Pilot Season - Fall 2013

It has been a long summer with record heat and almost nothing to distract me from it. On the plus side, I have subscribed to a lot of new YouTube groups. Fortunately, I no longer have to rely solely on talented amateurs because the new fall season has begun!

I was actually completely unprepared for this season with all of my attention on just one show. So when pilot season came around, I was entirely surprised by how many intriguing new shows were available.

I picked the best of the lot, six shows that sounded most interesting, and decided to review them. Since this is a pilot season review, I will be evaluating the series more for its potential rather than how the episodes stand on their own.

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Agents of S.H.I.E.L.D.
   starring Clark Gregg
   created by Joss Whedon, Jed Whedon, & Maurissa Tancharoen



This is the one show that I had been looking forward to since it was announced months ago. Agents of S.H.I.E.L.D. is Marvel Studio's first foray into live-action television with a spin-off series set in the larger, cinematic Marvel universe. The show stars Clark Gregg reprising his role as S.H.I.E.L.D. Agent Phil Coulson who appeared in all of Marvel's "Phase 1" films.

In the pilot, Agent Coulson has recently returned to duty following his death in the Avengers. His rebirth is left a mystery. He seems convinced that the entire thing was all a deception created by him and Nick Fury, yet an enigmatic conversation between Maria Hill (Colbie Smothers) and Dr. Streiten (Ron Glass) indicates a darker secret that he can never know.

Aside from Coulson himself, the episode centers around superstar Agent Grant Ward (Brett Dalton) and a well-meaning cyber-anarchist named Skye (Chloe Bennett). Ward is clearly the young alpha male hero, but the script is quick to show that he is also sensitive and caring through a clever reverse-interrogation scene. Skye herself is a mystery even to S.H.I.E.L.D. as she has deleted all trace of her original identity. This makes me wonder what sort of dark history she had. Perhaps a super-criminal parent?

Rounding out the cast are Melissa May (Ming-Na Wen), an experienced field agent who has voluntarily taken herself out of action, and the technical genius duo of Fitz and Simmons. They both work in a support capacity with Fitz as the chemist and Simmons the engineer.

The plot revolves around Mike Petersen, a hard-working, blue-collar single dad who volunteers for an experiment that gives him superhuman powers. Despite his good intentions, the experimental device that has been grafted to his arm is increasing his anger and paranoia. Since it is based on unstable technology, if Mike doesn't calm down, he will literally explode.

After watching the episode, I have to admit that I'm a little disappointed. Sure, the dialog is clever, there are some great gags, and I like all of the advanced sci-fi spy tech that reminds us that they are actually in the Marvel Universe and not a contemporary intelligence organization... but I can't help but feel like this is the junior team.

Aside from Coulson and Melissa May, the rest of the cast is really young and I can't get that out of my head while I'm watching it. It just screams "television." Unfortunately, Colby Smothers was only in the pilot as a guest star, but I'm hoping that Dr. Streiten will become a regular part of the show, if only to increase the median age of the crew.

The script immediately sets romantic and sexual tension between the two most charismatic young people on the show. He's a tough, pragmatic government man; she's a smart, anarchistic woman. It works a little too well and you feel that inevitable magnetic draw of two polar opposites... and yet I'm already tired of it.

All in all, I would recommend Agents of S.H.I.E.L.D. if you are a fan of Marvel Comics, Marvel Films, or high-tech spy adventures a la Mission: Impossible. The script is clever and the characters are familiar yet unique.

To close out, I would like to acknowledge a response from S.H.I.E.L.D. artist Jim Steranko who said the the show “needs to be much tougher, much stranger, much edgier to reach it’s potential.” I would agree with this. This story tepidly uses elements from all Marvel films to inform the powers of its hero. I can see a lot of reasons why this is a good idea, but ultimately, Steranko is right. I want the show to be weirder in both plot and structure. I want the reality bending, sci-fi pinnings of Star Trek, Doctor Who, and X-Files. Not merely a "freak of the week" but a science fiction mystery that makes the viewer question their presumptions of reality. Fortunately, I see the potential for just such a show.

The Michael J. Fox Show
   starring some guy
   created by that same guy



Michael J. Fox plays Mike Henry, beloved New York City news anchor who left the air after he was diagnosed with Parkinson's Disease. From the start, it is clear that the show is semi-autobiographical. We are introduced to Mike Henry at home with his family. It is clear that he has been retired for too long because he is annoying his family by being overly involved in their life. Consequently, they are always on the go and never sit down to a meal. When Mike bumps into his former segment producer, he is easily convinced to return to work where he is all too enthusiastically welcomed.

The emotional core of the story is how Mike Henry and the people around him deal with the effects of Parkinson's on their lives. Everyone is supportive, but they all handle it in their own way. His close friends joke about it and his children seem oddly used to it. At one point, his daughter even tries to exploit her father's condition (both physical and societal) to get an easy grade on a project. The plan fails only due to her complete insincerity and she is forced to redo the project more honestly, but the fact that she would try this at all makes her instantly unlikeable. On the other hand, Mike's segment producer, Harris Green, uses his condition to sensationalize their promos and bump up their ratings.

