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Welcome to the O.C.: The Oral History―Behind the Scenes of a Megahit TV Show
Welcome to the O.C., b*tch: it’s the definitive oral history of beloved TV show The O.C., from the show’s creators, featuring interviews with the cast and crew, providing a behind-the-scenes look into how the show was made, the ups and downs over its four seasons, and its legacy today.
On August 5th, 2003, Ryan Atwood found himself a long way from his home in Chino—he was in The O.C., an exclusive suburb full of beautiful girls, wealthy bullies, corrupt real-estate tycoons, and a new family helmed by his public defender, Sandy Cohen. Ryan soon warms up to his nerdy, indie band-loving new best friend Seth, and quickly falls for Marissa, the stunning girl next door who has secrets of her own. Completing the group is Summer, Seth’s dream girl and Marissa’s loyal—and fearless—best friend. Together, the friends fall in and out of love, support each other amidst family strife, and capture the hearts of audiences across the country.
Just in time for the show’s twentieth anniversary, The O.C.’s creator Josh Schwartz and executive producer Stephanie Savage are ready to dive into how the show was made, the ups and downs over its four seasons, and its legacy today. With Rolling Stone’s chief TV critic and bestselling author Alan Sepinwall conducting interviews with the key cast members, writers, and producers who were there when it all happened, Welcome to the O.C. will offer the definitive inside look at the beloved show—a nostalgic delight for audiences who watched when it aired, and a rich companion to viewers currently discovering the show while it streams on HBO Max and Hulu.
The O.C. paved the way for a new generation of iconic teen soaps, launched the careers of young stars, and even gave us the gift of Chrismukkah. Now, it’s time to go back where we started from and experience it all over again.
Includes exclusive interviews with: Ben McKenzie * Mischa Barton * Adam Brody * Rachel Bilson * Peter Gallagher * Kelly Rowan * Melinda Clarke * Tate Donovan * Chris Carmack * Autumn Reeser * Willa Holland * Samaire Armstrong * Alan Dale * Colin Hanks * Amanda Righetti * Navi Rawat * Shannon Lucio * Michael Cassidy * McG * Imogen Heap * Alex Greenwald * Ben Gibbard * Paul Scheer * Doug Liman * and many more!
On August 5th, 2003, Ryan Atwood found himself a long way from his home in Chino—he was in The O.C., an exclusive suburb full of beautiful girls, wealthy bullies, corrupt real-estate tycoons, and a new family helmed by his public defender, Sandy Cohen. Ryan soon warms up to his nerdy, indie band-loving new best friend Seth, and quickly falls for Marissa, the stunning girl next door who has secrets of her own. Completing the group is Summer, Seth’s dream girl and Marissa’s loyal—and fearless—best friend. Together, the friends fall in and out of love, support each other amidst family strife, and capture the hearts of audiences across the country.
Just in time for the show’s twentieth anniversary, The O.C.’s creator Josh Schwartz and executive producer Stephanie Savage are ready to dive into how the show was made, the ups and downs over its four seasons, and its legacy today. With Rolling Stone’s chief TV critic and bestselling author Alan Sepinwall conducting interviews with the key cast members, writers, and producers who were there when it all happened, Welcome to the O.C. will offer the definitive inside look at the beloved show—a nostalgic delight for audiences who watched when it aired, and a rich companion to viewers currently discovering the show while it streams on HBO Max and Hulu.
The O.C. paved the way for a new generation of iconic teen soaps, launched the careers of young stars, and even gave us the gift of Chrismukkah. Now, it’s time to go back where we started from and experience it all over again.
Includes exclusive interviews with: Ben McKenzie * Mischa Barton * Adam Brody * Rachel Bilson * Peter Gallagher * Kelly Rowan * Melinda Clarke * Tate Donovan * Chris Carmack * Autumn Reeser * Willa Holland * Samaire Armstrong * Alan Dale * Colin Hanks * Amanda Righetti * Navi Rawat * Shannon Lucio * Michael Cassidy * McG * Imogen Heap * Alex Greenwald * Ben Gibbard * Paul Scheer * Doug Liman * and many more!
360 pages, Hardcover
First published November 28, 2023
254 people are currently reading
1962 people want to read
About the author
Alan Sepinwall
15 books247 followersAlan Sepinwall has been writing about television since the 1990s, first as an online reviewer of "NYPD Blue," then as a TV critic for The Star-Ledger (Tony Soprano's hometown paper), then running the popular blog What's Alan Watching? on HitFix.com and Uproxx.com, now as chief TV critic for Rolling Stone and RollingStone.com. Sepinwall's episode-by-episode approach to reviewing his favorite TV shows "changed the nature of television criticism," according to Slate, which called him "the acknowledged king of the form." He is the author of many books about television, including "The Revolution Was Televised," "TV (THE BOOK)," "Breaking Bad 101," "The Sopranos Sessions," and "Welcome to The O.C.: The Oral History."
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Displaying 1 - 30 of 458 reviews
December 29, 2024
The O.C. was a big part of my teenage years, so reading this was a fun trip down memory lane!
I loved the conversational style, which made it the perfect companion when re-watching the series. Extensive interviews with cast and crew discuss the inner workings of the show from inception and casting, through to its success and legacy. Alan Sepinwall draws heavily from the Rachel Bilson and Melinda Clarke podcast too.
It was fascinating to learn about the writers’ creative process and how they developed characters. These iconic characters were played by relatively unknown actors (Ben McKenzie had been sleeping on couches) - it was interesting how the sudden fame changed their lives.
“You couldn’t go to certain restaurants. Or if you’re traveling, you have to travel under an alias, because people look at lists and hotels, and then you don’t have any privacy anymore.”
There's a heavy focus on creator Josh Schwartz and fellow writer, Samantha Savage – you could perhaps argue they control the narrative when it comes to more juicier parts. But it was fun learning about some of their rejected ideas, and delving into my favourite scenes. It was cool how the actors injected aspects of themselves into their performances.
“That sense that I was going to have to fight to make it, I think was definitely part of what I was able to put into Ryan initially.” – Ben McKenzie
I discovered many new bands through watching The O.C. – it was almost like hanging out with a friend that had amazing taste in music. These songs enhanced each scene, and likewise, the music section is perhaps the highlight of the book. The contributions of music supervisor, Alexandra Patsavas were great.
“Not only is the indie rock-laden soundtrack absolutely another character on the show, a reasonable argument can be made that it is the most important character.”
It was unfortunate to learn how unhappy the cast and crew became! While it touches on discontent, I felt it glossed over much too. Mischa Barton left much unsaid, refusing to talk about certain aspects. You come away with greater respect for some cast members, while perhaps less for others (see: Adam Brody).
“The actors were so unhappy, the show’s embarrassed creator literally started hiding from them.”
Welcome to the O.C. is essential reading for fans, budding screenwriters and those interested in the entertainment industry. It’s a time capsule and worthy tribute to a show that defined an era.
I loved the conversational style, which made it the perfect companion when re-watching the series. Extensive interviews with cast and crew discuss the inner workings of the show from inception and casting, through to its success and legacy. Alan Sepinwall draws heavily from the Rachel Bilson and Melinda Clarke podcast too.
It was fascinating to learn about the writers’ creative process and how they developed characters. These iconic characters were played by relatively unknown actors (Ben McKenzie had been sleeping on couches) - it was interesting how the sudden fame changed their lives.
“You couldn’t go to certain restaurants. Or if you’re traveling, you have to travel under an alias, because people look at lists and hotels, and then you don’t have any privacy anymore.”
There's a heavy focus on creator Josh Schwartz and fellow writer, Samantha Savage – you could perhaps argue they control the narrative when it comes to more juicier parts. But it was fun learning about some of their rejected ideas, and delving into my favourite scenes. It was cool how the actors injected aspects of themselves into their performances.
“That sense that I was going to have to fight to make it, I think was definitely part of what I was able to put into Ryan initially.” – Ben McKenzie
I discovered many new bands through watching The O.C. – it was almost like hanging out with a friend that had amazing taste in music. These songs enhanced each scene, and likewise, the music section is perhaps the highlight of the book. The contributions of music supervisor, Alexandra Patsavas were great.
“Not only is the indie rock-laden soundtrack absolutely another character on the show, a reasonable argument can be made that it is the most important character.”
It was unfortunate to learn how unhappy the cast and crew became! While it touches on discontent, I felt it glossed over much too. Mischa Barton left much unsaid, refusing to talk about certain aspects. You come away with greater respect for some cast members, while perhaps less for others (see: Adam Brody).
“The actors were so unhappy, the show’s embarrassed creator literally started hiding from them.”
Welcome to the O.C. is essential reading for fans, budding screenwriters and those interested in the entertainment industry. It’s a time capsule and worthy tribute to a show that defined an era.
December 31, 2023
Was this revelatory? No. Did it make me think “I should rewatch The OC” with every page turn? Absolutely.
December 7, 2023
You Should Read This If:
-You want to walk down memory lane with quintessential water cooler moments that made The OC a cultural staple of the early aughts. (Christmukkah! Welcome to the OC, bitch! Spiderman kiss! Marissa in an alley in TJ!)
-You want a better understanding of what teenage celebrity looked like in a pre-social media era.
-Your indie music tastes were born from Seth Cohen’s indie music tastes, and you want an excuse to revisit The OC Mixtape 1 or aggressively sing Imogen Heap’s “Mmmmwhatcha say.”
I love The OC. I love it now with the same reckless abandon I did as a middle schooler when I watched Seth Cohen redefine cool in the cultural lexicon. In 2003, it was nearly impossible not to be invested in the Anna-Seth-Summer love triangle or revel in one of tv’s greatest villains, Julie Cooper-Nichol. As a thirty-something, I can now appreciate some of the more high-brow analysis that Sepinwall and company offer in this book. The interviews - particularly from Schwartz and Savage - give behind-the-scenes insight into how a (smash hit) television show gets created while also offering some candid mea culpa on how it spiraled into disaster.
The cast and crew are all clearly professional and grown-up, which means the interviews are relatively polite and the tea is limited. No one sat down with Sepinwall to talk trash about each other. (Which, okay, I acknowledge is the nice adulty thing to do, but I wouldn’t have minded a bit more celebrity dish about the personal drama, relationships, and breakups that happened on set. There's a distinct lack of TMZ in this book, which I'm sure Sepinwall would take as a compliment but I'm not entirely sure I mean it as one.) That being said, certain members of the cast are pretty forthcoming with their feelings about being contractually trapped in a teen drama for their peak-Hollywood years.
Sepinwall does an excellent job of analyzing the show’s role in the zeitgeist, and there is quite a lot of cultural impact to unpack (i.e.: I've spent twenty years consistently quoting “You know what I like about rich kids? *air punch* NOTHING.”). Sepinwall, you created a success. Schwartz and Savage, you did, too. I had so much fun reading this book. And so will you.
-You want to walk down memory lane with quintessential water cooler moments that made The OC a cultural staple of the early aughts. (Christmukkah! Welcome to the OC, bitch! Spiderman kiss! Marissa in an alley in TJ!)
-You want a better understanding of what teenage celebrity looked like in a pre-social media era.
-Your indie music tastes were born from Seth Cohen’s indie music tastes, and you want an excuse to revisit The OC Mixtape 1 or aggressively sing Imogen Heap’s “Mmmmwhatcha say.”
I love The OC. I love it now with the same reckless abandon I did as a middle schooler when I watched Seth Cohen redefine cool in the cultural lexicon. In 2003, it was nearly impossible not to be invested in the Anna-Seth-Summer love triangle or revel in one of tv’s greatest villains, Julie Cooper-Nichol. As a thirty-something, I can now appreciate some of the more high-brow analysis that Sepinwall and company offer in this book. The interviews - particularly from Schwartz and Savage - give behind-the-scenes insight into how a (smash hit) television show gets created while also offering some candid mea culpa on how it spiraled into disaster.
