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I believe it was Neil Gaiman who suggested that writing serialized fiction is like jumping out of an airplane with a needle and thread and hoping you’ll have sewn a parachute before you hit the ground. Certainly there’s always been something of a slapdash, catch-as-catch-can, make-it-up-as-we-go-along feel to even the smartest and most ambitious of long-running television serials (Lost and Buffy the Vampire Slayer.)

This reckless approach lends TV series (and some comic book series) a thrilling, anything-can-happen sort of spontaneity, but it also exposes the seams at times. (Fans rightly dismissed Spike’s attempt to rape Buffy in Buffy the Vampire Slayer’s seventh season as a transparent bid by the show’s writers to remind the audience that Spike was evil, after having slowly neutered him over the course of three seasons.)

What I find most intriguing and satisfying about extended serial fiction is that it is uniquely equipped to reveal the startling extent to which a character can change over the course of time; while your average film might devote two hours to a given character’s narrative arc, Angel gave us five seasons to marvel at its title character as he struggled his way through 20-some episodes at a go. Removing commercials, each ostensibly hour-long entry offered perhaps 40 minutes of real story, but even then, you’re looking at a narrative which lasts well over 70 hours; a talented writer can do a lot with a character in 70 hours.

//Blogs

Is Black Widow Still a Hero? Dissecting the Misogynistic Outrage Against the Avengers

// Short Ends and Leader

"Black Widow may very well be the pinnacle of the modern action heroine, so why is there so much backlash about her role in the new Avengers film?

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