If you can't tell already, I didn't like this show. The premise has promise, but the issue is with the execution. Michael J. Fox seems to have the only fully developed character and even he isn't that interesting. The situation is interesting, and certainly original, but none of the characters around Mike Henry are particularly memorable.

What's curious is that the show knows that we love Michael J. Fox, but in the character of Mike Henry, it questions whether that love is sincere. Do we like Michael J. Fox for who he is, or because he is a celebrity with a debilitating condition? I find that premise very compelling and personal, but there is also a dour tone set over the series. Characters are always negotiating around Mike Henry and his condition, so there is an inherent awkwardness. Awkwardness can either create a comedic situation (The Office) or drain any semblance of humor from a scene (The Office), and unfortunately, the awkwardness in this show is more of the latter.

The Crazy Ones
   starring Robin Williams and Sarah Michelle Gellar
   created by David E. Kelley

Available on CBS.com

This show came completely out of the blue for me, which is surprising since Robin Williams is such a prominant actor and David E. Kelley is one of my favorite writers. In fact, I didn't even know Kelley was the showrunner until his name popped up in the opening credits

But the theme tonight is "Not funny enough to be a comedy; not serious enough to be a drama." Don't get me wrong. Blending comedy and drama has been used to great effect since before Shakespeare, but goofiness undermines the tension in a dramatic scene... and that brings us to our main actor.

Robin Williams plays Simon Roberts who runs an ad agency that he is in the process of relinquishing to his daughter, Sydney (Sarah Michelle Gellar). In this episode, they are in danger of losing their top client, McDonald's, unless they can pitch them a great idea. Evoking one of their own classic commercials, Simon promises a major talent to sing the jingle. This leads us to a cameo appearance by Kelly Clarkson as herself eager to change her image to something sexier. Simon agrees to change the wholesome family jingle into a sexy pop song, then tries to convince her back to the original idea.

Honestly, Robin Williams is given too much screen time and too little to do. He ends up running his mouth with constant jokes and voices which are funny about... 30% of the time... and I'm probably being generous. If you are already sick of Robin Williams, this show won't help.

I can't help but compare this show to Boston Legal, David E. Kelley's previous show and one of my personal favorites. That show starred James Spader and William Shatner, with Spader as the protagonist and Shatner as an enigmatic crazed savant. Simon Roberts has the same qualities of Shatner's Denny Crane and Williams certainly has the acting ability to deliver that, but he lacks a competent foil. Zach Cropper (James Wolk) is his dashing and charismatic protege, but he never gets a chance to show much genuine character. Lauren Slotsky (Amanda Setton) is a typical David E. Kelley female archetype of a sexually forward yet self-possessed woman. There is a brief hair sniffing moment between her and Simon that is typical of Kelley's playfully fetishistic humor and she sells it well, but aside from this moment and the occasional off-camera laugh at Simon's jokes, we don't get much out of her.

Finally, Sarah Michelle Gellar... I didn't like her in Buffy the Vampire Slayer and my opinion hasn't changed much. She plays the stern daughter who had to grow up responsible and serious because her father was wacky and unreliable. By the end of the episode, she learns to get what she wants by being more like him. I'm not sure what it is about her, but Sarah Michelle Gellar makes me feel awkward. When she is in a tough situation, I don't feel sympathy or humor; I just feel uncomfortable. Since she is going to be the heavy in this show, I don't suspect I'll ever get used to it.

Hopefully this show will develop their secondary characters, but I doubt it can last long based solely on the father/daughter relationship of two leads that are both pretty annoying in their own way.

The Goldbergs
   starring Jeff Garlin, George Segal, Wendi McLendon-Covey, and the voice of Patton Oswalt
   created by Adam F. Goldberg



When I heard about this show, I immediately thought it was a remake of the 1949 sitcom series about first and second generation Jewish immigrants trying to adapt to New York City. Then I realized that was stupid and found out that it was like The Wonder Years: an autobiographical, nostalgic family sitcom.

The comparisons to The Wonder Years are obvious from the first line of voice over narration by comedian Patton Oswalt. The show was created by Adam Goldberg and the lead character shares his name, as well as a love for video. He is constantly following his family around and recording their antics. The show is set in the eighties, which really does seem as quaint as the fifties did to us back then.

A large part of my interest in this show came from Jeff Garlin, perhaps best known as Larry David's best friend in Curb Your Enthusiasm. And while he is the best part of the show, most of the humor just doesn't work. The main joke around his character in this episode is that he doesn't say what he means, but just says something insulting instead. This is then subtitled for those of us who don't "speak dad." Unfortunately, Garlin's good-natured presence kind of undercuts the joke. Not to bring up The Wonder Years again, but the father in that series, played by Dan Lauria, was a far more threatening figure. He was a mean, scary dad who you had to struggle to relate to while Murray Goldberg is more like Homer Simpson. He is a good-natured oaf who loses his temper and it plays out pretty predictably

The grandfather, Albert (George Segal), takes Adam under his wing in order to play the cool grandpa, teaching him things like how to flirt with girls. It's a nice relationship and, with proper development, I could see this being the strong point of the series.