The cast and crew are all clearly professional and grown-up, which means the interviews are relatively polite and the tea is limited. No one sat down with Sepinwall to talk trash about each other. (Which, okay, I acknowledge is the nice adulty thing to do, but I wouldn’t have minded a bit more celebrity dish about the personal drama, relationships, and breakups that happened on set. There's a distinct lack of TMZ in this book, which I'm sure Sepinwall would take as a compliment but I'm not entirely sure I mean it as one.) That being said, certain members of the cast are pretty forthcoming with their feelings about being contractually trapped in a teen drama for their peak-Hollywood years.
Sepinwall does an excellent job of analyzing the show’s role in the zeitgeist, and there is quite a lot of cultural impact to unpack (i.e.: I've spent twenty years consistently quoting “You know what I like about rich kids? *air punch* NOTHING.”). Sepinwall, you created a success. Schwartz and Savage, you did, too. I had so much fun reading this book. And so will you.
December 4, 2023
Loved the oral history format. Fun to listen on audio even if it’s not the actual recorded interviews with the cast and crew.
Read
November 29, 2023Hustlers grab your guns
Your shadow weighs a ton
Driving down the 101
California here we come
Right back where we started from
I'm the kind of TV dork and OC fan who once posted a picture of the actual real life mall where Marissa stole the watch with the caption "DRINKING? CRYING? COPS? MUST BE CHRISTMAS!!!!" so reading this was a religious experience for me, tbh -- fascinating both as a fan and a writer
fav anecdotes include Caleb Nichols being in the top two roles Alan Dale's ever played (Charles Widmore found dead in a ditch on an island), Adam Brody needing to be talked into the scenes with George Lucas because he was so mad about the prequels, all the showrunners interviewing to supervise Josh Schwartz being too visibly pissed at how young he was to get the job (HONESTLY I GET IT), the casting director getting fired off Everwood bc they thought he was giving The OC all the talented kids, and the runner about how often the largely forgotten one-season teen soap Skin starring Olivia Wilde (WHICH! I! WATCHED!) came up in the oral history of an entirely different television program
On the stereo
Listen as we go
Nothings gonna stop me now
California here we come
Right back where we started from
Your shadow weighs a ton
Driving down the 101
California here we come
Right back where we started from
I'm the kind of TV dork and OC fan who once posted a picture of the actual real life mall where Marissa stole the watch with the caption "DRINKING? CRYING? COPS? MUST BE CHRISTMAS!!!!" so reading this was a religious experience for me, tbh -- fascinating both as a fan and a writer
fav anecdotes include Caleb Nichols being in the top two roles Alan Dale's ever played (Charles Widmore found dead in a ditch on an island), Adam Brody needing to be talked into the scenes with George Lucas because he was so mad about the prequels, all the showrunners interviewing to supervise Josh Schwartz being too visibly pissed at how young he was to get the job (HONESTLY I GET IT), the casting director getting fired off Everwood bc they thought he was giving The OC all the talented kids, and the runner about how often the largely forgotten one-season teen soap Skin starring Olivia Wilde (WHICH! I! WATCHED!) came up in the oral history of an entirely different television program
On the stereo
Listen as we go
Nothings gonna stop me now
California here we come
Right back where we started from
December 10, 2023
Offering my own transcribed oral testimony as my review.
Lucas (megafan): I found The O.C. late. Growing up, we didn't have cable because we were pretty poor, so, aside from whatever I watched on my dad's cable every Wednesday night, the only TV I really knew was what was available over the air or what someone had on DVD. For my birthday in Grade 11, my mom gave me the gift (lifetime addiction?) of finally having the Internet at home, and it wasn't long after that I discovered you could download TV episodes. I soon abandoned my books in favour of gluttonous amounts of television, which I downloaded primarily through BearShare (of all things...). A friend recommended I watch The O.C.; I want to say that I scoffed at the idea of watching a teen drama, but the truth is that I hadn't really ever heard of it. (Much later, when I watched the episode when Marissa dies, I realized I had vaguely heard people talking about her dying the day or two after the episode must've aired, but it was only later did I even realize it was about The O.C. Marissa's death, then, was a surprise for me, but weirdly one I realized I'd already known about.).
I've never ended binging anything harder than I did The O.C.. I fell hard, converted almost immediately to the high-priesthood of zealotry. Funny, deliciously melodramatic, melancholy, wistful. And god, what an absolute joy to spend 42 minutes with Cohen family. In one of my more desperate moves, I called in to school sick one day because I had stayed up all night watching The O.C. and wanted to spend the schoolday watching more. But I was slowed not just by our mediocre broadband connection but the sheer volume of show I had missed -- it was close to 80 or 90 episodes by that point, since the 4th season was just about to begin airing when I found it. As I watched as many episodes as I could, the show pushed along towards its ending; "Dice" by Finlay Quaye played as I raced to the show on air before it went off.
In the end, the only episode of the The O.C. I ever watched live was the finale. I remember exactly where I was and the feeling I got at the very end, when Patrick Park's Life is a Song plays over an epilogue montage; it broke my heart, in a happy way. I never numbered among the viewers recorded in the show's ratings and yet it has meant more to me than almost any other TV show or movie. Which isn't to overstate my estimation of the raw quality of the show, which deviated in such extremes between itself at its best and its worse that it doesn't quite stand up with the titans of Golden Age television. I esteem The O.C. not for its greatness, though, but rather its goodness. It is solid, watchable, reliably funny, and frequently sincere despite its reputation for acerbic metacommentary. And underneath the plot there's so much else going on: America post-9/11; the rise of Internet-driven culture; the fragmentation of network TV; rarely-seen positive masculinity; the morphing of nerd culture; Gen X fantasy; a show that some alternate universe, bizarro version of Gramsci might've liked (or at least appreciated); over even some of the headier stuff, like making me think that L.L. Bean was for very poor people because Lindsay wears it as the poor girl when she transfers to Harbour.
I know all of that is in there, but I'm not smart enough to have anything terribly sophisticated to say about it. That's why I had hoped Alan Sepinwall's new book would have sophisticated things to say about The O.C. Instead, the book is superficial; readable, delightful, but superficial. It is a total joy to hear from everyone who made the show reflect in different ways on their different perspectives; if you listen to the audiobook, there's extra joy in hearing Schwartz and Savage read their own lines. I learned a good deal, even after I thought I knew anything worth knowing about The O.C. But after about 300 pages, I gave up hope that there might be something more than simply a fun oral history.
The reason, I think, is in the Acknowledgement section at the very end, where Alan Sepinwall describes the book as the idea of Savage and Schwartz to celebrate the 20th anniversary. In that construct, suddenly its restrained, superficial approach makes a lot more sense: this is a capital-O-H Official History (TM) of The O.C., conceived by its creators in a (glorious, entertaining) act of correction on the show's 20th anniversary. There is no commitment -- nor claim, to be fair -- that this is to be a critique or analysis. This oral history is a palimpsest on the narrative you remembered about The O.C., happy for the most part to gloss over the very things it alludes are most important (Fox execs, the attitudes of Brody and Barton, mischa's mom!) while dwelling on the obvious and superficial reflections. (If you have a drink every time someone remarks on the real beauty of Mischa Barton, you will end up passed out in an alley in Tijuana.) Schwartz and Savage are a bit more self-critical but none of the other oral contributors really reach that level of reflection. Maybe that's the price you pay for their participation? It's not unexpected that participants might be more laconic than a reader might like, but Alan doesn't seem to push participants that hard. And his analysis in between the speakers is pretty feeble; it's more just weak connective tissue rather than context or analysis. There is some fuller exploration of some parts of the show (e.g. the chapter dedicated to the soundtrack and the casting period) but not uniformly throughout, and whole aspects of the show, like its costumes and its cinematography, go largely unaddressed.
Despite my quibbles, my superfandom guaranteed my enjoyment. This was more or less a total joy to read. I'm rewatching the show now for the first time in a few years (my obsession has mellowed in my 30s) and it's still intensely familiar; I know the lines, I know the beats, I know the score! I still love it. It still makes me smile. And this book made me smile a lot.
You (reader): that was too long Lucas. you should shut up.
Lucas: whatever. I’m hitting publish now.
Lucas (megafan): I found The O.C. late. Growing up, we didn't have cable because we were pretty poor, so, aside from whatever I watched on my dad's cable every Wednesday night, the only TV I really knew was what was available over the air or what someone had on DVD. For my birthday in Grade 11, my mom gave me the gift (lifetime addiction?) of finally having the Internet at home, and it wasn't long after that I discovered you could download TV episodes. I soon abandoned my books in favour of gluttonous amounts of television, which I downloaded primarily through BearShare (of all things...). A friend recommended I watch The O.C.; I want to say that I scoffed at the idea of watching a teen drama, but the truth is that I hadn't really ever heard of it. (Much later, when I watched the episode when Marissa dies, I realized I had vaguely heard people talking about her dying the day or two after the episode must've aired, but it was only later did I even realize it was about The O.C. Marissa's death, then, was a surprise for me, but weirdly one I realized I'd already known about.).
I've never ended binging anything harder than I did The O.C.. I fell hard, converted almost immediately to the high-priesthood of zealotry. Funny, deliciously melodramatic, melancholy, wistful. And god, what an absolute joy to spend 42 minutes with Cohen family. In one of my more desperate moves, I called in to school sick one day because I had stayed up all night watching The O.C. and wanted to spend the schoolday watching more. But I was slowed not just by our mediocre broadband connection but the sheer volume of show I had missed -- it was close to 80 or 90 episodes by that point, since the 4th season was just about to begin airing when I found it. As I watched as many episodes as I could, the show pushed along towards its ending; "Dice" by Finlay Quaye played as I raced to the show on air before it went off.
In the end, the only episode of the The O.C. I ever watched live was the finale. I remember exactly where I was and the feeling I got at the very end, when Patrick Park's Life is a Song plays over an epilogue montage; it broke my heart, in a happy way. I never numbered among the viewers recorded in the show's ratings and yet it has meant more to me than almost any other TV show or movie. Which isn't to overstate my estimation of the raw quality of the show, which deviated in such extremes between itself at its best and its worse that it doesn't quite stand up with the titans of Golden Age television. I esteem The O.C. not for its greatness, though, but rather its goodness. It is solid, watchable, reliably funny, and frequently sincere despite its reputation for acerbic metacommentary. And underneath the plot there's so much else going on: America post-9/11; the rise of Internet-driven culture; the fragmentation of network TV; rarely-seen positive masculinity; the morphing of nerd culture; Gen X fantasy; a show that some alternate universe, bizarro version of Gramsci might've liked (or at least appreciated); over even some of the headier stuff, like making me think that L.L. Bean was for very poor people because Lindsay wears it as the poor girl when she transfers to Harbour.
I know all of that is in there, but I'm not smart enough to have anything terribly sophisticated to say about it. That's why I had hoped Alan Sepinwall's new book would have sophisticated things to say about The O.C. Instead, the book is superficial; readable, delightful, but superficial. It is a total joy to hear from everyone who made the show reflect in different ways on their different perspectives; if you listen to the audiobook, there's extra joy in hearing Schwartz and Savage read their own lines. I learned a good deal, even after I thought I knew anything worth knowing about The O.C. But after about 300 pages, I gave up hope that there might be something more than simply a fun oral history.
