The Yoko Factor How Spike got series four out of a corner.
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: In seasons past, the main story arc has tended to conclude with a major two-part story, written and directed by Joss. Season four wraps up early with The Yoko Factor and Primeval. You were entrusted with kicking off this pivotal story: how daunting was that?
Doug Petrie: Very daunting. Both The Yoko Factor and Primeval were a little more group-written than most episodes. It really took the full strength of the team to finish up season four. The Yoko Factor was particularly tough for me because we were addressing [the fact] that the group was a little disenfranchised. They bicker and they fall apart.
It was just an emotionally tough episode to write, and a tough episode to watch for a lot of fans. We really addressed something that we knew we has to confront this season: When you go to college, you fall a little bit away from your original high school friends. We wanted to really test the dynamics and the strength of the Scooby Gang. It ends in a big fight!
There were many, many plots threads - that were fairly complicated - which had to be neatly tied up in terms of the Initiative, Adam and his plan. A very challenging episode that the team pulled off nicely.
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: How do you physically keep track of all those plot threads? Is there a whiteboard in Joss's office where it's all mapped out so that you don't leave any loose ends lying about?
Doug Petrie: No, we didn't leave anything lying about (laughs). This was a particularly complex season plot-wise. We did paint ourselves into a little bit of a corner, but only a small one.
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: What was your way out of that particular corner?
Doug Petrie: Joss came up with the idea that, everything we can't explain "Blame it on Spike!". We all loved that! It was very satisfying and very funny. So that's kind of how we dealt with that. In general we do literally have a big whiteboard in Joss's office but not everything is written down. Joss Whedon's cranium is the resting place for a lot of the ideas.
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