The Legacy of an Iconic TV Series

Carla Maria Verdino-Süllwold

When recent circumstances mandated my spending a great deal of shut-in time, I stumbled upon the television series Gossip Girl, which had begun to air on Netflix almost a dozen years after its final network episode, and I indulged in some serious binge watching. Not only was I mesmerized, but I was completely blown away by the timeless appeal of the six-season, 121-episode saga. The story of privileged teenagers coming of age on the Upper East Side of Manhattan seemed as fresh, vivid, and compelling now as it must have been in 2007-2012 when it was first broadcast. The critic in me demanded to understand why.

For me, the initial appeal was personal.  I had taught in several prep schools on the Upper East Side for several years, and I KNEW these characters.  As outrageous or hyperbolic the adventures of this cast may have seemed to some, I recognized the spot-on truth of the portrayals and situations. Moreover, the series was a love letter to New York City – my city – for which living in Maine for more than a decade had only increased my longing.  But careful rewatching of the entire series revealed that its attractions were even more complex and its legacy far-reaching. Gossip Girl represents a cultural watershed in television production - a high point in brilliant writing, ground-breaking production values, and breakthrough performances by its then young leading actors.

Gossip Girl is based on a series of young adult novels by Cecily von Ziegesar, who was deeply involved in the development of the television project, together with Stephanie Savage and Josh Schwartz. The fruitful collaboration of this trio and all the gifted writers on the show is a major factor in the success of the total opus. Naturally, in true television drama series mode, the plot is filled with twists and turns, secrets and surprises – all of which keep the viewer deeply engaged.  The story arc of each of the seven primary teen characters fascinates not only because of their wild rides through high school and college, but also because, over the six seasons of the show, they mature into adulthood, each learning transformative lessons. There are crazy, outrageous, funny, and deeply moving moments in each character's journey that make for riveting screen experiences. Their mnascap adventures range from subtle takes on Nancy Drew mysteries to sophisticated allusions to Les Liaisons Dangereuses' scheming protagonists.

But beyond plot and character, there is the elegance of style with which the series is written.  The dry satire and brisk, understated wit call to mind Oscar Wilde, as the many bon mots tossed among characters skewer with lethal precision and conjure up the clever gracefulness of the 17th century French Précieuses. (And lest one think this is crazy comparison on my part, understand that the elite of Gossip Girl, especially Blair and Chuck, aspire to all things French Baroque.)  Dialogue is brisk, well-integrated into plot flow and character development, and full of subtle signals.  It takes repeated viewings to catch all the innuendos, allusions, metaphors, and frequent poetic devices like alliteration  These are characters for whom language matters; they wear their facility proudly as a sign of education and class.  Like the best passages in Julian Fellowes' Downtown Abbey, so many of Gossip Girl's verbal exchanges contain unforgettable quotes and make the viewer long for a milieu where social conversation was a high art.

If sophistication and Old World elegance are pervasive in the dialogue, so ,too, are they in the series' stunning production values (Marcus Janoko etal/Art Directors) and cinematography (Ron Fortunato, David Dunlap, Mauricio Rubenstein, John Thomas).  Filmed live at locations throughout the five boroughs of New York, as well as on location shoots in Paris, Monaco, Los Angeles, the visuals are absolutely glorious - from the sweeping panoramic shots to establish place, to the exquisitely detailed close-ups. All of them are lovingly photographed to revel in the beauty of the architecture and the grandeur of the décor, and to craft a valentine to the rarified world of the privileged protagonists. In addition, the set decoration (Christina Tonkin Nobel etal) for the interior sequences is dazzling.  Each locale is carefully designed to reflect the characters who inhabit them - from the gilded European luxury of the Waldorfs to the edgy but tasteful modernity of the Empire Hotel, to the museum-like splendor of the Van der Woodsen condominium, to the artsy grunge of the Humphreys' loft.  Every scene has been skillfully curated with sometimes subtle, sometimes daring swaths of color and eye-catching accents.