The reason, I think, is in the Acknowledgement section at the very end, where Alan Sepinwall describes the book as the idea of Savage and Schwartz to celebrate the 20th anniversary. In that construct, suddenly its restrained, superficial approach makes a lot more sense: this is a capital-O-H Official History (TM) of The O.C., conceived by its creators in a (glorious, entertaining) act of correction on the show's 20th anniversary. There is no commitment -- nor claim, to be fair -- that this is to be a critique or analysis. This oral history is a palimpsest on the narrative you remembered about The O.C., happy for the most part to gloss over the very things it alludes are most important (Fox execs, the attitudes of Brody and Barton, mischa's mom!) while dwelling on the obvious and superficial reflections. (If you have a drink every time someone remarks on the real beauty of Mischa Barton, you will end up passed out in an alley in Tijuana.) Schwartz and Savage are a bit more self-critical but none of the other oral contributors really reach that level of reflection. Maybe that's the price you pay for their participation? It's not unexpected that participants might be more laconic than a reader might like, but Alan doesn't seem to push participants that hard. And his analysis in between the speakers is pretty feeble; it's more just weak connective tissue rather than context or analysis. There is some fuller exploration of some parts of the show (e.g. the chapter dedicated to the soundtrack and the casting period) but not uniformly throughout, and whole aspects of the show, like its costumes and its cinematography, go largely unaddressed.
Despite my quibbles, my superfandom guaranteed my enjoyment. This was more or less a total joy to read. I'm rewatching the show now for the first time in a few years (my obsession has mellowed in my 30s) and it's still intensely familiar; I know the lines, I know the beats, I know the score! I still love it. It still makes me smile. And this book made me smile a lot.
You (reader): that was too long Lucas. you should shut up.
Lucas: whatever. I’m hitting publish now.
January 22, 2025
Welcome to The OC, bitches!!!
Revisiting The OC as a 23-year-old teenager has been one of the greatest pleasures in my recent memory.
It’s all here—the origin story of Chrismukkah, how season 3 ever made it to air, and maybe even an update on the Captain Oats x Princess Sparkle ship??
The show’s creators, with the help of Alan Sepinwall, take you on a trip down memory lane through the upheavals and catalysts that allowed The OC to, for a brief moment in time, be the epicenter of American pop culture. Come for the nostalgia, stay for the inside scoops. The OC has always been a show that strives to sneak up on you with how smart it is, and this book does the same thing. It’s more than just a rehash of the good old days, it’s a reminder that a story’s greatest achievement will be continuing to resonate with people long after it’s finished.
This is that story!! (3.5 stars)
Revisiting The OC as a 23-year-old teenager has been one of the greatest pleasures in my recent memory.
It’s all here—the origin story of Chrismukkah, how season 3 ever made it to air, and maybe even an update on the Captain Oats x Princess Sparkle ship??
The show’s creators, with the help of Alan Sepinwall, take you on a trip down memory lane through the upheavals and catalysts that allowed The OC to, for a brief moment in time, be the epicenter of American pop culture. Come for the nostalgia, stay for the inside scoops. The OC has always been a show that strives to sneak up on you with how smart it is, and this book does the same thing. It’s more than just a rehash of the good old days, it’s a reminder that a story’s greatest achievement will be continuing to resonate with people long after it’s finished.
This is that story!! (3.5 stars)
September 14, 2024
It’s a very tough decision for me to make as to what I’d rate this book. On the one hand, it really is one of the better-written books on TV, movies, or rather, a specific TV show that created a cultural phenomenon. As other reviewers have mentioned, despite their praise or criticism of the book, it seems the one thing that was universally achieved by its publication was that everyone, myself included, went back to watch it (so much nostalgia for people coming of age with this show!).
I can’t really complain about the audio book because I just read the book in its hardcover format. Still, this is one of the few books I may have decided to listen to in audio, given the subject and the recollections by the cast members and production team. It does seem quite strange to me that they could all take time out to reconstruct an “oral history” for the book, yet not leave a permanent record of this history narrated in the actors’ own voices.
Moving on, while I did like learning and reminiscing over the show I fell in love with 20 years ago, I was, like many, surprised to find out just how unhappy the cast truly was. Obviously all OC fans know there were a lot of problems on set, namely after the first season. It just wasn’t clear how bad these problems really were.
On top of that, the book so often just glosses over the main problems, never offering any deep insight into why certain actors, producers, or writers acted as they did, or why certain decisions were made. Rather, they simply made very bland excuses or half-assed apologies and then moved on.
My biggest issue was twofold: first, with how they continued to treat Adam Brody as though he could do no wrong: despite his repeated disrespect, arrogance, and outright contempt for the show. Second, but more importantly, how horribly they treated Mischa Barton - the only actual teenager at 17 years old at the time of the show’s debut - a big difference in mindset and maturity compared to the rest of the cast and her co-actors of the “Core Four”: Ryan/Ben: 25, Seth/Adam: 24, Summer/Rachel: 22.
Early to mid-20s is still very young but it’s a world apart from being 17. You at least have some degree of real life experience, adversity, challenges, wisdom. All of the other actors were merely playing 16 year olds; Mischa Barton was that age (well, a year older, but 17 and 16 are of the same mindset, whereas 25, 24, and 22 - and 16 - most certainly are not).
I suppose after Mischa Barton appeared on Melinda Clarke and Rachel Bilson’s podcast - before this book was written - the rest of the actors and crew either already knew how bad her experience truly was, or if they didn’t, they certainly found out, then. Which is why I feel so little is said by Mischa in the book: she either had voiced these complaints for years and knew they’d never own up to their mistakes, or she knew that anything she said disagreeing with the others either wouldn’t be printed, or if it was, it would be ignored.
The writers and executive producers would constantly talk as if they were doing Mischa a favor by hurling all of these complex storylines at her, and while yes, she clearly preferred serious to comedic roles, or playing the ditsy party girl, that doesn’t mean she’s going to be comfortable with taking on a million new problems and character changes from episode to episode:
Barton, though, was mainly concerned with how the exact nature of how the character felt was like a moving target as filming began:
Mischa: “I do remember getting a little bit dismayed as we got into the territory of, ‘could she be more ditzy’? Or, ‘could she be more Southern California?’ Being British and a New Yorker, that’s just very far from me. So I struggled at first setting the tone with her as this like, SoCal, beachy, preppy thing. Though I could maybe relate to the preppy more. We tried a lot with how much of a party girl she was, or she wasn’t. And I do think it took a minute to land on the character.”
She’s given the most uncomfortable scenes from the get-go, like the first cast member to shoot a sex scene with her boyfriend, Luke (played by Chris Carmack, 26 - 9 years older than her):
Mischa: “She was always changing and going through so much. I always felt I didn’t have a handle on where that character was going to go. But when you’re working that often – and I was – at some point, you’ve just got to roll with the punches, and there’s nothing you can do. There’s not enough time to continually prepare. Unlike that first scene in the driveway, or the first party scene where she shows up drunk, there just wasn’t time to think about it that much anymore.”
The most egregious example of this, however, and the one that infuriates me the most, is how Mischa’s character, Marissa, is nearly sexually assaulted by Trey, Ryan’s older brother. Ryan and Trey already have a strained relationship based on Trey’s criminal past, and Ryan desperately needs to believe his brother is capable of turning over a new leaf.
Apparently, this was the best and only way to introduce conflict into the relationship between the two brothers and solidify Ryan’s deep-down feelings that Trey was never truly capable of change.
They couldn’t have Trey trying to coax Marissa into doing drugs, or hey, aiding and abetting in a new crime he’d committed (which as a self-professed “empathetic character”, would make complete sense for Marissa to feel badly for Trey, agreeing to cover up his crime as she believed she was protecting not just him, but ultimately Ryan).
I came up with that idea just now, and so I’m certain that the well-seasoned producers, writers, and directors could have come up with something similarly unforgivable for Trey to do to Ryan that involved Marissa, that wasn’t attempted rape.
That’s what’s so problematic for me, as I just mentioned a couple of paragraphs back: it was a scene created for the sole purpose of introducing conflict between the two brothers. Nothing about the scene is intended to further develop Marissa’s character or her storyline.
Of course, assistant executive producer Stephanie Savage is either completely naive or willfully ignorant of this (I’m going with the latter assumption):
”Mischa, my memory was that she was excited about this storyline. I think she felt more comfortable in the more dramatic storylines versus the more comedic storylines, just as an actor. So I think she was excited to do something that felt like a more important story and something that played to her strengths as an actor.”
Interesting “memory” for someone to have that has admitted throughout the book that ”She [Mischa] was more on her own island with her different boyfriends, going out with Paris and Nicole, and being on Perez Hilton, and in retrospect, I think that was a very scary, dangerous island she shouldn’t have been on by herself. We had the ability to give her a little tugboat to go back and forth. And we didn’t do that, and I regret it.”
or:
“There was one day when we were shooting, and it was a really nice vibe on set. Everyone was sitting around laughing, telling stories. Mischa was sitting in her chair out by the pool house with her back to us, reading a CAA script.
And looking back on that moment, I’m like, why didn’t I just walk over there and go, ‘Hey, everyone’s sitting over here having a nice time and chatting and we’d love for you to join us?’
But I remember just looking over with a very immature feeling of, I guess she’s too cool for us now to sit around and laugh, versus a more mature feeling of, maybe she feels left out. Maybe she doesn’t want to come over because she hasn’t been invited.”
So, what does Mischa have to say to Stephanie Savage’s “memory” of her being “excited to do a storyline that played to her strengths as an actor” - one that isn’t really so much about challenging dialogue, rather, as a young woman, the instinctive fear and desire to get yourself out of a horrifying situation?:
Mischa: “I don’t want to get too much into all of that. But there were varying degrees of how comfortable that stuff made me or didn’t make me. A lot of the beach stuff wasn’t comfortable for really obvious reasons. And, yeah, that was a bit of a heavier scene. So I don’t know how to answer that.”
You’d think, at LEAST for this ONE time, they’d go back to Stephanie for a follow-up response. We’re talking about a very raw storyline that is traumatic for young women everywhere. It should have been addressed. That’s exactly when Savage should have apologized for the way she’d treated Mischa at the time.
But as usual, the author outright ignores this, refusing to abandon the book’s cheerful theme, following Mischa’s statement with, “Marissa refuses to tell Ryan about the sexual assault to avoid hurting him, but he finds out anyway, leading the brothers to begin brawling in Trey’s apartment.” This also includes the very important side note of: “Trey was living in Alex’s old apartment, a way for production to save money by reusing a preexisting set.”
Wow. Just wow. I’m so happy that they cleared the air on that situation, discussing how much it would hurt Ryan to know, and further explaining how important it was for the O.C.’s production team to reuse sets in order to save money on a rather low budget, especially given the show’s popularity. Eye roll.
Mischa’s voice does come in again, but as usual, what she says is never addressed by anyone:
Mischa Barton: “I think the boys had a lot of fun with it” [shooting the fight scene].
Michael Cassidy: “Ben, I remember the face he makes before he fuckin’ lunges at somebody. I was always like, goddamnit, that feels like what I would do if I was in this situation. It felt very real to me, and I was always impressed by that.”
Mischa Barton: “It was a long day. It’s funny that Rachel and Adam just showed up at the very end of the scene, after we’ve been filming for probably twenty hours. I think me sinking down that wall was really the feeling I had at that time of night.”
Once again, entirely glossed over! The only questions asked (after Marissa shoots Trey with his own gun, given he’s about to beat Ryan to death, because remember, this really only affects Ryan and Trey) at the end of the chapter: was Trey dead? What would happen to Marissa after shooting a man, even if it was in defense of someone else? And what could The OC possibly do for an encore?
Nothing about, “Would Marissa ever be able to overcome the inherent trauma of nearly being raped by the brother of her only true love? Of having to shoot her boyfriend’s brother because after the near rape, she was additionally forced to watch her abuser nearly kill the guy she loved?” Nah. Moving on! (Really, this is exactly how the book is written).
MOVING ON, to the opposite side of the coin: the show’s golden child, Adam “could-do-no-wrong” Brody.
The production crew and actors have the completely opposite view of Adam Brody. No matter how many times he comes across as explicitly narcissistic, someone on the show will come to his rescue, making an excuse for his entitled behavior. Even in season three, when he decides to “check out” because he believes the quality of the writing has gone majorly downhill.
He’s still described as an “incredible actor”, with the biggest concerns never being how his horrible attitude and low morale could be negatively affecting other (especially newer) - co-stars. He’s consistently praised for his acting ability, regardless of his complete lack of interest in learning his lines and playing his character.