Beverly Goldberg is played Wendi McLendon-Covey (Reno 911, Bridesmaids) who is the strong matriarch of the family. She reminds me a lot of Lois from Malcolm in the Middle but without the high-strung intensity that made her stand out. Honestly, McLendon-Covey has never been a standout actress/comedian to me. I liked her well-enough in Reno 911 as the trampy woman who thinks she has class, but as a mother of three, I'm not so sure.

This show has potential, but like the others on this list, I found it awkwardly straddling the line between comedy and drama. If they focused more on one or the other, I could see it becoming much more interesting.

Brooklyn Nine-Nine
   starring Andy Samberg, Andre Braugher, Joe Lo Truglio, Chelsea Peretti, and Terry Crews
   created by Dan Goor & Michael Schur



I have to admit, I wasn't expecting to like this show at all, but it greatly exceeded my expectations.

I've never particularly liked Andy Samberg. I think its that dopey grin of his. It's not that I think he's a bad actor or comedian or even that he has done bad work; he just has a very punchable face. And I haven't changed my opinion, yet I like this show and I'm looking forward to the next episode. That should say a lot about the quality of the show in general.

Andy Samberg is Detective Jake Peralta, the department's lead detective who never managed to grow up. Despite his constant jokes and pranks, he is actually a very good detective and can often spot clues that others might miss. Detective Amy Santiago (Melissa Fumero) is his main competition with the two holding a bet over who gets the most arrests. Jake's best friend is his co-worker, Charles Boyle (Joe Lo Truglio), who has a crush on the overly aggressive officer, Detective Rosa Diaz (Stephanie Beatriz). Rounding out the cast, we have Sergeant Terry Jeffords (Terry Crews) who left field duty to sit behind desk because he had two daughters, Cagney and Lacy, and the Gina Linetti (Chelsea Peretti) as the civilian administrator.

The first episode features the replacement of the old precinct captain, Captain McGintley (Mike Hagerty), with the new precinct captain, Ray Holt (Andre Braugher). Mike Hagerty is a character actor best known for looking like a walrus and even though he only appears for a single quick scene, it is hilarious and I hope he comes back from retirement soon. But Andre Braugher is magnificent. He brings a kind of gravitas to the role that grounds the entire show. He's the perfect straight man for Samberg, not merely absorbing his abuse, but deftly turning his pranks back around on him.

All that said, this still feels like a show that hasn't found its footing, but that's not much of a criticism since I've only seen two episodes. The jokes are a bit flat. They use cut scene flashbacks to limited effect and its a bit jarring. It reminds me of 30 Rock, but somehow it comes off more cartoony, like Family Guy. Hopefully this is just a result of being a new show and soon they will find their own pace and style.

In the unused potential category, I'll put Terry Crews and Chelsea Peretti. These are both fantastically funny actors and they get very little to do in these first few episodes. You'll probably recognize Terry Crews as Herbert Love in the latest season of Arrested Development, but I'll always think of him as President Camacho in Idiocracy.

If you like Andy Samberg or police comedies, you should check this out. And if you don't like it now, check back in a year or two, if Fox doesn't cancel it. This is a great cast and I suspect the show will be fantastic, if given the chance.

The Blacklist
   starring James Spader, Megan Boone, and Harry Lennix
   created by Jon Bokenkamp



I have goosebumps. By far, the winner of pilot season is The Blacklist. In fact, seeing the trailer for The Blacklist was what started me on this pilot binge in the first place.

If you are the daring sort who likes James Spader and/or intense international crime dramas, just stop reading this review right now and go check it out. You will probably enjoy it more if you just go into it cold without any information. If that isn't enough for you, I'll try to explain without spoiling too much.

James Spader is Raymond Reddington, a former high ranking Naval officer who went AWOL only to become an international criminal who brokers deals with other criminals. After decades on the FBI's most wanted list, Reddington has surrendered, offering information on all of his clients, but only if his demands are met, the most important of which is that he will only speak with Elizabeth Keen (Megan Boone), a new FBI criminal profiler with absolutely no experience. Keen claims that she has no connection to Reddington, but clearly he knows her quite well. The title of the series comes from a list of names Reddington has compiled of criminals and terrorists so dangerous and sophisticated that the FBI doesn't even know who they are.

The foundation of this show is James Spader's performance as a charismatic, sociopathic genius. It's easy to compare Reddington to Anthony Hopkin's Hannibal Lecter, particularly in his scenes opposite Keen. Although Reddington is usually in manacles and surrounded by armed guards, it is clear that he is in charge of every situation he is in and that makes for fantastic drama.