Complementing this attention to visual beauty and detail, series Costume Designer Eric Daman delivers a stunning array of wardrobe choices for each and every character. The principals all have their signature colors and styles from Serena's love for gold, sparkle, plunging necklines and high hemlines to Blair's bold chic - part Audrey Hepburn, part modern siren, to Chuck's richly evolving sartorial choices from brash bad boy outfits to suave and singular gentleman's attire. By all accounts, the wardrobe budget for Gossip Girl was astronomical, but the investment paid off establishing the characters and the actors who played them as fashion icons and trendsetters in a wave of influence that endures to today.

Finally, the reverence for visual and artistic beauty extends beyond the physical realities of the set and costumes to the metaphoric images and motifs which surface throughout the seasons. The art world is a driving force throughout, symbolized best, perhaps, by the Metropolitan Museum of Art on whose steps the characters often gather, to the precious works of art – both contemporary and classic European - on the walls of Van der Woodsen and Waldorf residences, to the Brooklyn art gallery which is Rufus Humphrey's livelihood. Art plays a crucial role in the plot, precipitating the meeting between Blair and her prince or serving to hide the criminal past of Bart Bass. And besides visual art, music, ballet, and opera, as well as contemporary theatre and performance art figure prominently in the adventures of the characters, allowing the cinematography to take the viewer inside Lincoln Center, the St. George Theatre, or Greenwich Village clubs. And then there is the over-arching conceit for the entire storyline – told through the eyes of aspiring young writer, Daniel Humphrey, whose prose ultimately shapes not only his future, but also the perception of the entire milieu.

Despite all the production strengths, the core appeal of any drama series lies in the characters and the actors who portray them . Gossip Girl's cast is perhaps its greatest jewel, offering a depth and breadth of talent that accounts for the series' longevity.  Of the eight young principals, most began the series in their teens and completed it in their twenties. For several like Ed Westwick, Chace Crawford, Leighton Meester, and Blake Lively, Gossip Girl afforded them their breakthrough performances, launching subsequent major film and television careers.  The supporting cast reads like a who's who of screen talent with so many well -known or rising stars undertaking roles, while celebrities from all walks of life - from Mayor Bloomberg to Ivanka Trump to Peter Martins, Cindy Lauper, and Lady Gaga – appear in prominently placed cameos, lending glamour and caché to a series about power, style, and charisma.

The chemistry among the cast members is palpable and in some cases like the Chuck-Blair relationship white-hot. There are so many stellar performances that it is impossible to mention all of them.  But to cite a few favorites: Leighton Meester makes Blair Waldorf a complex young woman motivated by the desire to rule her world and fulfill a storybook dream of great love. Tossing off insults and witticisms with smooth charm, by turns fierce, passionate, vulnerable, and ultimately capable of deep commitment and caring, she contains both darkness and light. 
As her on-again, off-again best friend, Serena Van der Woodsen, Blake Lively exudes the lese-majesté of a golden girl for whom everything comes easily and who must journey through a long litany of misadventures before discovering the true depth of her nature. Taylor Momsen creates a deeply moving portrait of Jenny Humphrey, whose desire to overcome her Brooklyn roots and become accepted into the Upper East Side world leads her on a perilous and sometimes heartbreaking quest. Jessica Szohr offers a refreshing contrast as Vanessa, Dan's childhood friend and sometime lover, whose basic decency is no match for the intrigues of the world into which she is thrust. Kelly Rutherford portrays Lily Rhodes-Van der Woodsen- Mueller-Bass-Humphrey with a veneer of impeccable dignity and grace that masks wilder instincts and lethal skill at taking down enemies. Accused of "not having a maternal bone in her body," she proves herself capable of deep love and loyalty for those for whom she cares.

