tag:blogger.com,1999:blog-12417245803256903642024-03-29T04:02:57.677-07:00The Watcher's CouncilA Viewer's Guide for the TV Shows and Movies of Joss WhedonMichael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-1241724580325690364.post-35492934408993455152017-07-18T12:48:00.002-07:002017-07-18T12:50:12.672-07:00Buffy the Vampire Slayer 20th Anniversary!<div dir="ltr" style="text-align: left;" trbidi="on">
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It is a blast from the past as Joss Whedon and the principal cast of <i>Buffy the Vampire Slayer</i> (1997-2003) have a reunion, discussion, and photo shoot with <i>Entertainment Weekly</i> for the show's twentieth anniversary! It is ridiculous how much time has passed, but our fearless, fresh-faced Scoobies are now mature and settled in life.</div>
Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com0tag:blogger.com,1999:blog-1241724580325690364.post-63644374209414868942015-02-05T00:56:00.004-08:002021-05-19T16:48:39.160-07:00Watching "Darla" before "Fool for Love"<div dir="ltr" style="text-align: left;" trbidi="on">
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Several readers kept posting on the comments section of my viewing guide that they want me to switch the order of "Darla" and "Fool for Love" back to its originally aired pairing as, with "Fool for Love" first and "Darla" second. As I wrote my final response on the subject, I realized my response would be more at home as an essay than as a comment.<br />
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I encourage everyone to use their own preferences when viewing the episodes of Buffy the Vampire Slayer and Angel. But as for me and my list, "Darla" and "Fool for Love" will eternally be grouped together with "Darla" first and "Fool for Love" second. I have explained my reasons ad nauseum in my viewing guide and in its associated comments section, but I will do it once more for the record here and refer people here to this article from now on.<br />
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If I only had one shot at winning someone's love for Buffy and Angel, then these two episodes combined in this way would be what I would choose to show them. First "Darla" and then "Fool for Love." The entire reason why I posted a viewing guide to Buffy and Angel in the first place was in part to showcase this serendipitous discovery.<br />
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When I was watching Angel for the first time, I decided to intersperse it with Buffy since I heard that's how they originally aired. Only having the DVDs as my guide at the time, only air dates were provided, not airing times. So I was unsure which show aired first in the evening. So on that initial viewing of Angel, I guessed (incorrectly) that it aired first.<br />
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My reasoning was unimportant for this discussion, but this momentary lack of facts and a lack of google in a iPhone, led me to first order Angel and Buffy tgoether that way. And if it was not for this accident, I would not have stumbled on the best pairing of Buffy and Angel I had ever seen: "Darla" then "Fool for Love."<br />
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Later when I discovered the episodes actually aired in the reverse order of what I had watched, I was sure on my next rewatch to view them in their correct airing order. And to my surprise, I did not like it as well. Do not get me wrong: they were both still excellent episodes that I loved, but there was just something about them that did not resonate as strongly with me.<br />
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So I decided at one point to explore the original way I had the episodes and contrast it with the original airing order. And I discovered a few important things that helped me understand why I probably prefer watching "Darla" first and "Fool for Love" after.<br />
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These two episodes feature extensive flashbacks to the shared history of the four central vampire characters on the show: Darla, Angel, Drusilla, and Spike. I discovered that if one looked solely at the flashbacks, then "Darla" is the natural starting point as it begins in 1609 and progresses through to the Boxer Rebellion in 1900. "Fool for Love," on the other hand, begins and ends at much later dates, starting in 1880 and progressing through to 1977.<br />
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As these episodes do provide a rather complex mixture of past flashbacks contextualizing present day story developments, anything that is done to simplify this process of the audience will aid in viewer comprehension and can be processed mentally a little more efficiently.<br />
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Darla and Angel's lives and points of view in "Darla" take place earlier in the story and then crossover with the newer vampires, Drusilla and Spike, whose points of view take up the forefront of the flashbacks in "Fool for Love." The transition into the newer vampires' romance helps showcase a pattern revealed in "Darla" when the Master felt challenged by the up-and-coming Angelus, much the same way Angelus later feels challenged by the up-and-coming Spike later.<br />
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Therefore, when the episodes are paired this way, it creates a more subtle and chronological story to follow as we experience the exuberance of youth conflict with the caution and forethought that comes from old age. This lends the episode pairing with a strong beginning, middle, and end that does not present itself quite as easily when viewed in the original airing order.<br />