I like seeing Harry Lennix (Dollhouse) in the role of Harold Cooper, the man overseeing the entire operation. He brings a quiet and reserved confidence that is appropriate for a man in his position. While the other characters are easy to intimidate, Cooper is always cool, calm, and collected. I'm hoping we will get plenty more scenes with him and Spader, despite Reddington's insistence that he will only talk to Keen.

Now, I have to address the action in this episode because it is phenomenal; in fact, it might even be too good. The villain, Ranko Zamani, plans an abduction of a congressman's daughter... and while the FBI arrives in time to get her first, the kidnappers manage to turn the tables on them in a scene that reminds me of Joker in The Dark Knight. At first, the scene appeared absurdly convenient in how well it is organized, but I wonder if this wasn't all planned. The scope of this action scene alone makes me wonder how much the show will conform to realism versus action. Will we be facing realistic criminals or supervillains?

In fact, there is even a scene where Reddington is imprisoned in a giant glass box that reminds me of Magneto at the end of X-Men. I understand that Reddington is dangerous and crafty and all that, but he doesn't have superpowers so it seems unnecessary. On the other hand, it is so visually compelling that I can't really object that strongly.

But ultimately, this was the best show of the new season. It was the only show where all of the characters felt real and complex (save that one blonde agent), and I was completely absorbed from start to finish. I can't wait for what comes next.

THE WINNER

Whedonverse Primer: Buffy the Vampire Slayer

Since I have a lot of time and very little focus at work, I've decided to create a little primer of the only series, other than Star Trek, with a deeply immersive world with engaging metaphorical themes. Believe it or not, this is the world of Buffy the Vampire Slayer.

The Movie

1992 saw the release of the summer comedy-action flick, Buffy the Vampire Slayer starring Kristy Swanson in the title role, Luke Perry as bad boy/romantic interest Pike, and Donald Sutherland as her mentor, Merrick. Rounding out the villains were Rutger Hauer as the vampire lord Lothos and his comedic sidekick Amilyn played by Paul "Pee-Wee" Reubens. It was a spectacular failure.

The concept, at its core, was fairly simple. It was rooted in the horror film trope of having a cheerleader sacrificed to the monster. This particular cliche had been subject to overwhelming feminist critique due to both the patronizing representation of the ditsy cheerleader and the voyeuristic pleasure derived by her death. Writer Joss Whedon, a self-attributed feminist, sought to turn this stereotype on its ear by placing the cheerleader in the role of the action hero.

The Show

In 1997, the concept returned as a TV series for The WB, a new network that was trying to brand itself for a teenage audience. It was here that the concept really became popular. The name "Buffy" conveyed the valley girl image that Whedon wanted to dispel the negative connotations of. While it made sense from the position of Whedon's ideological objective, I believe that it deeply hurt and continues to hurt the marketability of this series. It certainly kept me from watching it.

I have known my fair share of ditsy girls and had no interest in watching a series filled with phrases like "oh my god," "like," and "for sure." To top it all off, something about Sarah Michelle Gellar just bugged me. And it's not like I didn't try to watch it, but every episode felt like watching R.L. Stein's Goosebumps on Nickelodeon. They were contrived, watered down horror stories in a high school setting.

But the problem with watching nearly every TV show is that the reruns focus on the early episodes which tend to have smaller budgets and worse stories since the actors and writers have not gotten use to their characters. And in this particular genre, shows like Goosebumps were the closest comparison. So in addition to the problems of title and genre, the show had to contend with its own low production values.

It took me a long time to finally watch this show. I had dismissed it for years, but repeatedly I heard people of taste and intelligence recommending it (as well as people of not so much taste and intelligence). Finally, I traded my DS9 season one with a friend's Buffy season one and sat down to see what the fuss was all about.

So let me tell you what the fuss is about. In two words: Joss Whedon. It's his style and intelligence that sells this series based around three primary talents:

1) Humor - Joss Whedon has a fantastic sense of humor. He was formerly a staff writer on Roseanne and while I never cared for that show, you can see it in his focus on humor and female strength.

2) Structure - Whedon has fantastic sense of dramatic structure so acute that he can usually lead the audience without them realizing it and then the moment it starts to feel contrived, turns things completely around, and makes an entirely logical plot twist. His ability to both lead and surprise the audience without relying on cheap tricks is truly unparalleled.

3) Metaphor - The thematic device central to the series is "high school as Hell" and the show expresses its plots in allegorical stories about growing up. Some of these are blatant like the girl who turns invisible when no one notices her or the use of magic to get girls, but they all strike at universal themes that keep the viewer thinking. Additionally, the show has a distinctly feminist bent with the focus on an exploration of female power.

The Premise

The premise of the show follows the events of the movie. Once per generation, a girl is chosen to receive great power so that she may become the vampire slayer. Usually these girls have a very brief lifespan and as one dies, another is chosen. Each slayer is assigned a Watcher from the Watcher's Council to train and guide the slayer in her quest.