Matthew Settle manages to give a rounded portrayal of her lover -sometime husband, Rufus Humphrey, whose penchant for "doing the right thing" endures some serious challenges along the way as he tries to navigate two worlds. Chace Crawford does a fine job of filling Nate Archibald's shoes – the handsome, laid-back jock with a tender heart, a healthy libido, and a nagging moral compass.  As Dan Humphrey, the self-styled "Lonely Boy" outsider, Penn Badgley perfectly captures the artist as a young man – a budding writer whose intellect and desires are often at odds and who must find a way to find a harmonious co-existence with his past and present, reality and fantasy. Connor Paolo makes Eric Van der Woodsen, Serena's gay younger brother, mature and wise beyond his years, often posing as the ruthlessly detached observer to mask deeper feelings.

But among the principals, perhaps the most complex character and most impressive acting comes from Ed Westwick as Chuck Bass.  The arc of Westwick's character is a challenging one, evolving from rebellious, nihilistic bad boy to inspired businessman, loyal friend, and passionate and devoted lover and husband; Westwick is at times smarmy, scathing, smoldering,
sexy, or tender, gentlemanly, and generous – the kaleidoscope of contrasts tightly contained beneath the façade of worldly
sarcasm.  There are several stunning scenes where this veneer cracks, and we see the depth of his pain, as a tear silently rolls down his cheek. Added to the emotional demands of the part, there is a technical one for Westwick, who is British, yet played Chuck Bass with a flawless and distinctive American accent.

In addition to the principals, there are countless compelling supporting players who create vivid portraits. Outstanding among these the late Michelle Trachtenberg as the seductively evil Georgina Sparks; Kaylee DeFer as the con-artist Ivy Dickens; Margaret Colin as Blair's overbearing yet loving mother, and Wallace Shawn as her kind and quirky stepfather, Cyrus Rose; Caroline Lagerfelt as the dragon dowager, Cece Rhodes; Elizabeth Hurley as the formidable and sexually irresistible Diana Payne; Zuzanna Szadkowski as a tender-hearted, motherly Dorota; Robert John Burke as the cold-hearted Bart Bass; Desmond Harrington as the slimy but later repentant Jack Bass; James Naughton as the imperious and manipulative Van der Bilt patriarch; Aaron Tveit as his idealistic Congressman grandson Trip, who strays into moral impropriety; Sebastain Stan as gambler and playboy Carter Bazan; or Kevin Zegers as the drug -dealer Damian Dalgaard.

What makes all these characters interesting is that none is caricature and every single one of them, despite some of their most dastardly deeds, manages to show a redeeming side, at least occasionally. All of them are able to elicit empathy at some point in their journeys.  Perhaps, this is due not only to the skill of the writers to create psychological verimsimiltude, but also to one of the series' prevailing themes: forgiveness.  One of the strengths of Gossip Girl is the way in which the principal characters learn to own who they are and who they wish to become, embracing second chances, the capacity to change, and the eternal questing for personal ideals.

In this way, they remind of F. Scott Fitzgerald's characters, and, indeed, Fitzerald is frequently referenced as one of Serena's favorite authors or in Dan Humphrey's literary style. When the final episode wraps with an epilogue quoting Dan Humphrey's just published novel, Inside Out, his words evoke the green light that lures Gatsby toward his fatal obsession:

The Upper East Side was like something from Fitzgerald or Thackeray. Teenagers acting like adults. Adults acting like teenagers, guarding secrets, spreading gossip, all with the trappings of truly opulent wealth. And membership in this community was so elite, you couldn't even buy your way in. It was a birth right. A birth right I didn't have, and my greatest achievements would never earn me. All I had to compare to this world was what I'd read in books. But that gave me the idea. If I wasn't born into this world, maybe I could write myself into it.

And just as writing - art- becomes Dan Humphrey's path to selfhood and achieving his desires, so, too, does the exquisitely crafted collaborative artistic venture that is Gossip Girl attain iconic status.  The series, together with its creators and artists, leaves its mark not only on the world of film and television, but also on visual art, fashion, music, and literature.  Gossip Girl was a phenomenon of the new Millenium, but more than a decade later it can claim a lasting legacy as it lays lasting claim to whole new generations of audiences.