Several "best" or "favorite" LGBT TV character lists have popped up in recent years, but they don't always include the most important LGBT characters. So, we pay tribute to the ten(ish) most significant LGBT characters in US television history.
Joss Whedon has not only created great shows; he caused fans to reach out to other fans to share their mutual enthusiasm for shows and for specific characters within shows. Here Lily Rothman writes of her involvement with others who came together thanks to Oz from Buffy the Vampire Slayer.
The formal creation of Buffy Studies -- and therefore Whedon Studies -- was born with the creation of the online journal Slayage 10 years ago. Here the coeditor of Slayage, Rhonda V. Wilcox, offers some reflections on our obsessions with the output of a certain TV creator.
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.
While Buffy has been universally acclaimed as a great work of TV feminism, Dollhouse has been denounced as anti-feminist. But have the critics of Dollhouse been too quick to dismiss its feminist credentials?
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.
Unlike most teen shows, Buffy the Vampire Slayer wasn't constructed around romances. And while viewers followed her epic romances with vampires Angel and Spike, whether or not she would ever find true love was never really the point of the show.
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.
In many television series, the actions of characters neither have long-term consequences nor cause long-term change. For Joss Whedon actions always have consequences and often change the show's narrative.
Joss Whedon and comic writer Brian K. Vaughan have enjoyed an interesting relationship, shown in part by Vaughan's writing the "No Future for You" arc of Buffy the Vampire Slayer season 8 and Joss continuing Vaughan's great series "Runaways" for Marvel.
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
After three seasons as Buffy's love interest and sometime enemy, Angel, the vampire with a soul, departed in 1999 for Los Angeles and his own series. Acclaimed Angel scholar Stacey Abbott sums up what makes the series so special.
One of the more interesting minor characters on Buffy and Angel is Anne, also known as Chanterelle and Lily, who matures over the course of five episodes and several seasons from clueless vampire wannabe to someone helping teen runaways.
Although Joss Whedon's Buffy the Vampire Slayer is rightly celebrated as a landmark in the depiction of strong female characters, relations between women are often complicated by their viewing one another as sexual competitors.
In Buffy the Vampire Slayer Joss Whedon intentionally set out to blur the boundaries between genres, creating a show that was part drama, part comedy, part horror, part SF, and very definitely part fantasy. Here "Buffy" is analyzed in terms of nature as fantasy.