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When viewed in the original airing order, the story formed by the two episodes is basically that of Spike butting heads with his mentor Angelus and carrying on a bitter rivalry with him. Then we the audience later discover that some of this rivalry had more to do with Angelus receiving his mortal soul again, and he was in a desperate attempt to reconcile his vampiric bloodlust with his newly reinstated conscience, all in an attempt to still carry on with Darla<br />
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While both approaches to this story material work on a dramatic level, the interplay of youth and maturity as it relates to vampiric immortality was a slightly more interesting way to the view the story than generational miscommunication resulting in misunderstandings.<br />
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Now, let us compare the two episodes on a dramatic level and how they contrast with one another differently depending on the viewing order. While Darla and Angel are compelling in "Darla," I will make no qualms about it that Spike's flashbacks in "Fool for Love" are the most inspired flashbacks in either Buffy or Angel.<br />
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"Darla" builds up an emotional peak as we see Darla and Angel's former passion and verve for the kill being replaced in modern times with a conscience that makes them feel an odd mixture of revulsion and nostalgia for their soulless state as monsters. The episode delves into the despondency Darla experiences and ends with Darla clearly wanting to forfeit her mortality in favor of returning to her formerly nonconflicted state of being.<br />
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In contrast, "Fool for Love" begins with Buffy in a very similar state of despondency, but desiring a way to rediscover her mortality. Buffy has waltzed through much of the show with nearly godlike power, but she almost dies at the hands of a nobody whom she would usually have no problems dispatching. Buffy begins to questions herself and her powers and starts to ask herself tough questions about how the former slayers died.<br />
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Did they too just slip into a moment of mediocrity and find themselves on the wrong end of a wooden stake like she did? Buffy does not want this odd despondency to be the end of her, so she searches for to avoid slipping into a complacent death. Spike is the only one in existence who she question who was present at the deaths of former slayers, so she bribes him to help her discover how to get out of her current rut.<br />
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The strange confusion Darla feels at the end "Darla" perfectly transitions into Buffy's despondency as she becomes aware of a growing death wish that she too has been building up inside her. And strangely enough, Angel and Spike serve as excellent foils to these women, who they are both in love with (and obsessed with) while trying to counsel their beloved to face hard truths. As we explore Angel and Spike's pasts, we discover enlightening commentary on what Darla and Buffy are suffering from at present.<br />
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This story energy continues building up throughout "Fool for Love" more and more as Spike's feelings finally come to the surface in a powerful, explosive moment of revelation that Buffy finds completely incomprehensible. Spike's emotional explosion at Buffy is the culmination of the everything that took place in both episodes, building up to an impassioned climax of hatred and rage that bends to the power of love and devotion.<br />
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And in that way, "Fool for Love" helps illuminate everything that was set up earlier in "Darla," too. Hatred and rage that Angel felt for Darla and Spike felt for Buffy just cannot truly stand in the face of their deep feelings of love and devotion they feel for them. As much as they logically despise each other, they feel almost powerlessly drawn towards them in a desire to help and save them.<br />
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If you forced me to pick my favorite scene of Buffy and Angel, then it would be the last two minutes of "Fool for Love." It is the most powerfully acted, written, and directed scene from either TV show. To see James Marster's performance as he transforms from murderous rage to consolatory friend in just a few remarkably intense seconds is frankly one of the most remarkable moments captured on film.<br />
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When looking at the creative output of Joss Whedon's Buffy the Vampire Slayer and Angel, I am astounded at the number of brilliant moments captured on film. But for me, none is stronger than combining "Darla" with "Fool for Love," making the strongest and most cohesive joint dramatic presentation either TV ever pulled off.<br />
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From a storytelling point of view, this particular pairing of episodes illuminates the characters in the clearest and most enjoyable way possible. And it also provides the easiest door for a new viewer to open to connect to this show on an emotional level. I feel most viewers experiencing the show for the first time will be set up for greater success when viewing these episodes in this order.<br />
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Yanking on the audience's chain to make them wonder if Angel's boxer rebellion stint makes sense chronologically or not is not nearly as illuminating or intriguing to watch as getting a full dose of Spike's emotional tour de force at the climax of this beautiful 85 minute presentation.<br />