With Brody, their biggest concern over his complete lack of professionalism isn’t his complete lack of professionalism. It’s how they’re going to “explain his lethargy” in the show. This is when they get the bright idea that Marissa’s rebellious little sister, Kaitlin, will get him hooked on pot.
Josh Schwartz: “Brody just changed his delivery, his investment in it. His style shifted to such a degree that we felt like we needed to account for it creatively…and at least if we can write that he’s stoned, then we’re not trying to write around it.”
The book tells you, half joking, half serious, that you can make a drinking game during the recollection of this story: take a shot for every time the show SKINS is mentioned, specifically in conflict with their own storyline or actors. Well, the same could be said about Rachel Bilson, Josh Schwartz, or any other main player on the show, really, when talking about what a “genius actor” Adam Brody was, despite his shitty attitude and lack of respect for everyone on set.
Rachel Bilson: “Here is a thing about Brody. Even his half effort is still genius. Which is frustrating, cause you’re like, ‘dude, you can just phone it in and still be you,’ which is admirable in a way.”
Stephanie Savage: “Brody was very smart about how he did his ad-libs, knowing that we could cut around them. It would be his scripted dialogue, and then something improvised at the end of the scene or the beginning of the scene, knowing that we could shape that. I think he felt very free, because we would protect him. He could say anything, and you didn’t have to worry that if it didn’t work, it would go on the show.”
Ben McKenzie: “Adam’s hilarious. He had such confidence, certainly hourly. I’d be curious to hear what he says about that.”
Adam Brody: “I was very confident. That wasn’t a projection.”
When he does make an attempt at humility, it’s short-lived thanks to interjection by the others. For instance, the author of the book mentions ”while filming the pilot, Brody improvised a few lines - most memorably, Seth spotting drugs at the party and declaring ‘Oh, hey, cocaine… that’s awesome.’”
To me, at the time and after a rewatch, sure, it was a remark that stood out a bit - but not because of its “hilarity” or any sort of comedic value. As Brody himself says, ”it’s not a clever line. It’s funny because someone’s saying something ironically in a soap opera.”
Immediately in comes Rachel Bilson to set the record straight, for those of us doubting Adam Brody’s true “comedic genius”, in one of the very few instances in which he seems to doubt himself at all:
Rachel Bilson: “He’s just saying that because of the pressure he puts on himself. But in the moment, he’s HILARIOUS. And his fucking improvs! Every single one, I think, made it on camera. Everyone laughed and loved it, and they all wound up in the show.”
Stephanie Savage: “Any episode that ended with a Seth and Summer scene, there’s a good chance that the end of that is improvised. When she brings home Pancakes the bunny in season four and goes, ‘Pancakes is my daughter’, that was all completely made up.”
Seriously?! We’re gushing over how hilarious it is that Adam Brody says, “oh cool, cocaine” sarcastically at a party, and the unparalleled comedic improv by Rachel Bilson which is attributed to her…calling a bunny her daughter? Wow.
At the beginning of this review, I was thinking about a three or four star rating - but after more consideration, it’s hard not to imagine how much better Mischa Barton’s acting career and life following the OC could have been. If only the producers, directors, writers, and co-stars had put in half (or even a quarter) the effort hyping up Mischa the way they hyped up Adam Brody and Rachel Bilson.
There’s no serious attempt at self-reflection. There’s no looking back, with the benefit of hindsight, at the seriously childish behavior exhibited by the older producers and writers toward Mischa. No genuine admissions of guilt or apologies in how they failed to look after the youngest member of their cast properly. Even when it’s mentioned how Mischa is constantly overworked and exhausted, shooting twenty hours in a row and getting only six days off in one particular year, they avoid any responsibility by placing the blame squarely onto the shoulders of Mischa’s “momager” (mother/manager).
Sure, that’s believable. As head directors and producers of the show, they had no control over the show’s scheduling and shooting. This may be a great walk down memory lane for many, but I’d prefer to just watch the show again. It’s obvious that even twenty years later, the producers and directors refuse to acknowledge their obvious favoritism with some actors, to the detriment of the other actors. My message to them? Grow the hell up. You’ve had more than enough time.
2 1/2 stars.
**Also, I apologize for the length of the review and any accompanying grammatical errors; I’ve been trying to fix them, but a few will be inevitable. I felt as though all of this had to be acknowledged, in order to explain the level of my frustration.
I can’t really complain about the audio book because I just read the book in its hardcover format. Still, this is one of the few books I may have decided to listen to in audio, given the subject and the recollections by the cast members and production team. It does seem quite strange to me that they could all take time out to reconstruct an “oral history” for the book, yet not leave a permanent record of this history narrated in the actors’ own voices.
Moving on, while I did like learning and reminiscing over the show I fell in love with 20 years ago, I was, like many, surprised to find out just how unhappy the cast truly was. Obviously all OC fans know there were a lot of problems on set, namely after the first season. It just wasn’t clear how bad these problems really were.
On top of that, the book so often just glosses over the main problems, never offering any deep insight into why certain actors, producers, or writers acted as they did, or why certain decisions were made. Rather, they simply made very bland excuses or half-assed apologies and then moved on.
My biggest issue was twofold: first, with how they continued to treat Adam Brody as though he could do no wrong: despite his repeated disrespect, arrogance, and outright contempt for the show. Second, but more importantly, how horribly they treated Mischa Barton - the only actual teenager at 17 years old at the time of the show’s debut - a big difference in mindset and maturity compared to the rest of the cast and her co-actors of the “Core Four”: Ryan/Ben: 25, Seth/Adam: 24, Summer/Rachel: 22.
Early to mid-20s is still very young but it’s a world apart from being 17. You at least have some degree of real life experience, adversity, challenges, wisdom. All of the other actors were merely playing 16 year olds; Mischa Barton was that age (well, a year older, but 17 and 16 are of the same mindset, whereas 25, 24, and 22 - and 16 - most certainly are not).
I suppose after Mischa Barton appeared on Melinda Clarke and Rachel Bilson’s podcast - before this book was written - the rest of the actors and crew either already knew how bad her experience truly was, or if they didn’t, they certainly found out, then. Which is why I feel so little is said by Mischa in the book: she either had voiced these complaints for years and knew they’d never own up to their mistakes, or she knew that anything she said disagreeing with the others either wouldn’t be printed, or if it was, it would be ignored.
The writers and executive producers would constantly talk as if they were doing Mischa a favor by hurling all of these complex storylines at her, and while yes, she clearly preferred serious to comedic roles, or playing the ditsy party girl, that doesn’t mean she’s going to be comfortable with taking on a million new problems and character changes from episode to episode:
Barton, though, was mainly concerned with how the exact nature of how the character felt was like a moving target as filming began:
Mischa: “I do remember getting a little bit dismayed as we got into the territory of, ‘could she be more ditzy’? Or, ‘could she be more Southern California?’ Being British and a New Yorker, that’s just very far from me. So I struggled at first setting the tone with her as this like, SoCal, beachy, preppy thing. Though I could maybe relate to the preppy more. We tried a lot with how much of a party girl she was, or she wasn’t. And I do think it took a minute to land on the character.”
She’s given the most uncomfortable scenes from the get-go, like the first cast member to shoot a sex scene with her boyfriend, Luke (played by Chris Carmack, 26 - 9 years older than her):
Mischa: “She was always changing and going through so much. I always felt I didn’t have a handle on where that character was going to go. But when you’re working that often – and I was – at some point, you’ve just got to roll with the punches, and there’s nothing you can do. There’s not enough time to continually prepare. Unlike that first scene in the driveway, or the first party scene where she shows up drunk, there just wasn’t time to think about it that much anymore.”
The most egregious example of this, however, and the one that infuriates me the most, is how Mischa’s character, Marissa, is nearly sexually assaulted by Trey, Ryan’s older brother. Ryan and Trey already have a strained relationship based on Trey’s criminal past, and Ryan desperately needs to believe his brother is capable of turning over a new leaf.
Apparently, this was the best and only way to introduce conflict into the relationship between the two brothers and solidify Ryan’s deep-down feelings that Trey was never truly capable of change.
They couldn’t have Trey trying to coax Marissa into doing drugs, or hey, aiding and abetting in a new crime he’d committed (which as a self-professed “empathetic character”, would make complete sense for Marissa to feel badly for Trey, agreeing to cover up his crime as she believed she was protecting not just him, but ultimately Ryan).
I came up with that idea just now, and so I’m certain that the well-seasoned producers, writers, and directors could have come up with something similarly unforgivable for Trey to do to Ryan that involved Marissa, that wasn’t attempted rape.
That’s what’s so problematic for me, as I just mentioned a couple of paragraphs back: it was a scene created for the sole purpose of introducing conflict between the two brothers. Nothing about the scene is intended to further develop Marissa’s character or her storyline.
Of course, assistant executive producer Stephanie Savage is either completely naive or willfully ignorant of this (I’m going with the latter assumption):
”Mischa, my memory was that she was excited about this storyline. I think she felt more comfortable in the more dramatic storylines versus the more comedic storylines, just as an actor. So I think she was excited to do something that felt like a more important story and something that played to her strengths as an actor.”
Interesting “memory” for someone to have that has admitted throughout the book that ”She [Mischa] was more on her own island with her different boyfriends, going out with Paris and Nicole, and being on Perez Hilton, and in retrospect, I think that was a very scary, dangerous island she shouldn’t have been on by herself. We had the ability to give her a little tugboat to go back and forth. And we didn’t do that, and I regret it.”
or:
“There was one day when we were shooting, and it was a really nice vibe on set. Everyone was sitting around laughing, telling stories. Mischa was sitting in her chair out by the pool house with her back to us, reading a CAA script.
And looking back on that moment, I’m like, why didn’t I just walk over there and go, ‘Hey, everyone’s sitting over here having a nice time and chatting and we’d love for you to join us?’
But I remember just looking over with a very immature feeling of, I guess she’s too cool for us now to sit around and laugh, versus a more mature feeling of, maybe she feels left out. Maybe she doesn’t want to come over because she hasn’t been invited.”
So, what does Mischa have to say to Stephanie Savage’s “memory” of her being “excited to do a storyline that played to her strengths as an actor” - one that isn’t really so much about challenging dialogue, rather, as a young woman, the instinctive fear and desire to get yourself out of a horrifying situation?:
Mischa: “I don’t want to get too much into all of that. But there were varying degrees of how comfortable that stuff made me or didn’t make me. A lot of the beach stuff wasn’t comfortable for really obvious reasons. And, yeah, that was a bit of a heavier scene. So I don’t know how to answer that.”
You’d think, at LEAST for this ONE time, they’d go back to Stephanie for a follow-up response. We’re talking about a very raw storyline that is traumatic for young women everywhere. It should have been addressed. That’s exactly when Savage should have apologized for the way she’d treated Mischa at the time.
But as usual, the author outright ignores this, refusing to abandon the book’s cheerful theme, following Mischa’s statement with, “Marissa refuses to tell Ryan about the sexual assault to avoid hurting him, but he finds out anyway, leading the brothers to begin brawling in Trey’s apartment.” This also includes the very important side note of: “Trey was living in Alex’s old apartment, a way for production to save money by reusing a preexisting set.”
Wow. Just wow. I’m so happy that they cleared the air on that situation, discussing how much it would hurt Ryan to know, and further explaining how important it was for the O.C.’s production team to reuse sets in order to save money on a rather low budget, especially given the show’s popularity. Eye roll.
Mischa’s voice does come in again, but as usual, what she says is never addressed by anyone:
Mischa Barton: “I think the boys had a lot of fun with it” [shooting the fight scene].
Michael Cassidy: “Ben, I remember the face he makes before he fuckin’ lunges at somebody. I was always like, goddamnit, that feels like what I would do if I was in this situation. It felt very real to me, and I was always impressed by that.”