As the story begins, Buffy's recently divorced mom moves to Sunnydale, a fictional town in Southern California. Upon attending the local high school, Buffy comes to discover that the school librarian is actually her new Watcher. Although she immediately rejects her calling, she soon discovers that she can't avoid it. Why? Because Sunnydale was built on a Hellmouth... which is exactly what it sounds like, a freakin' huge portal to Hell that attracts all manner of demonic creatures and mystical circumstance.

But if you are anything like I was, you've seen enough bad episodes of Buffy to know you don't want to see it. Besides, the title sounds like it will turn you gay. So if you don't want people to think you're gay, you definitely shouldn't see some of the episodes listed below or before you know it, you might become a Buffy fan.

Cast

Buffy Summers (Sarah Michelle Gellar)

It is said that Buffy was largely inspired (or at least influenced) by the X-Men and the primary inspiration for the character herself was Kitty Pryde, however the character's name and much of her conflict may come from her namesake: Scott "Cyclops" Summers. Like Scott, Buffy is conflicted with the responsibility of her powers... so much so that she sounds like another Marvel mainstay, Spider-Man. Buffy's role as the Slayer is a responsibility to constantly be on call to fight the forces of evil which is hard, of course, when you really just want to have fun and enjoy your youth.

Xander Harris (Nicholas Brendan)

One of Buffy's best friend is the comic relief dork, Xander. I think this character is often a stand-in for Whedon himself, or at least his teenage self. He is often given the comedic lines which are peppered with references ranging from Star Wars to Stooges. In fact, the dialog of Joss Whedon shows often reflect a particularly skewed perspective when references to geek pop culture and classic cinema show up in the mouths of stuck-up society types, but that's part of the charm and you have to let the realism go.

Willow Rosenberg (Alyson Hannigan)

Buffy also has a smart friend in Willow who initially starts off as a bookish geek and eventually becomes more confident, facing her problems head on. I have heard her compared to Jean Grey in that both have an "ultimate power corrupts absolutely" story arc and I'd be forced to agree. This character was certainly one of the most likable in the series' run. Over time, she becomes a Wiccan and an extremely powerful mage.

Rupert Giles (Anthony Head)

Every Slayer has a Watcher assigned to her from the Watcher's Council, an organization of uptight British occult experts who have taken it upon themselves to train new slayers. Anthony serves the role well, somewhere between Professor Xavier and Obi-Wan Kenobi in terms of patriarchal mentor. He brings a stuffiness to the role that suits it well, but is often shown as more of a complex human being with a spotty personal history. If Xander represents Whedon at Buffy's age, Giles represents the older, wiser, and more easily frustrated Whedon.

Cordelia Chase (Charisma Carpenter)

If Buffy breaks the valley girl stereotype, Cordelia reinforces it with all of the unfounded attitude and sense of self-importance. Cordelia is a reminder of the clique Buffy used to be in before she was chosen, but now only serves to remind her that she is no longer one of them. As best friends with Xander and Willow, Buffy has officially moved into high school geek clique which Cordelia often reminds her.

Angel (David Boreanaz)

The vampire with a soul, Angel represented the awkward love interested for Buffy in the first three seasons. To put it again in X-Men terms, Angel falls somewhere between Wolverine and Colossus. Like Wolverine, he has a dark past that he is trying to atone for, but like Colossus, he has a sensitive, artistic side that he keeps to himself. For the most part, Angel began as a humorless character who was famous for his solipcistic brooding, but for the most part, his development occurred in his self-titled spin-off.

Oz (Seth Green)

In the third season, indy favorite Seth Green joined the cast as the quiet, quirky, and unreasonably cool Oz who we eventually learn is a werewolf. The character is a genius slacker whose only real interest is in his band, Dingos Ate My Baby (which even he thinks is mediocre at best), and Willow. Unfortunately, half way through the fourth season, they started having trouble writing Oz and he was written out of the show. Fans mourned and the Nielson's dropped.

Spike (James Marsters)

First appearing in the beginning of the second season, Spike joined the regular cast in the fourth season as a replacement (of sorts) to Angel. With a character type loosely based on Billy Idol, I've always felt that his corrolary X-Men character is Sabretooth, the psychopath who has a history with Wolverine. You see, Angel was sired by Darla. In turn, he sired Drusilla who, in turn, sired Spike. Together, they form a dark family who ravaged villagers throughout the generations. Spike is arguably the most dangerous and merciless. Having killed two slayers before, he initially comes to Sunnydale to kill the newest one.

Faith (Eliza Dushku)

In the beginning of the third season, Buffy meets a new slayer named Faith. Normally only one slayer is called at a time, but due to Buffy having briefly died, a second was chosen. Eliza Dushku delivers a fantastic performance as a dark reflection of the slayer and she displays strong acting chops as the character is constantly struggling with the darkness inside of her.

The Story

Unlike Star Trek, Buffy the Vampire Slayer is only semi-episodic, so I cannot just recommend a handful of episodes. Instead, I'll give you an overview of each season and my personal favorite from each.

