Among Joss Whedon's greatest contributions to television has been the continual use of the Body Count, the willingness to kill off recurring characters in order to ratchet up the narrative tension and create a sense of danger.
While viewers watch television and film for entertainment, it's easy to forget that these media are industries. In this essay the changing relationships between creators, studios, distributors, and an increasingly active fandom are examined.
Among Joss Whedon's greatest contributions to television has been the invention of the Body Count, the willingness to kill off recurring characters in order to ratchet up the narrative tension and create a sense of danger. This is the first of two essays examining Joss Whedon as a televisual mass murderer.
When Angel -- confronted by a small army of hostile demons, a giant, and a dragon -- said to Spike, Gunn, and Illyria, "Let's go to work" immediately before the screen went to black and the series ended, fans of Angel wanted to know what happened next. In After the Fall Joss Whedon and Brian Lynch answered our question.
Zombies have been one of the more popular monster types in films and television in recent decades following the popularity of George Romero's Night of the Living Dead. Joss Whedon's somewhat different take on the Zombie in his various projects is here examined in detail.
The last great new character to be added to Angel was Illyria, the former hell goddess who takes over the body of the beloved Fred. Through examining the crucial Illyria episode "Time Bomb" through the lens of psychoanalysis, can we learn what makes her tick?
From his debut on Buffy as a stiff, silly-ass buffoon to his eventual emergence as one of the most ruthless and competent demon hunters on Angel, few if any characters in the Whedonverse have had such a fascinating or varied history