Mischa Barton: “It was a long day. It’s funny that Rachel and Adam just showed up at the very end of the scene, after we’ve been filming for probably twenty hours. I think me sinking down that wall was really the feeling I had at that time of night.”
Once again, entirely glossed over! The only questions asked (after Marissa shoots Trey with his own gun, given he’s about to beat Ryan to death, because remember, this really only affects Ryan and Trey) at the end of the chapter: was Trey dead? What would happen to Marissa after shooting a man, even if it was in defense of someone else? And what could The OC possibly do for an encore?
Nothing about, “Would Marissa ever be able to overcome the inherent trauma of nearly being raped by the brother of her only true love? Of having to shoot her boyfriend’s brother because after the near rape, she was additionally forced to watch her abuser nearly kill the guy she loved?” Nah. Moving on! (Really, this is exactly how the book is written).
MOVING ON, to the opposite side of the coin: the show’s golden child, Adam “could-do-no-wrong” Brody.
The production crew and actors have the completely opposite view of Adam Brody. No matter how many times he comes across as explicitly narcissistic, someone on the show will come to his rescue, making an excuse for his entitled behavior. Even in season three, when he decides to “check out” because he believes the quality of the writing has gone majorly downhill.
He’s still described as an “incredible actor”, with the biggest concerns never being how his horrible attitude and low morale could be negatively affecting other (especially newer) - co-stars. He’s consistently praised for his acting ability, regardless of his complete lack of interest in learning his lines and playing his character.
With Brody, their biggest concern over his complete lack of professionalism isn’t his complete lack of professionalism. It’s how they’re going to “explain his lethargy” in the show. This is when they get the bright idea that Marissa’s rebellious little sister, Kaitlin, will get him hooked on pot.
Josh Schwartz: “Brody just changed his delivery, his investment in it. His style shifted to such a degree that we felt like we needed to account for it creatively…and at least if we can write that he’s stoned, then we’re not trying to write around it.”
The book tells you, half joking, half serious, that you can make a drinking game during the recollection of this story: take a shot for every time the show SKINS is mentioned, specifically in conflict with their own storyline or actors. Well, the same could be said about Rachel Bilson, Josh Schwartz, or any other main player on the show, really, when talking about what a “genius actor” Adam Brody was, despite his shitty attitude and lack of respect for everyone on set.
Rachel Bilson: “Here is a thing about Brody. Even his half effort is still genius. Which is frustrating, cause you’re like, ‘dude, you can just phone it in and still be you,’ which is admirable in a way.”
Stephanie Savage: “Brody was very smart about how he did his ad-libs, knowing that we could cut around them. It would be his scripted dialogue, and then something improvised at the end of the scene or the beginning of the scene, knowing that we could shape that. I think he felt very free, because we would protect him. He could say anything, and you didn’t have to worry that if it didn’t work, it would go on the show.”
Ben McKenzie: “Adam’s hilarious. He had such confidence, certainly hourly. I’d be curious to hear what he says about that.”
Adam Brody: “I was very confident. That wasn’t a projection.”
When he does make an attempt at humility, it’s short-lived thanks to interjection by the others. For instance, the author of the book mentions ”while filming the pilot, Brody improvised a few lines - most memorably, Seth spotting drugs at the party and declaring ‘Oh, hey, cocaine… that’s awesome.’”
To me, at the time and after a rewatch, sure, it was a remark that stood out a bit - but not because of its “hilarity” or any sort of comedic value. As Brody himself says, ”it’s not a clever line. It’s funny because someone’s saying something ironically in a soap opera.”
Immediately in comes Rachel Bilson to set the record straight, for those of us doubting Adam Brody’s true “comedic genius”, in one of the very few instances in which he seems to doubt himself at all:
Rachel Bilson: “He’s just saying that because of the pressure he puts on himself. But in the moment, he’s HILARIOUS. And his fucking improvs! Every single one, I think, made it on camera. Everyone laughed and loved it, and they all wound up in the show.”
Stephanie Savage: “Any episode that ended with a Seth and Summer scene, there’s a good chance that the end of that is improvised. When she brings home Pancakes the bunny in season four and goes, ‘Pancakes is my daughter’, that was all completely made up.”
Seriously?! We’re gushing over how hilarious it is that Adam Brody says, “oh cool, cocaine” sarcastically at a party, and the unparalleled comedic improv by Rachel Bilson which is attributed to her…calling a bunny her daughter? Wow.
At the beginning of this review, I was thinking about a three or four star rating - but after more consideration, it’s hard not to imagine how much better Mischa Barton’s acting career and life following the OC could have been. If only the producers, directors, writers, and co-stars had put in half (or even a quarter) the effort hyping up Mischa the way they hyped up Adam Brody and Rachel Bilson.
There’s no serious attempt at self-reflection. There’s no looking back, with the benefit of hindsight, at the seriously childish behavior exhibited by the older producers and writers toward Mischa. No genuine admissions of guilt or apologies in how they failed to look after the youngest member of their cast properly. Even when it’s mentioned how Mischa is constantly overworked and exhausted, shooting twenty hours in a row and getting only six days off in one particular year, they avoid any responsibility by placing the blame squarely onto the shoulders of Mischa’s “momager” (mother/manager).
Sure, that’s believable. As head directors and producers of the show, they had no control over the show’s scheduling and shooting. This may be a great walk down memory lane for many, but I’d prefer to just watch the show again. It’s obvious that even twenty years later, the producers and directors refuse to acknowledge their obvious favoritism with some actors, to the detriment of the other actors. My message to them? Grow the hell up. You’ve had more than enough time.
2 1/2 stars.
**Also, I apologize for the length of the review and any accompanying grammatical errors; I’ve been trying to fix them, but a few will be inevitable. I felt as though all of this had to be acknowledged, in order to explain the level of my frustration.
January 18, 2024
Okay so here is my thing with this book. I really, really enjoyed it. As a true blue OC fan, this was my first show I ever fell in love with and there is such a fun nostalgia that comes with reading this book. I so loved reading how the show came together and the breakdown of a PERFECT first season (seriously, iykyk). The cast, crew, and writer interviews were great and kept the story moving along and helped bookmark each period in time.
I say this all to say that the first 2/3 of the book was fantastic and the last piece felt a little rushed to just move on with the rest of the OC seasons...for better or for worse? It definitely was disheartening to read that the cast was "over it" pretty much at the end of season 2 (arguably rightfully so but still..) and especially read that Adam Brody was a bit........annoyed..... through it all (still love him). I get that the "glory days" of the OC were for sure in the first season, but the geek in me would have loved the same breakdown of EVERY season like how the first season was done. However, I understand that the show did start to drop off and, as the book revealed, the writers truly were all over the place scrambling to find the perfect balance and capture the magic of their pilot season.
Overall an interesting read.
I say this all to say that the first 2/3 of the book was fantastic and the last piece felt a little rushed to just move on with the rest of the OC seasons...for better or for worse? It definitely was disheartening to read that the cast was "over it" pretty much at the end of season 2 (arguably rightfully so but still..) and especially read that Adam Brody was a bit........annoyed..... through it all (still love him). I get that the "glory days" of the OC were for sure in the first season, but the geek in me would have loved the same breakdown of EVERY season like how the first season was done. However, I understand that the show did start to drop off and, as the book revealed, the writers truly were all over the place scrambling to find the perfect balance and capture the magic of their pilot season.
Overall an interesting read.
January 21, 2024
I can’t rate this fairly because I’m ride or die for the OC, but I will say that it’s more of a behind-the-scenes thing. There isn’t much tea, but it’s still fun for fans to learn the context behind the casting, scripts, scenes, music, etc. Also reconfirmed that Peter Gallagher is perfection 😇
December 7, 2023
I think it's a little odd so many people were disappointed about the lack of tea in this book. It's definitely more a behind the scenes look and it actually was nice to have most of the cast reflect fondly on the show where the biggest problems on set were the network and everyone being over it by the third season (also makes a lot of sense now that Melinda and Rachel were carrying the later episodes). Compared to a lot of other teen soaps that was refreshing and I'm glad a show I was so deeply invested in has not been completely tarnished.
That being said what was up with savetheoc.com like I was under the impression that it was official and run by fox. Was that a lie? This haunts me because according to this book everyone knew the show was over and yeah I had a feeling too but was I on my desktop computer every day making up names and signing that petition repeatedly to save The OC? Absolutely. Why did it exist? To get my hopes up? For what???
Also someone put Fix You (oc version) on streaming.
That being said what was up with savetheoc.com like I was under the impression that it was official and run by fox. Was that a lie? This haunts me because according to this book everyone knew the show was over and yeah I had a feeling too but was I on my desktop computer every day making up names and signing that petition repeatedly to save The OC? Absolutely. Why did it exist? To get my hopes up? For what???
Also someone put Fix You (oc version) on streaming.
May 8, 2024
I love the OC and it was a huge part of my teenage years - I would watch my sisters DVDs of the seasons all summer long.
I loved this book and a first hand account from the actors and everyone involved. It would have been great to hear more from certain people, but understand why this lacked in certain areas.
I was surprised to hear Adam Brody did not like playing Seth, but I will live in ignorance and pretend like that’s who he is in real life.
The chapter about the music was my absolute favorite. I listen to music from the show weekly and many of my favorite artists had songs in The OC. Music you listened to in your teenage years is so formative, as mentioned in the book, and that is why I’m still so drawn to the show today.
While I don’t have a DVD player anymore, I’ll be logging into HBO tonight to rewatch.
I loved this book and a first hand account from the actors and everyone involved. It would have been great to hear more from certain people, but understand why this lacked in certain areas.
I was surprised to hear Adam Brody did not like playing Seth, but I will live in ignorance and pretend like that’s who he is in real life.
The chapter about the music was my absolute favorite. I listen to music from the show weekly and many of my favorite artists had songs in The OC. Music you listened to in your teenage years is so formative, as mentioned in the book, and that is why I’m still so drawn to the show today.
While I don’t have a DVD player anymore, I’ll be logging into HBO tonight to rewatch.
November 15, 2024
I rediscovered The O.C. on Hulu last year. I remember watching it when it originally aired and giving up after the second season. I loved how this book explained why I (and probably others) gave up. I loved the insider views from the actors and people who worked on the show. The quotes started out interesting but got to be too much. I would have preferred more narrative to make the story more cohesive. Most of the footnotes could have also been part of the narrative, which would have made reading the ebook easier. If you're a huge O.C. fan you will love the insight into casting and what the actors were really like. If you have never watched the O.C. reading this book will make you want to.
February 12, 2025
"Welcome to the O.C., bitch."
- iconic line from an iconic tv show.
I honestly didn't know this book existed but when I saw it at the bookstore, I knew I needed it. An in depth exploration of a show I loved told by the cast and crew itself? Count me in. I love books like this!
This book didn't hold anything back. Starting from conception of the series, each chapter explored the blood, sweat, and tears that went into creating what became such a cultural phenomenon. I was honestly shocked that they got Mischa Barton to come and speak about her time on the show because I knew that she wasn't really happy while doing the show. And while she doesn't speak on much in this book, you can kind of read between the lines and definitely tell that her experience was vastly different then the rest of the casts.
The one thing you can say about the OC is that it came out with a BANG. They talk a lot about how in the first season they did so much that it was really hard to maintain that level going into other seasons - it's one of the reasons the show only lasted 4 seasons. What I didn't realize was how checked out a lot of the cast was by the time it rolled around to even season 3 - especially Adam Brody.
I think it's definitely time for a rewatch. California, here we comeeeeeeeeee
I honestly didn't know this book existed but when I saw it at the bookstore, I knew I needed it. An in depth exploration of a show I loved told by the cast and crew itself? Count me in. I love books like this!
This book didn't hold anything back. Starting from conception of the series, each chapter explored the blood, sweat, and tears that went into creating what became such a cultural phenomenon. I was honestly shocked that they got Mischa Barton to come and speak about her time on the show because I knew that she wasn't really happy while doing the show. And while she doesn't speak on much in this book, you can kind of read between the lines and definitely tell that her experience was vastly different then the rest of the casts.