Season 1 - The Master

Season one follows the events of the Buffy movie. Buffy has left Los Angeles to the outlying fictional city of Sunnydale because she accidentally lit the school's gym on fire. She soon meets her new friends, Willow and Xander, along with her new Watcher, Giles. In short order, Buffy is trained to fight "The Master," an ancient vampire who is trapped in an old church, abandoned beneath the city in an old earthquake. When she learns that her death at his hands has been prophesied, she has to choose whether or not to face her destiny.

Standout Episode: Angel - In this episode, Buffy learns the secret of her mysterious handsome stranger and hears the story of how a vampire came to have a soul after receiving a curse for killing a gypsy princess. The soul came to torment him for the evil that he had done as a vampire, leaving him wallowing in guilt for a hundred years. The episode features his sire, Darla, and Buffy on opposite sides of his ever present moral dilemma.

Season 2 - Angelus

After defeating The Master in the first season, the series takes a sharp left turn by abandoning the old fashioned vampires of antiquity with new vampires more in the realm of Lost Boys or other modern vampire films. Leading the new villainy are Spike and Drusilla, old companions of Angel who act like the vampire equivalent of Bonny and Clyde, but when Angel loses his soul, he reverts to his old ways as a brilliant sadist. His number one target: Buffy, of course.

Standout Episode: Surprise/Innocence - This two-part episode completely changed the series as Angel loses his soul and Buffy her innocence. Until this episode, the show was good, but nothing particularly impressive, but the events herein (which I will yet again attempt not to spoil more than I already have) give weight and direction to the series. Fantastic performances by both Sarah Michelle Gellar and David Boreanaz.

Season 3 - The Mayor

It's senior year at Sunnydale High and the Scoobies (as they have now taken to calling themselves) are now facing a fully open the Hellmouth ready to drag Sunnydale straight to Hell. To stop it, they need to resolve the tensions that have built up within them and fight the corny, hypochondriac mayor (well played by Harry Groener) who happens to be an immortal demon worshipper.

Standout Episode: The Zeppo - For me, the highlight of season 3 was the Xander-centric episode in which Xander reflects on his relative uselessness amongst the Scoobies. The story focuses on a bid for attention that gets Xander into problems with a local gang as he wanders in and out through a generic, but dramatic B-story that the viewer only gets glimpses of. It's a tongue-in-cheek self-parody that demonstrates some of the best strengths of the series.

Season 4 - The Initiative

As Buffy and Willow attend UC Sunnydale, a government-run team of soldiers appears in town to do Buffy's job for her, capturing, imprisoning, and testing demons in a state-of-the-art underground bunker. But are they able to handle a threat that they don't understand and are unwilling to truly believe in? Meanwhile, the Scoobies drift apart and Spike, on the run from the Initiative, becomes an reluctant member of the team.

Standout Episode: Hush - Season four's standout episode was entitled Hush. The episode featured a group of monsters known as "the Gentlemen" who traveled around town at night stealing everyone's voice. As a result, the majority of the episode is told without dialog, using music and gestures to impart the necessary information. This is one of the few directed by Joss Whedon who really demonstrates directoral creativity.

Season 5 - Glory

One day, Buffy gets home to discover that she has (and has always had) a little sister named Dawn. Soon later, she finds that she also has a new enemy by the name of Glory, but Glory isn't just another demon, she's a god... and Dawn may be the key to stopping her.

Standout Episode: The Body - Similar to Hush, The Body is written and directed by Joss Whedon and features no music. I won't spoil it by talking too much about the plot, but the lack of music when complimented with long takes creates an eerily disconcerting mood that fits the story perfectly. This might make my top ten best single episode list.

Season 6 - The Trio

Following the dramatic events of the previous season, season six makes an effort to lower the bar and focus on more personal storylines rather than constantly raising the threat level. This season follows three geeks who formerly appeared as a demon summoner, a magician, and a cybernetic mastermind as they attempt to take down Buffy for reasons that aren't entirely memorable. What is memorable is how they do it and by this point, it is an interesting deviation from the status quo.

Standout Episode: Once More, With Feeling - Continuing the tradition of one innovative episode per season, this episode is a musical based around a musical demon who grants singing and dancing fun with the occasional spontaneous combustion. It sounds silly, and it most definitely is, but Whedon uses the situation to expose the inner feelings of his characters in ways that could not possibly be more entertaining.

Season 7 - The First

The final season of Buffy the Vampire Slayer begins with the title character's return to high school as a guidance councellor just as the world's first evil has declared war not only on the Slayer, but on all potential slayers. In order to save the world, Buffy needs to organize the potentials into an army. In order to carry out its will, The First uses his disciple, Caleb, a misogynistic preacher whose stronger than a slayer.

Standout Episode: Help - Unlike the previous three season, season seven doesn't have an obvious standout episode, so I have to go with this story about Buffy's first day as a high school councilor. When she confronts a girl with a serious Cassandra complex, Buffy tries to challenge fate.