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The great thing about modern technology, you can watch the episodes in any order you want. I will always choose improved narrative flow and dramatic impact over any other concern when it comes to my viewings of Buffy and Angel. And I invite you to join me watching these episodes my preferred way some time and see if it helps the episodes resonate more deeply with you, too.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br />
<br />Michael Warren, Author's Post Script Note Added on 05/19/2021<br /><br />It has been six years since I wrote the above article and yet I still receive repetitive comments on my viewing guide page essentially attempting to brow beat me into submission with regards to my alteration of the viewing order for these two episodes on my guide. I will delete any further comments of this nature posted on my guide and re-post them here below.<br /><br />I will point out that none of these comments below ever address the salient points I make in this article and they simply repeat the same bullet points they hear from the other like-minded commenters. For all I know, it could just be one annoying troll creating multiple accounts to parrot the same arguments in an attempt to make it look like many people disagree with me on this point.<br /><br />Whether one troll or many, I doubt any of these commenters even read this follow up article I wrote specifically to address them. Completely ignoring me and spouting their drivel repeatedly is not just insulting but also boring.<br /><br />Any time someone trolls the guide with a similar comment, I will re-post their remarks down below here so they can be heard. I have no desire to censor a legitimate viewpoint. But I also will not let my guide become a dead end of annoying comments for trolls to try to insult me either. So if you want to discuss this point, comment below on this article ONLY. Thank you.<br /><br /><br /><br />RE-POSTED COMMENTS<br /><br /><br /><cite class="user" style="background-color: #fefdfa; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; font-style: normal; font-weight: bold;"><a href="https://www.blogger.com/profile/02011007284743766335" rel="nofollow" style="color: #d52a33; text-decoration-line: none;">Stargazer1682</a></cite><span class="icon user " style="background-color: #fefdfa; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; font-weight: bold;"></span><span class="datetime secondary-text" style="background-color: #fefdfa; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; margin-left: 6px;"><a href="https://josswhedon.blogspot.com/2012/04/buffy-and-angel-episode-viewing-order.html?showComment=1621387509096#c8920132648692308593" rel="nofollow" style="color: #d52a33; text-decoration-line: none;">May 18, 2021 at 6:25 PM</a></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="background-color: #fefdfa; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; text-align: justify;">I know this an old thread, but it makes absolutely no sense to put Darla before Fool For Love; and it's not just from a airing order standpoint. In Fool For Love, we see Spike bump into who turn out to be Angel, Dru and Darla; that scene alone is more effective when you DON'T already know how that scene plays out or that they're the ones he bumped into. You see that first then find out in Darla the other side of that encounter; and that's arguably how it was intended.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br style="background-color: #fefdfa; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; text-align: justify;" /><span style="background-color: #fefdfa; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; text-align: justify;">Putting Darla before Fool For Love also spoils the reveal in Fool for Love of William as the dandy poet; and Darla talks about Spike killing a Slayer - which, obviously we already knew Spike had killed two Slayers, but but it's effectively a spoiler for a plot point in Fool for Love. It also spoils the implications that Angel had a soul and was actually hiding people during the Boxer Rebellion scene; which again was probably intentional. So there's plenty of reasons that it makes no sense to put Darla first.</span><br /><br /><br />Michael Warren, Author's Response:</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" trbidi="on">Many have echoed your arguments Stargazer1682 and I have written a lengthy article on this very topic of why my decision makes perfect sense. Here is the url to my explanation: http://josswhedon.blogspot.com/2015/02/why-darla-is-better-watched-before-fool.html<br /><br />Please post all your future comments there from now on. Thank you.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">You are free to disagree with my reasoning, Stargazer1682, but to claim it makes "absolutely no sense" for me to order these two episodes in question in the way I do is frankly preposterous given the meticulous explanation for why I did it and why I continue to stand by my original decision.<br /><br />You may not agree with me, but to claim there is no sense in it is just plain aggravating for the sake of being aggravating and I would appreciate it if you would stop using hurtful invectives in your arguments. They are just annoying me and do not further the discussion.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">I have pointed out that those who prefer to view these two episodes in their originally intended viewing order can certainly do so. I understand why from a continuity perspective one might be tempted to do so. I do not argue that it is "wrong" to watch those two episodes in their original viewing order. Nor do I claim that you are wrong for doing so. However, you, Stargazer, and your ilk, do constantly insult me and berate me and belittle me on this topic and act like my point of view should not be allowed to exist.