The one thing you can say about the OC is that it came out with a BANG. They talk a lot about how in the first season they did so much that it was really hard to maintain that level going into other seasons - it's one of the reasons the show only lasted 4 seasons. What I didn't realize was how checked out a lot of the cast was by the time it rolled around to even season 3 - especially Adam Brody.
I think it's definitely time for a rewatch. California, here we comeeeeeeeeee
February 6, 2024
3.5. Really interesting, but it basically destroyed my old crush on Adam Brody lol. Makes me want to rewatch the show
June 16, 2024
A fluffy book about one of my favorite shows. It doesn't reveal much more than what it already knows about the show's rise and fall, but it was nice to hear directly from the cast and crew. They definitely skirted around some of the touchier topics. Either way, I continue to love this show and know how much it impacted my young adult development.
January 26, 2025
Californiaaaaaa here we comeeeeeee
January 9, 2024
This was a very quick listen! Very nostalgic - I remember vividly when the OC soundtrack and Imogen Heap’s Hide & Seek came out so it was fun to revisit. I also learned a lot of BTS about the actors and their thoughts on the show/phenomenon. Would recommend if you were a fan of the OC like I was!
January 24, 2025
welcome to the oc, BITCH! the lore is crayyy
recommended and loaned from @mallika
such a cool look into the making of the oc/ how shows were created in the early 2000s.
this is making me want to rewatch the oc for the 100th time 🤣
recommended and loaned from @mallika
such a cool look into the making of the oc/ how shows were created in the early 2000s.
this is making me want to rewatch the oc for the 100th time 🤣
January 10, 2025
4.5. This was a super fun and interesting listen. Was something I could listen to and made me feel better while I was sick in bed. Anyways gonna go rewatch the oc now.
December 5, 2023
Was interesting to listen to and hear about what went on behind the scenes, etc, but dropped to 3 stars because it was not the actual actors talking, which I misinterpreted, that would've made it a better listen.
December 4, 2023
“Welcome to the OC, b—h!” The OC is the rare show that somehow perfectly captured the zeitgeist of the early aughts. It captured a perfect crossroads of TV, music, movies, and the early internet so well. It is a near perfect time capsule and just couldn’t be made in any other time period.
This book was a great look at the show’s cultural impact and answered a lot of behind the scenes questions that have plagued viewers (including me) for years.
I wish there been a little more commentary (most of the book is interview style), but the cast and crew gave some incredible interviews and this touched upon a lot quickly. I was transported right back to middle school and I had the urge to download indie music onto my iPod shuffle.
A great look back at the show’s influence and faults, but as far as the early 2000s go the OC aged pretty well. California, here we come.
This book was a great look at the show’s cultural impact and answered a lot of behind the scenes questions that have plagued viewers (including me) for years.
I wish there been a little more commentary (most of the book is interview style), but the cast and crew gave some incredible interviews and this touched upon a lot quickly. I was transported right back to middle school and I had the urge to download indie music onto my iPod shuffle.
A great look back at the show’s influence and faults, but as far as the early 2000s go the OC aged pretty well. California, here we come.
April 11, 2024
Exactly what I thought it would be
September 25, 2024
first and foremost, mischa barton deserved better.
before i get into the rest of the book and my thoughts about various things, we need to talk about mischa barton’s unfair reputation. she’s been slammed as “nasty,” a “nightmare,” “difficult,” “the biggest diva,” basically everything that can ruin a woman’s career. and for what? it’s actually hard to figure out since her cast and crew described her as “delightful” to work with; “very sweet,” “kind,” and “friendly”; “working really hard to fit in”; handling being an overworked teenager “gracefully”; “the most reliable” of the younger actors; knowledgeable about acting; always “hitting the mark, saying the lines, and delivering the performance”; never asking for a line to be changed; doing her job “like a professional”; not letting her personal issues impact her work; and most tellingly, “she was never petulant. i feel like there’s just a reputation over the years that’s completely at odds with what my experience was. i really don’t know where that comes from, because i found her to be a pleasure.”
she was described as thinking she was “too cool” for everyone else on set because she was quiet, kept to herself, and read a lot—meanwhile, adam brody was also quiet and read a lot on set and ben mckenzie wasn’t overly friendly or chit chatty, but neither were ever criticized or thought of negatively for it. showrunner josh schwartz started shifting his responsibilities onto others to avoid the cast/crew, going as far as hiding in stairwells from them, and not a word about him being difficult or unprofessional. she was described as being “wrapped up in whatever she had going on” (i would like to note here how when discussing mischa being overworked, every single person blamed her mother/manager, even though they had previously discussed the ridiculous workload they had on the o.c.)—meanwhile, director doug liman literally jumped off a crew boat while filming a boat scene and swam away because he had a meeting for another project he was doing, and he was praised up and down. she never requested a script change—meanwhile, rachel bilson requested to be included in the vegas storyline that was originally just the guys because she was dating adam brody and wanted to be with him; peter gallagher rewrote a whole scene to give himself all of ben mckenzie’s lines and presented it to josh schwartz after telling him his writing wasn’t good; adam brody and ben mckenzie started refusing to do scenes with backpacks or at desks, and never once were any of them regarded as difficult or hard to work with.
straight from his audition, adam brody was “obnoxious” and “disrespectful of the material,” not even reading from the script during his audition. but he was vouched for and got to come back and “actually read the part as written and put some effort into it.” similarly, when his vocal hatred and boredom affected his acting, they wrote a storyline where his character smoked pot all the time to account for his lack of professionalism. in the same breath that adam claimed he was never mean, he admitted to “openly mocking” the material and being disrespectful. everyone in the book defended adam, even while talking about how horrible he was. meanwhile, the network wanted to kill marissa off in the first season, with zero reason given other than being “wary” of mischa. mischa’s unhappiness on the show was used several times over as a cover for them killing off marissa—ben mckenzie said “something had to give” and “they did what they had to do” but notice how they didn’t kill anyone else off, even though they were also unhappy and some of them were actually being hateful and disrespectful? it’s clear they thought she was the problem child and the bad reception and ratings would be fixed without her.
it really bothers me how little input mischa had in this book. i don’t know if she wasn’t interested so the author pulled quotes from other sources (this would make sense given how out of place and ignored her comments often were), or if the author just didn’t want to use anything she had to say. but it’s a little uncomfortable to read all about her without any input from her. for example, there are 89 quotes from 21 people in the chapter dedicated to killing off marissa, and only 6 of those quotes are from mischa. this is consistent throughout the whole book, but it’s shitty that so much of that chapter is just everyone’s assumptions about how she felt and what she wanted. at least mischa gets some kind of last laugh, as the regret about killing marissa was instant from everyone who hadn’t already known it was a bad idea AND she spoiled marissa’s death in an interview before the episode aired. iconic behavior.
now for the rest of the book. despite my problem with the treatment of mischa, both in and out of this book, i did really enjoy the book. probably because i really enjoy the show. it’s one of the better oral histories i’ve read (up there with the big bang theory and clueless oral histories) and it’s definitely the most critical of the source material. after season one, there is very little praise or excitement for the material. and while it can be disappointing, because i don’t think season one is the only good season of the show, it’s also just very refreshing to see criticism brought up not just to be dismissed, but to be validated and actually hear people’s honest opinions rather than them just patting themselves on the back (though the showrunner did a lot of that, which got tiresome).
now, behind the scenes bits:
— the original idea of the show was about a latina girl who was the daughter of a rich family’s housekeeper, and the guy lead was a rich white kid, but there was already two whole shows with a white/latinx dynamic so obviously they just couldn’t have another...
— the casting director didn’t think peter gallagher needed to read for the part of sandy, recalled being like, “just offer it to peter gallagher, jesus christ” lmao
— the president of fox and a casting executive flirted with peter gallagher and asked him to sing when he came in to read for the part...relatable
— “welcome to the o.c., bitch” being “preconceived” as an “iconic moment” before it even aired kind of makes it less “iconic” tbh
— naming an incontinent hospital patient after a critic who gave you a bad review...super immature
— three things the network put their foot down on: teens smoking cigarettes, beyond the one scene in the pilot; summer having an orgasm, or even mentioning it; luke calling julie a milf
— it’s said everyone was super comfortable and safe during the attempted rape scene, but then mischa dodged confirming or denying if she indeed felt comfortable and safe during that scene. gave the vibe that she didn’t feel comfy or safe but didn’t want to say it.
— melinda clarke wasn’t happy about running in a bikini during the pool scene with caleb, but she dieted and did it, meanwhile alan dale was supposed to also be in a bathing suit, but refused to, so he remained fully clothed. is anyone surprised?
— willa holland was literally 15, but they still sexualized her character to the point of making her stuff her bra??
— shoutout to tate donovan for saying “this is what they brought me back for? but not a funeral for my daughter?” about the what-if episode in season four
— the o.c. is apparently partly responsible for the creation of the real housewives franchise??? WILD
— a complete lack of discussion about race. michael cassidy talked about the difference in perception of the seth/summer/zach triangle and the ryan/marrisa/d.j. triangle: “this show reflects that we value handsome whiteness and youth. so it was very easy for me to be part of a triangle and have it be good, because it was good before i ever touched it. and i don’t feel that way about [the marrisa and d.j.] story.” but that’s about it. to have such a glaringly white show and zero conversation about it, even in hindsight, is absolutely wild and a huge oversight on everyone’s part.
character/storyline bits:
— adam brody speaking truth about seth/summer: “it’s pretty crazy to name your boat after someone that you go to school with for a long time and you’ve never spoken to, and who’s pretty awful outwardly. and i would think that might be a big turnoff for her as well. it’s a little scary obsessive.”
— everyone wished that anna and luke stuck around and many felt seth should’ve ended up with anna (even though he was awful to her???)
— the only positive thing anyone had to say about the oliver storyline was that it was good for ratings lmao
— “i felt like [seth] was a little bitch on the boat! who does that? he leaves because ryan leaves, but he has a girl. it’s very bizarre.” funny how right before i read this quote from rachel bilson, i had been thinking, wow how great is it that the platonic bond between seth and ryan was strong enough for seth to be so distraught about ryan leaving that he up and leaves too. and the scene when ryan goes to seth and he’s about to leave again and the framing of it is so reminiscent of romantic scenes where one is leaving but it’s not what either of them wants, building up to one of them stopping it. ugh chef’s kiss. but god forbid platonic love outweigh romantic love in any context, i guess. (also shoutout to the section of the book talking about how the show is a love story between seth and ryan!!!!)
— season one truly is the most chaotic first season of a tv show ever
— “we weren’t going to do an abortion story. it just wasn’t really something that the show had the language for—it wasn’t the tone of the show.” the show didn’t have the language? kirsten had an abortion in the past and it’s talked about? it wasn’t the tone of the show? but a fake miscarriage is? (and attempted rape is, for that matter?) a girl lying about something as devastating as a miscarriage just so a boy doesn’t have to feel guilty about not wanting to be with the girl he might’ve knocked up is okay tonally, but a girl exercising her right to control what happens to her body isn’t? y’all
— they created lindsay to be a new love interest for ryan, and came up with the caleb thing out of not really having any ideas for her, but specifically created zach to not just be another love interest for summer, but to be a friend to seth, too. women get to be love interests then immediately written out because you don’t know what else to do with them, but men get thoughtful, dynamic storylines and characterizations beyond being a love interest. cool cool cool cool.
— while some didn’t like the storyline, i really appreciate that the running joke about kirsten’s drinking turned into alcoholism. because some rely too heavily on the “wine mom” trope. they’re alcoholics, it’s not funny.
— surprised that everyone hated the johnny storyline. i much prefer that storyline over oliver’s. and the praise for chris pratt’s character??? easily one of the most boring storylines that they could’ve done without.