Comics

Four years after the cancellation of the series, Joss Whedon began Buffy the Vampire Slayer Season Eight as an ongoing comic series published by Dark Horse Comics. Like the TV show, the series is led by Joss Whedon who is credited as "Executive Producer" but features a team of writers handpicked and guided by Joss Whedon's overall script. The writing staff includes show writers like Drew Goddard and Jane Espenson along with comic book professionals like Brian K. Vaughn and Jeph Loeb. It is an excellent continuation of the series that makes great use of the strengths of the comic book medium to do the kinds of stories that would never be possible on a television budget.

It would be an insult if I didn't mention the pencil work of Georges Jeanty. His simple, but expressive style captures the actors from the series without distracting from his personal art style. Also, while the writers may change from issue to issue, the consistancy of Jeanty's art makes for a seemless reading experience lacking from most comic books today.

Earlier comics of Buffy adventures can be found in the Buffy the Vampire Slayer Omnibus, currently available in seven reasonably priced additions, but I haven't read any of these so I can't recommend them. What I do recommend is Fray, a mini-series about a slayer from the distant future, written by Whedon with art by Jeanty. This, of course, is in addition to the previously mentioned Buffy the Vampire Slayer Season Eight.

Extras

In 2002, shortly before the series was canceled, plans were made for a Buffy the Vampire Slayer Animated Series. The show featured all of the original voices (with the notable exception of Sarah Michelle Gellar) and was set in the first season of the regular series. Unfortunately, it wasn't picked up, so the only thing we have to show for it is this three-minute pilot.



On May 25, 2009 it was reported that the Buffy film was being remade without Joss Whedon or any link to the TV series. Fans are currently outraged.

Next

David Boreanaz spins off into his own series entitled Angel.

Saving the Franchise: Fantastic Four

If any comic should translate easily to film, it's the Fantastic Four. They are Marvel first family and the embodiment of the Silver Age of comic books. They have no powers, no costumes, and no secret identity. The biggest problem is that they are kinda hokey. The characters often fall into stereotypes of the absent-minded professor, the immature prankster, the gruff tough guy, and the woman.

But well-worn characters have often been saved by writers who know characterization (see "Star Trek"), so my choice for Fantastic Four writer/director is Joss "Buffy/Angel/Firefly/Dollhouse" Whedon. Whedon is a fantastic character writer with a great sense of humor. He also is fantastic at leading the viewer's expectations then making a completely logical twist.

Theme

The central theme of Fantastic Four is scientific exploration. Whether they are going through space, other dimensions, back in time or checking out ancient excavations, it all revolves around science and understanding. In this way, it is very much like Star Trek... only with superpowers... in modern times.

But another core theme of this title is "family." It often bothers me when groups of friends or co-workers are referred to as a "family" because I find it sentimental to the point of being meaningless. But in the FF's case, it's true. Reed and Sue were married in the first few years of publication, Johnny is Sue's little brother, and Ben is Reed's best friend from college. They are very much a family which is why they are defined by their number. However, in recent comics this has expanded to include Franklin and Valeria Richards, the children of Reed and Sue, and Ben is currently engaged.

This is probably one of the few Marvel movies where you wouldn't necessarily have to show the origin. You could even take a page from the Incredibles (largely based on the Fantastic Four) and give all of the backstory in the beginning so you can concentrate on the family dynamic and the villain du jour. It would also be a way of distancing from the previous films without making any official declaration of whether this is a sequel or a revamp.

Characters

(Just for fun, I cast the team using actors who have previous experience working with Joss Whedon since Whedon has a reputation of working with old friends.)

Mr. Fantastic - Reed Richards is a hard character to write. Mainstream (particularly Hollywood) writers think he's a geek... and while that may be true, his defining factor is that he is a genius. I don't mean genius in the way I think about myself, but the kind of genius where it borders on a superhuman power itself. Science is a playground for Reed. He invents spaceships and time machines as his own educational toys. He has no thoughts about sensible applications or military uses, but only expresses his knowledge as a means of discovering more knowledge. His super-stretching ability is a reflection of the plasticity of his own mind.

Invisible Woman - Susan Storm was one of the first strong female characters in comic books and amongst the Fantastic Four, she is the mom or big sister. She is the one who is breaking up fights between Ben and Johnny or pulling Reed out of his lab when he forgets to do the little things like sleep and eat. Her powers likewise reflect her supportive nature, able to use more defensive abilities like invisibility and force field projection. It might work best if they build up her powers later in the stories and focused on character strength in the beginning.

(I tried to find a blonde Whedon girl to take the role, but only Amy Acker made the cut.)

The Thing - Of the actors in the previous films, I think Michael Chiklis was my favorite. His gruff personality worked, but maybe they should have just gone with full CGI because that suit looked awful. The tough part about Ben is that he is a warrior, a sweet guy, and a victim all in one. He's also funny, in the kind of way that only an indestructible bruiser can be. A Hulk-style full CGI Thing might just open things up visually as well, since watching a big guy in a rubber suit is rarely thrilling.