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">If anything, the only thing lacking sense here is your absurd position that because of a few points of continuity, we should totally abandon the greater emotional resonance of my ordering of these episodes. It is a perfectly sensical and reasonable supposition and I have repeatedly heard from others who agree with me making this departure from the original viewing order.<br /><br />So do not pretend there is no merit to my preference. In my experience, far more people like the change then do not like the change. You are in the minority on this point. Not me.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">And let me be clear, my argument is, and always has been, that those two episodes are noticeably and qualitatively better when watched in my preferred order, i.e. "Fool for Love" AFTER "Darla" instead of BEFORE.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">In the prologue of my viewing guide, I bring up my deciding factor when resolving all potential conflicts between strict story continuity and emotional resonance: I always side with the strongest emotional resonance. Period. End of discussion. I find that far more interesting as a viewer to take into account.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">Yes, there are occasionally a couple of funny story reversals and nuances lost by choosing to favor stronger emotional resonance in my viewing order. And if any readers of this episode order guide wish to depart from my recommendation and decide to watch "Fool for Love" BEFORE "Darla," then more power to them. That is a personal decision and my guide is just my best suggestion on how to improve the story's presentation. It is not a definitive statement on what is allowed or not, which frankly seems to be more of what you are attempting to do Stargazer.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">No one will stop you or anyone else from watching those two beautiful episodes in their original viewing order if you prefer it. I personally don't prefer that. I think my way, these two episodes form a tight and stylish made-for-TV movie that captures the heart of what the series Buffy the Vampire Slayer and its spinoff Angel are all about.<br /><br />Watching 1. "Darla" and then 2. "Fool for Love" results in a glorious combination of emotions perfectly made to climax in Spike's ultimate confrontation of Buffy at the end of the episode. It is powerful. It is surprisingly well set up and pays off as likely the most gloriously beautiful moment of the series.<br /><br />I would never jeopardize that type of dramatic power for the sake of landing a couple of clever twists better. You can. I won't.<br /><br />This is my website and I will present them in my preferred order. Period.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">I don't watch Buffy and Angel over and over again because a particular joke and punchline set up between two episodes lands so well. I watch these shows over and over again because the shows have a powerful dramatic experience that makes me connect emotionally to the characters and help me connect with my own humanity in profoundly deep and unique ways.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">As fun as it is to view Spike bump into some random people in "Fool for Love" and then get the payoff that those random people were indeed the vampire characters from our show later in "Darla," I do not watch Buffy and Angel because of interesting little fun asides. They are salt to the show's dramatic meat.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">And yes, Spike starting out as a more terrifying vampire and then being revealed to have been a dandy is a funny payoff and excellently done. And thinking that Angel was super dark and evil during the Boxer Rebellion and then discovering later that he was totally posing to attempt to win back the respect of Darla, Dru, and Spike, man that was a good reveal. Bravo to the writers.<br /><br />But personally, I would never want to watch those two episodes in their original viewing order just for those payoffs. Not when there is a vastly superior way to view those episodes in a way that gives you an emotional gut punch for the ages. Man, that is damn good television!</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">For those who disagree, cool; more power to you. But on this website I listen to everyone's advice and honly if I agree will I implement it. I will not change the viewing order because someone is annoying me about it.<br /><br />So please, once I have made my decision, do the decent thing by respecting my right to disagree and let us move on. We do not have to agree on everything about Buffy and Angel to be bonded together by our mutual love for these interconnected shows.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">And in fact, if everyone agreed with each other, then I am sure the world would be a worst place for it. So by all means, view those episodes in whatever way you prefer. I do not deserve online bullies trying to cajole me into changing it. Give it a rest.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">The viewing order stands as is. That is my final decision on the matter.</div><div dir="ltr" trbidi="on"><br />If any future comments are made repeating the same bullet points, then I will simply delete those comments. If you want to actually have a legitimate discussion though and comment on the finer points of my arguments as I laid them out, then please feel free to do so in the comments section to this article here and not on the main guide page. Thanks!</div></div>
Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com8tag:blogger.com,1999:blog-1241724580325690364.post-58651129413115529102014-08-07T12:33:00.002-07:002014-08-08T08:02:28.302-07:00ANGELUS<div dir="ltr" style="text-align: left;" trbidi="on">
