is perhaps easiest seen in an example of two cult texts meeting through actors: Kristen Bell guest starring on Party Down, which stars various former Veronica Mars actors.
Though the characters are far removed from those they played on Veronica Mars, the relationship between Uda and Kyle on Party Down partially resembles the relationship between Veronica and Dick on Veronica Mars: Kristen Bell’s character is smarter, more powerful, and utterly competent at her job than Kyle and can therefore dictate with authority Ryan Hansen’s shallow, dumb, arrogant character. It’s as if Veronica and Dick somehow entered an alternate universe where they’re caterers. On such stuff is AU fanfic made on.
But there’s at least one more level of pleasure these actor reunions elicit: the extra-textual idea that the actors themselves derive pleasure from being able to work together again. With certain series, especially those constantly on the brink of cancellation and/or with cult status, the actor narratives that persist are those that position the cast as a family. Group interviews, appearances at fan conventions, and the occasional candid shot of the stars outside the context of the show create the narrative that these actors actually really like each other and enjoy working together. This serves a few purposes: 1) It undermines the construction of actors (through connection with a common construct of “stars”) as selfish narcissists; 2)It adds an affective layer to the emotions and connections portrayed within the text between the actors (drawing on the “realism” of the emotions); and 3) for canceled cult shows, it comforts fans and can keep hope of one more iterations of the text alive (see: Arrested Development movie rumors).
Some combination of all of the above elicited the admittedly girlish giggle of delight and aforementioned hand-clapping in me when I see actors reunited in a different television universe. Am I alone in this feeling? Perhaps in my explanations of them, but a cursory look at fan reaction to last night’s Justified proves that others similarly take pleasure in seeing actors reunited onscreen. These slanted reunions represent an interesting intersection of text, intertext, and extra-text that certainly bears more investigation (and at least from me, more giggling outbursts in my living room).