Human Torch - Johnny Storm is the easiest character to write poorly because he is an MTV stereotype. He loves fast cars, loose women, and practical jokes. For these reasons, his character is often annoying, superficial, and unreliable. They could make this work if they exercise subtlety. Johnny is an irrepressible man-child living in the shadow of his responsible older sister. He could never compete as good sibling, so instead he tried to have a life most enjoyed. One thing he learned from this lifestyle is that people weren't dependable or trustworthy. He became accustomed to abandonment and would often push people away, which has become second nature. When he found out about Reed's rocket flight, he begged or bribed his way on the crew and became lucky enough to be a bright, flashy superhero. So he is very grateful to be a part of this family and despite his attitude, he'll do anything to protect them.

Plots

Since comic films are now created with an eye toward multiple sequels, I've found a few villains that could support entire storylines.

Skrulls & Super-Skrull - The subject of last year's Marvel mega-event, the Skrulls first appeared in Fantastic Four #2 making them the oldest Fantastic Four villains short of Mole Man. They possess advanced alien technology and the ability to shapeshift. In the comics, their homeworld was destroyed by Galactus, making them intergalactic refugees. This story could center around a shapeshifting alien invasion or the Skrulls making a giant cannon designed to kill Galactus (which at the same time will destroy Earth). One of the Skrulls was able to replicate all of the powers of the Fantastic Four and calls himself the Super-Skrull. He might make for a good fight scene at the end of the film. Also, since mainstream audiences haven't seen them before, it would feel fresh and original (which is always better than being fresh and original). The recent popularity of '60s style sci-fi fantasy makes me think that this plot could be very successful.

Namor & Atlantis - Namor is the Fantastic Four's most sympathetic enemy. In fact, he is in love with Sue. He was originally a World War II hero and one of Marvel Comic's first heroes, but by Fantastic Four #4 (1962), he was found as an amnesiac by Johnny. After restoring his memory, he returns to the underwater city of Atlantis, where he is the prince, only to find it destroyed. Overcome by grief, he turns his anger on the surface world. I'd like to do a large scale invasion of New York City by Atlantean forces like we've seen in the comics a few times before. It would give the CGI team a real challenge and look pretty cool in the process. To do this, he would have to find some Atlantean survivors, automate Atlantean technology, and/or summon mythical creatures from the deep (i.e. a kraken) as his invading army... all while engaging in a strange romance with Sue and arguing with Reed.

Inhumans - Another Fantastic Four concept that would look great on film are the Inhumans. This is a society hidden in the mountains of the Himalayas for thousands of years. Each member is exposed to the Terrigen mists when they come of age. The strange nature of this mist deforms them and gives them their powers, which define them in their society. Their ruler is called Black Bolt and his power is so great that a whisper has been said to destroy mountains, so he "speaks" telepathically to his wife, Medusa, whose long red hair can stretch, move, and lift heavy objects at her command. The rest of the Inhumans are a similarly motley crew including Black Bolt's brother, Maximus, who is often scheming for the thrown.

Doctor Doom - If the Fantastic Four is a family, Victor is the crazy uncle that makes everyone uncomfortable. The good doctor is the obvious choice for a Fantastic Four villain, but he can also be one of the most difficult. Victor von Doom is a man who must be better than anyone, so when he met Reed Richards in college, the two had a lot in common. Although he refused to admit it, Victor wasn't nearly as good a scientist as Reed which led to his deep-seated jealousy. When Doom accidentally scarred his face in a science experiment that Reed warned him about, Victor blamed Reed and hid his face behind an iron mask. But what does he do? I don't know. He is a classic meglomaniacal villain who honestly believes that he is best suited to rule the world. Maybe he needs a good, old fashioned Bondesque world domination scheme. Or maybe he could feature in the Inhumans story by making an alliance with Maximus or the Atlantis story by making an alliance with Namor.

Silver Surfer & Galactus - Naturally, Silver Surfer and Galactus featured in the last film, but that one sucked. Worst of all, you never saw Galactus. I admit that a skyscraper-sized guy in a big pink hat is hard to make work on film, but the giant cloud that was featured in the movie was so anti-climactic. If they made another film about this storyline, they would be best served to build it into a truly apocalyptic event of Biblical proportions. Ghostbusters did this better in 1984.

Conclusion

So that, in a nutshell, is what I think it would take to make a good Fantastic Four movie.

Bring Back The Bondage For Wonder Woman

I was going to write a blog about the near impossible task of making a good Wonder Woman movie, then I read this and... well, it does a pretty good job weighing in on the challenges this project presents.

Comic Writers Speak: Bring Back The Bondage For Wonder Woman

Joss Whedon (on writing the Wonder Woman script): She’s a character who’s kind of elusive, she’s an old-fashioned superhero. At first I didn’t know what to do with her and then I realized, oh no, that’s what’s great about her—that she is an old-fashioned superhero and there is no place for her here. Or anyplace.

Updated: What would Joss Whedon have done? See for yourself.

Wonder Woman: What Might Have Been

Only the first one is specifically about Wonder Woman, but it's all about comics and comic movies. If you like Joss Whedon, you'll love it. If you don't like him, this might change your mind.