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My fan edit combining all of Angel's flashback scenes as the vampire Angelus into one epic feature-length movie. Angel's back story of his life before he met Buffy is one of the most intriguing recurring story lines of "Buffy the Vampire Slayer" and its contemporary spinoff "Angel", but until now this story line could only be viewed piecemeal throughout several seasons of both shows.<br />
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I believe my new edit of this material will help shine a light on both Buffy and Angel TV shows and deepen our understanding of the recurring vampire characters that play a central part to these shows' core story arcs. It is also my hope that viewing Angel's rich back story as a single narrative presentation will help introduce Buffy and Angel to modern audiences, who were not yet aware of how well written, acted, and directed these two phenomenal TV shows were, and that they hold up well more than a decade after they aired.<br />
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All the footage in this cut is from the shows created by Joss Whedon and David Greenwalt. It is the property of Mutant Enemy Productions, originally aired on WB and UPN, and is the property of the home video distribution arms of their respective parent companies. This cut only represents my love for these characters and is done to reinvigorate interest in these two shows, which I recommend you purchase on DVD and watch on Netflix streaming.</div>
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If you are interested in watching Buffy and Angel side by side, I created a viewing guide that could help you watch the concurrent crossover episodes in chronological order: <a href="http://josswhedon.blogspot.com/2012/04/buffy-and-angel-episode-viewing-order.html">Buffy and Angel Viewing Guide</a><o:p></o:p></div>
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I also created a parallel fan edit that combines all of Spike's flashbacks into one movie presentation: "William the Bloody", which can be found here: <a href="http://vimeo.com/101173422">William the Bloody</a><o:p></o:p></div>
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com2tag:blogger.com,1999:blog-1241724580325690364.post-48434793538093275922014-07-20T19:24:00.002-07:002014-07-20T19:24:46.035-07:00William the Bloody<div dir="ltr" style="text-align: left;" trbidi="on">
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I present my fan edit combining all of Spike's flashbacks together into one extended visual presentation. This movie spans Spike as a human, being turned into a vampire, and tracks his actions as he earned the reputation of William the Bloody. I combined all of Spike's flashback footage from the TV shows <i>Buffy the Vampire Slayer</i> (1997-2003) and its spinoff <i>Angel</i> (1999-2004) to make a thorough dramatic presentation of Spike's fascinating back story.<br />
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com0tag:blogger.com,1999:blog-1241724580325690364.post-89907534798400840712012-10-30T19:08:00.002-07:002012-11-19T13:11:19.373-08:00Halloween Episodes of Buffy and Angel<div dir="ltr" style="text-align: left;" trbidi="on">
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Are you having trouble finding something fun to watch on Halloween that's smart enough to entertain adults and yet appropriate enough to watch with children and young teens? Many a babysitter has found themselves in this conundrum, facing a choice between annoyance at watching a child's show or possibly giving nightmares to your wards by having them watch a conventional "blood and guts" horror movie. Does someone in this scenario have to suffer on Halloween night?<br />
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Our recommendation is to cut this Gordian Knot in half and watch any or all of these special Halloween themed episodes of <i>Buffy the Vampire Slayer</i> (1997-2003) and its spinoff <i>Angel</i> (1999-2004), both of which are easily available to watch on DVD and Netflix Streaming. Instead of picking something either for you or for them, pick something that will entertain everyone. Make it a win-win scenario.<br />
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Unlike most other TV series, you could watch pretty much any <i>Buffy</i> or <i>Angel</i> episode and have it feel right at home on Halloween. So unlike most TV episodes cobbled together with Halloween cliches, <i>Buffy</i> and <i>Angel</i> use the holiday as a chance to do some some of their funniest and most creative writing. And given their history as network TV programs from about a decade ago, neither program contains material too gory, vulgar, or otherwise inappropriate for mature young minds to watch.<br />
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<b><u>BUFFY THE VAMPIRE SLAYER</u></b></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><span style="font-size: x-small;"><i>Buffy the Vampire Slayer</i> 206 "Halloween"</span></span></td></tr>
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In season 2 episode 06, "Halloween," we get an entertaining reversal as nearly everyone in town transforms into whatever costume they happened to be wearing that night for Halloween. The normally nerdy Xander becomes a brave, well-trained army man, while the super-powered Buffy is reduced to a simpering coquette. This episode also features one of the show's best (if ultimately under-utilized) recurring villains: Ethan Rayne. And instead of everything going back to normal afterward, Xander receives a permanent "power up" to his character as he retains all his false military training memories, allowing Xander to be a more formidable member of Buffy's crew from here on out.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><span style="font-size: x-small;"><i>Buffy the Vampire Slayer</i> 404 "Fear Itself"</span></span></td></tr>