— shoutout to the volchok story being referred to the only part of the “newport union story” that “worked at all” and i love that they loved cam gigandet so much that they kept him around after the johnny story wrapped up. but it is absolutely criminal that they don’t talk at all about volchok beyond those two things. nothing about writing choices, cast interactions, character development, the romance with marissa, the downward spiral to the finale. i don’t get why it was skipped over.
— i think it’s super interesting that the showrunner and executive producer said theresa’s baby was eddie’s, but navi rawat (theresa) thought it was ryan’s and she loved him enough as a friend (“in the spirit of friendship”) to set him free. i like when actors have their own perspective on what’s going on, and honestly, i think the baby being ryan’s is a more interesting storyline and makes theresa a more interesting character to have done what she did.
— i don’t agree with the idea that ryan gave marissa three extra years and she would’ve died in tijuana without him. i’m tired of the “she’s a tragic character so her story had to end in death” narrative (even if i bought into it once), not only because sometimes mentally ill, traumatized kids grow up to be well adjusted adults, but also because are we supposed to believe her life would’ve been the same up to tijuana? that nothing would’ve been changed prior to that, that would then in turn change how things played out in tijuana? please.
— kelly rowan on kirsten’s pregnancy at the end of the show: “it just felt like they were trying to tie everything up into a bow. and i don’t know if we needed to tie everything up in a bow.” preach!!!
random bits:
— they pat themselves on the back for having the only positive representation of jewish people on tv (is that even true??), yet admit they didn’t want the cohens to have a last name that was “too jewish”
— “it was pretty much unheard of for anyone on tv [in 2003] to smoke a cigarette, let alone a teenager” jess mariano says hi????
— not a fan of the younger cast being referred to as “unknown” before the show, even those who had whole careers prior to the show. such as mischa barton, who they mentioned several times was big in the modeling/fashion world and they got chanel products on the show through her, and one of the producers even worked with her prior. it wasn’t the same kind of “known,” but it wasn’t being plucked off the street, either.
before i get into the rest of the book and my thoughts about various things, we need to talk about mischa barton’s unfair reputation. she’s been slammed as “nasty,” a “nightmare,” “difficult,” “the biggest diva,” basically everything that can ruin a woman’s career. and for what? it’s actually hard to figure out since her cast and crew described her as “delightful” to work with; “very sweet,” “kind,” and “friendly”; “working really hard to fit in”; handling being an overworked teenager “gracefully”; “the most reliable” of the younger actors; knowledgeable about acting; always “hitting the mark, saying the lines, and delivering the performance”; never asking for a line to be changed; doing her job “like a professional”; not letting her personal issues impact her work; and most tellingly, “she was never petulant. i feel like there’s just a reputation over the years that’s completely at odds with what my experience was. i really don’t know where that comes from, because i found her to be a pleasure.”
she was described as thinking she was “too cool” for everyone else on set because she was quiet, kept to herself, and read a lot—meanwhile, adam brody was also quiet and read a lot on set and ben mckenzie wasn’t overly friendly or chit chatty, but neither were ever criticized or thought of negatively for it. showrunner josh schwartz started shifting his responsibilities onto others to avoid the cast/crew, going as far as hiding in stairwells from them, and not a word about him being difficult or unprofessional. she was described as being “wrapped up in whatever she had going on” (i would like to note here how when discussing mischa being overworked, every single person blamed her mother/manager, even though they had previously discussed the ridiculous workload they had on the o.c.)—meanwhile, director doug liman literally jumped off a crew boat while filming a boat scene and swam away because he had a meeting for another project he was doing, and he was praised up and down. she never requested a script change—meanwhile, rachel bilson requested to be included in the vegas storyline that was originally just the guys because she was dating adam brody and wanted to be with him; peter gallagher rewrote a whole scene to give himself all of ben mckenzie’s lines and presented it to josh schwartz after telling him his writing wasn’t good; adam brody and ben mckenzie started refusing to do scenes with backpacks or at desks, and never once were any of them regarded as difficult or hard to work with.
straight from his audition, adam brody was “obnoxious” and “disrespectful of the material,” not even reading from the script during his audition. but he was vouched for and got to come back and “actually read the part as written and put some effort into it.” similarly, when his vocal hatred and boredom affected his acting, they wrote a storyline where his character smoked pot all the time to account for his lack of professionalism. in the same breath that adam claimed he was never mean, he admitted to “openly mocking” the material and being disrespectful. everyone in the book defended adam, even while talking about how horrible he was. meanwhile, the network wanted to kill marissa off in the first season, with zero reason given other than being “wary” of mischa. mischa’s unhappiness on the show was used several times over as a cover for them killing off marissa—ben mckenzie said “something had to give” and “they did what they had to do” but notice how they didn’t kill anyone else off, even though they were also unhappy and some of them were actually being hateful and disrespectful? it’s clear they thought she was the problem child and the bad reception and ratings would be fixed without her.
it really bothers me how little input mischa had in this book. i don’t know if she wasn’t interested so the author pulled quotes from other sources (this would make sense given how out of place and ignored her comments often were), or if the author just didn’t want to use anything she had to say. but it’s a little uncomfortable to read all about her without any input from her. for example, there are 89 quotes from 21 people in the chapter dedicated to killing off marissa, and only 6 of those quotes are from mischa. this is consistent throughout the whole book, but it’s shitty that so much of that chapter is just everyone’s assumptions about how she felt and what she wanted. at least mischa gets some kind of last laugh, as the regret about killing marissa was instant from everyone who hadn’t already known it was a bad idea AND she spoiled marissa’s death in an interview before the episode aired. iconic behavior.
now for the rest of the book. despite my problem with the treatment of mischa, both in and out of this book, i did really enjoy the book. probably because i really enjoy the show. it’s one of the better oral histories i’ve read (up there with the big bang theory and clueless oral histories) and it’s definitely the most critical of the source material. after season one, there is very little praise or excitement for the material. and while it can be disappointing, because i don’t think season one is the only good season of the show, it’s also just very refreshing to see criticism brought up not just to be dismissed, but to be validated and actually hear people’s honest opinions rather than them just patting themselves on the back (though the showrunner did a lot of that, which got tiresome).
now, behind the scenes bits:
— the original idea of the show was about a latina girl who was the daughter of a rich family’s housekeeper, and the guy lead was a rich white kid, but there was already two whole shows with a white/latinx dynamic so obviously they just couldn’t have another...
— the casting director didn’t think peter gallagher needed to read for the part of sandy, recalled being like, “just offer it to peter gallagher, jesus christ” lmao
— the president of fox and a casting executive flirted with peter gallagher and asked him to sing when he came in to read for the part...relatable
— “welcome to the o.c., bitch” being “preconceived” as an “iconic moment” before it even aired kind of makes it less “iconic” tbh
— naming an incontinent hospital patient after a critic who gave you a bad review...super immature
— three things the network put their foot down on: teens smoking cigarettes, beyond the one scene in the pilot; summer having an orgasm, or even mentioning it; luke calling julie a milf
— it’s said everyone was super comfortable and safe during the attempted rape scene, but then mischa dodged confirming or denying if she indeed felt comfortable and safe during that scene. gave the vibe that she didn’t feel comfy or safe but didn’t want to say it.
— melinda clarke wasn’t happy about running in a bikini during the pool scene with caleb, but she dieted and did it, meanwhile alan dale was supposed to also be in a bathing suit, but refused to, so he remained fully clothed. is anyone surprised?
— willa holland was literally 15, but they still sexualized her character to the point of making her stuff her bra??
— shoutout to tate donovan for saying “this is what they brought me back for? but not a funeral for my daughter?” about the what-if episode in season four
— the o.c. is apparently partly responsible for the creation of the real housewives franchise??? WILD
— a complete lack of discussion about race. michael cassidy talked about the difference in perception of the seth/summer/zach triangle and the ryan/marrisa/d.j. triangle: “this show reflects that we value handsome whiteness and youth. so it was very easy for me to be part of a triangle and have it be good, because it was good before i ever touched it. and i don’t feel that way about [the marrisa and d.j.] story.” but that’s about it. to have such a glaringly white show and zero conversation about it, even in hindsight, is absolutely wild and a huge oversight on everyone’s part.
character/storyline bits:
— adam brody speaking truth about seth/summer: “it’s pretty crazy to name your boat after someone that you go to school with for a long time and you’ve never spoken to, and who’s pretty awful outwardly. and i would think that might be a big turnoff for her as well. it’s a little scary obsessive.”
— everyone wished that anna and luke stuck around and many felt seth should’ve ended up with anna (even though he was awful to her???)
— the only positive thing anyone had to say about the oliver storyline was that it was good for ratings lmao
— “i felt like [seth] was a little bitch on the boat! who does that? he leaves because ryan leaves, but he has a girl. it’s very bizarre.” funny how right before i read this quote from rachel bilson, i had been thinking, wow how great is it that the platonic bond between seth and ryan was strong enough for seth to be so distraught about ryan leaving that he up and leaves too. and the scene when ryan goes to seth and he’s about to leave again and the framing of it is so reminiscent of romantic scenes where one is leaving but it’s not what either of them wants, building up to one of them stopping it. ugh chef’s kiss. but god forbid platonic love outweigh romantic love in any context, i guess. (also shoutout to the section of the book talking about how the show is a love story between seth and ryan!!!!)
— season one truly is the most chaotic first season of a tv show ever
— “we weren’t going to do an abortion story. it just wasn’t really something that the show had the language for—it wasn’t the tone of the show.” the show didn’t have the language? kirsten had an abortion in the past and it’s talked about? it wasn’t the tone of the show? but a fake miscarriage is? (and attempted rape is, for that matter?) a girl lying about something as devastating as a miscarriage just so a boy doesn’t have to feel guilty about not wanting to be with the girl he might’ve knocked up is okay tonally, but a girl exercising her right to control what happens to her body isn’t? y’all
— they created lindsay to be a new love interest for ryan, and came up with the caleb thing out of not really having any ideas for her, but specifically created zach to not just be another love interest for summer, but to be a friend to seth, too. women get to be love interests then immediately written out because you don’t know what else to do with them, but men get thoughtful, dynamic storylines and characterizations beyond being a love interest. cool cool cool cool.
— while some didn’t like the storyline, i really appreciate that the running joke about kirsten’s drinking turned into alcoholism. because some rely too heavily on the “wine mom” trope. they’re alcoholics, it’s not funny.
— surprised that everyone hated the johnny storyline. i much prefer that storyline over oliver’s. and the praise for chris pratt’s character??? easily one of the most boring storylines that they could’ve done without.
— shoutout to the volchok story being referred to the only part of the “newport union story” that “worked at all” and i love that they loved cam gigandet so much that they kept him around after the johnny story wrapped up. but it is absolutely criminal that they don’t talk at all about volchok beyond those two things. nothing about writing choices, cast interactions, character development, the romance with marissa, the downward spiral to the finale. i don’t get why it was skipped over.
— i think it’s super interesting that the showrunner and executive producer said theresa’s baby was eddie’s, but navi rawat (theresa) thought it was ryan’s and she loved him enough as a friend (“in the spirit of friendship”) to set him free. i like when actors have their own perspective on what’s going on, and honestly, i think the baby being ryan’s is a more interesting storyline and makes theresa a more interesting character to have done what she did.
— i don’t agree with the idea that ryan gave marissa three extra years and she would’ve died in tijuana without him. i’m tired of the “she’s a tragic character so her story had to end in death” narrative (even if i bought into it once), not only because sometimes mentally ill, traumatized kids grow up to be well adjusted adults, but also because are we supposed to believe her life would’ve been the same up to tijuana? that nothing would’ve been changed prior to that, that would then in turn change how things played out in tijuana? please.
— kelly rowan on kirsten’s pregnancy at the end of the show: “it just felt like they were trying to tie everything up into a bow. and i don’t know if we needed to tie everything up in a bow.” preach!!!
random bits:
— they pat themselves on the back for having the only positive representation of jewish people on tv (is that even true??), yet admit they didn’t want the cohens to have a last name that was “too jewish”
— “it was pretty much unheard of for anyone on tv [in 2003] to smoke a cigarette, let alone a teenager” jess mariano says hi????
— not a fan of the younger cast being referred to as “unknown” before the show, even those who had whole careers prior to the show. such as mischa barton, who they mentioned several times was big in the modeling/fashion world and they got chanel products on the show through her, and one of the producers even worked with her prior. it wasn’t the same kind of “known,” but it wasn’t being plucked off the street, either.
January 26, 2025
The O.C. is one of my very favorite guilty pleasures; it premiered at a time of uncertainty within my life and I latched onto it as a regular escape from reality despite being slightly out of its targeted teen demographic, hooked until the very end. I've revisited the entire run of episodes a couple of times, most recently to follow along with Melinda Clarke and Rachel Bilson's podcast, and this book provided the perfect capper to that experience. I loved reading all of the behind the scenes details about the show's creation and production from individuals directly involved both behind and in front of the camera as well as some tangentially related, such as musicians and even recappers from Television Without Pity, a highly influential recap site and forum during this time. The book devotes entire chapters to each of the four seasons (including three alone for season one) as well as ones covering casting, the soundtrack and its lasting legacy. There is a chapter about the controversial decision that was made regarding the fate of a prominent cast member at the end of season three; when the episode featuring this first aired, I thought what transpired was a great way of getting rid of a character who wasn't working any more and rejuvenating the writing going into a new season, yet the book reveals the devastating effect that this had on the core fanbase and how the ratings never recovered, resulting in the choice being a huge regret in hindsight. For the most part, the oral history format works well in incorporating a lot of different perspectives, but I would loved for Sepinwall to have dug a little deeper with Mischa Barton about her unpleasant experiences on set as well as reactions from the writers and showrunners to these, which were largely either alluded to or glossed over. Other than this minor complaint, I had a blast with the book and learning even more about how the show all came together.
April 11, 2024
The OC started right when I was about to start college and I was far too cool to be interested in it; in fact, I actively avoided it while admitting that I thought Adam Brody was hot. Was I a gatekeeping asshole about the music on it too? Absolutely I was, I was an 18 year old who listened to indie rock in 2003. How dare other people want to listen to Death Cab!!
Anyway, later on, I happened to catch the season two episode where Ryan and Seth go to Miami during spring break to visit The Nana and was like "why have I been avoiding this? It's great!" I borrowed the DVDs from the library and caught up very quickly. I had a Princess Sparkle shirt and cried at the finale. Since then, I've bugged multiple people to watch it, telling them to look past the teen soap opera aspect and their preconceived notions about it. Most of them loved it too! The first season remains pretty much perfect and I rewatched it during the pandemic. (Oliver was still ridiculous though.)
This book really made me nostalgic for when I discovered the show and went all in on my fandom. It made me want to finish my given-up-on total rewatch, even the less excellent later seasons. It was also a great dive into television and fan culture of the early 2000s, reading ONTD and TWoP daily - what a different world that was, one I still kind of miss while being thankful we're somewhat less mean in our pop culture snark nowadays. Basically, if you like The OC, I totally recommend this. Obviously, because I've been rambling about it for 3 paragraphs now.
Anyway, later on, I happened to catch the season two episode where Ryan and Seth go to Miami during spring break to visit The Nana and was like "why have I been avoiding this? It's great!" I borrowed the DVDs from the library and caught up very quickly. I had a Princess Sparkle shirt and cried at the finale. Since then, I've bugged multiple people to watch it, telling them to look past the teen soap opera aspect and their preconceived notions about it. Most of them loved it too! The first season remains pretty much perfect and I rewatched it during the pandemic. (Oliver was still ridiculous though.)
This book really made me nostalgic for when I discovered the show and went all in on my fandom. It made me want to finish my given-up-on total rewatch, even the less excellent later seasons. It was also a great dive into television and fan culture of the early 2000s, reading ONTD and TWoP daily - what a different world that was, one I still kind of miss while being thankful we're somewhat less mean in our pop culture snark nowadays. Basically, if you like The OC, I totally recommend this. Obviously, because I've been rambling about it for 3 paragraphs now.
June 13, 2024
A very enjoyable oral history of the making of early 2000s tv show The OC, with full participation of the cast and crew. Loved learning all the behind the scenes tidbits, from alternate casting possibilities to music selection to the relationships between people working on the show and how they changed over time. And as an avid reader of the website Television Without Pity back then, love that it was discussed and people who worked for it even quoted in the book. I also was an avid reader of the tv writing of the author of this book, Alan Sepinwall, following him around the internet from one outlet to another to read his recaps and reviews.
I watched all four seasons when the show first aired, and then a few years ago, watched I think the first two seasons with my teenage kids. I think we stalled out because it temporarily left streaming, but reading what everyone has to say about the disastrous third season and zany fourth season, I’m kind of thinking we stopped at the right part!
Anyway, a fun and interesting and nostalgic read, written at the time of the show’s 20th anniversary.
Thank you to Netgalley and the publisher for my copy.
I watched all four seasons when the show first aired, and then a few years ago, watched I think the first two seasons with my teenage kids. I think we stalled out because it temporarily left streaming, but reading what everyone has to say about the disastrous third season and zany fourth season, I’m kind of thinking we stopped at the right part!
Anyway, a fun and interesting and nostalgic read, written at the time of the show’s 20th anniversary.
Thank you to Netgalley and the publisher for my copy.
July 9, 2024
A Nostalgic Dive into a Cultural Phenomenon
"Welcome to the O.C.: An Oral History" transports readers back to a defining era of early 2000s television. For many, like myself, this show was our generation's "90210". I vividly recall college days spent fervently watching the series, even hosting keg parties for the Season 1 finale - a testament to its cultural grip.
The book provides an intriguing retrospective, offering insights from the show's creators and crew. It effectively captures the essence and impact of this pop cultural phenomenon. Reflecting on it now, it's apparent that the decision to pack Season 1 with numerous episodes and storylines strained the show’s pacing. Modern streaming services, with their preference for 10-episode seasons, would have likely adopted a more measured approach, allowing for a slower, more deliberate narrative burn.
From the perspective of the cast, the book offers a candid look at the highs and pitfalls of sudden fame. There's a powerful lesson here about appreciating your present circumstances. Josh Schwartz’s remark about the "core 4" actors "phoning it in" during Season 3 underscores this point, particularly when juxtaposed with the lauded professionalism and attitude of Chris Pratt in Season 4, marking a pivotal contrast and a hint at Pratt's subsequent career trajectory.
One groundbreaking aspect of the show was undeniably its music. "The O.C." was a reflection of the early aughts music scene, spotlighting bands like The Killers and Death Cab for Cutie, which became integral to its success. This harmonious blend of narrative and music has influenced contemporary shows, most notably "Euphoria".
Ultimately, this book serves as a heartfelt homage to what made "The O.C." so special. The year 2003 was marked by "O.C. crazy," and its influence is evident in the rise of shows like "Laguna Beach," "Real Housewives of Orange County," and "Euphoria." For fans and newcomers alike, "Welcome to the O.C.: An Oral History" is a rewarding read that encapsulates the magic and impact of this trailblazing series.
"Welcome to the O.C.: An Oral History" transports readers back to a defining era of early 2000s television. For many, like myself, this show was our generation's "90210". I vividly recall college days spent fervently watching the series, even hosting keg parties for the Season 1 finale - a testament to its cultural grip.
The book provides an intriguing retrospective, offering insights from the show's creators and crew. It effectively captures the essence and impact of this pop cultural phenomenon. Reflecting on it now, it's apparent that the decision to pack Season 1 with numerous episodes and storylines strained the show’s pacing. Modern streaming services, with their preference for 10-episode seasons, would have likely adopted a more measured approach, allowing for a slower, more deliberate narrative burn.
From the perspective of the cast, the book offers a candid look at the highs and pitfalls of sudden fame. There's a powerful lesson here about appreciating your present circumstances. Josh Schwartz’s remark about the "core 4" actors "phoning it in" during Season 3 underscores this point, particularly when juxtaposed with the lauded professionalism and attitude of Chris Pratt in Season 4, marking a pivotal contrast and a hint at Pratt's subsequent career trajectory.
One groundbreaking aspect of the show was undeniably its music. "The O.C." was a reflection of the early aughts music scene, spotlighting bands like The Killers and Death Cab for Cutie, which became integral to its success. This harmonious blend of narrative and music has influenced contemporary shows, most notably "Euphoria".
Ultimately, this book serves as a heartfelt homage to what made "The O.C." so special. The year 2003 was marked by "O.C. crazy," and its influence is evident in the rise of shows like "Laguna Beach," "Real Housewives of Orange County," and "Euphoria." For fans and newcomers alike, "Welcome to the O.C.: An Oral History" is a rewarding read that encapsulates the magic and impact of this trailblazing series.
This entire review has been hidden because of spoilers.
November 17, 2024
if you're a behind the scenes slut like me this is the book for you.
the author directed me to take a shot every time Skin was mentioned but honestly take a shot every time peter gallagher mentioned he had no influence over the script. like we get it dude you wanted to be in charge. wah wah wah.
it was so interesting reading about how certain music was chosen and how sets were made and how characters were named. it's amazing how well adam brody and rachel bilson get along and talk about each other in such a high regard. thats true professionalism, actors these days have no idea what that even means.
i guess i never realized how much younger mischa was compared to the others in the core four but this made it so obvious when rewatching the pilot. she looks like a little bitty baby. its also funny how she's pretending to be sad that she was killed off but then is like yeah i was miserable and hated my character and wanted to go to college. HILARIOUS that adam brody hated the show so much and wanted to be killed off but that makes absolutely no sense for seth's character and thank god cause he's my favorite character on earth. AND ANOTHER THING 2/3 of the writers saying terasa's baby is eddie's and not ryans??? i simply pretend i did not read that because no tf its not and i wish they would've dived deeper into ryan figuring out it was his instead of acting like nothing ever happened and then bringing on crazy ass storylines that made no sense.
the author directed me to take a shot every time Skin was mentioned but honestly take a shot every time peter gallagher mentioned he had no influence over the script. like we get it dude you wanted to be in charge. wah wah wah.
it was so interesting reading about how certain music was chosen and how sets were made and how characters were named. it's amazing how well adam brody and rachel bilson get along and talk about each other in such a high regard. thats true professionalism, actors these days have no idea what that even means.
i guess i never realized how much younger mischa was compared to the others in the core four but this made it so obvious when rewatching the pilot. she looks like a little bitty baby. its also funny how she's pretending to be sad that she was killed off but then is like yeah i was miserable and hated my character and wanted to go to college. HILARIOUS that adam brody hated the show so much and wanted to be killed off but that makes absolutely no sense for seth's character and thank god cause he's my favorite character on earth. AND ANOTHER THING 2/3 of the writers saying terasa's baby is eddie's and not ryans??? i simply pretend i did not read that because no tf its not and i wish they would've dived deeper into ryan figuring out it was his instead of acting like nothing ever happened and then bringing on crazy ass storylines that made no sense.
This entire review has been hidden because of spoilers.
July 18, 2025
Put on that white tank top, cue Phantom Planet’s “California” and welcome to the OC b*tch!
This was a trip down memory lane and it was wonderful! I loved hearing behind the scenes and getting their point of view on memorable moments. The book also discussed certain plots that they wish could have gone differently or abandoned all together. It was interesting to hear how as the show got bigger the more the network played a role, which influenced the downfall of the show. Great nostalgia and now it’s time to go rewatch The OC.
This was a trip down memory lane and it was wonderful! I loved hearing behind the scenes and getting their point of view on memorable moments. The book also discussed certain plots that they wish could have gone differently or abandoned all together. It was interesting to hear how as the show got bigger the more the network played a role, which influenced the downfall of the show. Great nostalgia and now it’s time to go rewatch The OC.
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