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In season 4 episode 04, "Fear Itself," a Halloween Frat party goes awry for Buffy and Co. when one of the party decorators inadvertently draws a demon's sigil as part of their homemade haunted house. As a fear demon's power is unleashed, each character must face his or her worse fears while attempting to find a way out of the house. Aside from each character's humorous yet poignant battle against their worse fears, the episode's ending is easily one of the funniest moments of the series.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: small; text-align: left;">Buffy the Vampire Slayer</i><span style="font-size: x-small; text-align: left;"> 606 "All the Way"</span></td></tr>
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In Season 6 episode 06, "All the Way," Anya and Xander take it to the next level and agree to marry, Willow and Tara fight about Willow's growing abuse of power and overuse of magic, Dawn tries to play at the rebellious teen but gets in trouble far deeper than she anticipated, and Buffy tries to keep it together but her growing sense of apathy and detachment begins to seriously concern Giles. The Halloween elements of this episode are not played up quite as much as in the other specials, so skipping it is understandable. But all in all, this episode provides some good laughs and engaging drama and potentially sets up an interesting trilogy of episodes.<br />
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<b><u>OPTIONAL TRILOGY</u></b></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Buffy the Vampire Slayer</i> 607 "Once More with Feeling"</td></tr>
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Depending on your interest and the amount of viewing time you have Halloween night, you might consider stretching out that last Halloween episode into a very entertaining three-episode story arc. In the very next installment of the show after the last Halloween themed episode, we get a fan favorite with Season 6 episode 07, "<i>Once More with Feeling</i>," otherwise known as <i>Buffy</i>'s musical episode. Rather than just act as a gimmick, this brilliant game-changing episode challenges the status quo of the series and forces every character to reveal the innermost parts of their hearts in song.<br />
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And to top off this excellent trilogy is Season 6 Episode 08, "<i>Tabula Rasa</i>," which sees everyone experience a temporary state of amnesia when one of Willow's spells goes wrong. This makes a surprisingly good bookend to the first identity-confused episode "Halloween" from Season 2. <i>Tabula Rasa</i> sees everyone clamoring to reestablish their identities with some hilarious assumptions that mix things up in the group beyond recognition. Be forewarned though that this mini-arc of Buffy episodes is considerably more mature and risque than the standalone Halloween episodes would be on their own, so plan accordingly if you think it might be over your wards' heads.<br />
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<b><u>ANGEL</u></b></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><span style="font-size: x-small;"><i>Angel</i> 505 "Life of the Party"</span></span></td></tr>
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In season 5 episode 05 of <i>Buffy</i>'s spinoff <i>Angel</i>, "Life of the Party," Angel and his crew try to get accustomed to their new corporate lives at Wolfram and Hart, but the strain of fighting a system that is slowly assimilating them proves too much for Lorne who cracks under the strain of his new duties and explodes into a Dr. Jekyll and Mr. Hyde at the company's Halloween Party. A fun episode, but potentially too spoiler-filled if the new viewer might potentially want to watch <i>Angel</i> from the beginning some time.<br />
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<b><u>CONCLUSION</u></b></div>
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While it's true that younger children in particular might not be ready for <i>Buffy</i> and <i>Angel</i>, these shows' Halloween episodes are a pretty good compromise between say, "<i>The Great Pumpkin Charlie Brown</i>" and "<i>Nightmare on Elm Street</i>." You'll have to use your own discretion, though, about what each individual child could handle. And although <i>Buffy</i> and <i>Angel</i> contain complex season-long story arcs, luckily their Halloween episodes are all relatively self-contained stories that can stand well on their own.<br />
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Remember to stay safe and avoid drawing symbols in your house that you find in old books on the occult. Extra points to anyone wearing costumes based on characters from <i>Buffy</i> and <i>Angel</i> this year. You can also check out our <a href="http://josswhedon.blogspot.com/2012/04/buffy-and-angel-episode-viewing-order.html"><i>Buffy</i> and <i>Angel</i> Viewing Order Guide</a> for more recommendations on watching both shows in (near) chronological order. Have a happy Halloween everyone!<br />
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com0tag:blogger.com,1999:blog-1241724580325690364.post-62091125165543902692012-07-19T21:23:00.000-07:002012-11-19T13:11:02.610-08:00Bruce Wayne and Batman's Rogues Gallery: The Dark Knight (2008)<div dir="ltr" style="text-align: left;" trbidi="on">
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If <i>Batman Begins</i> (2005) was about Bruce Wayne learning to master his fears and use his new found knowledge to protect the innocent citizens of his hometown with what he learned, then <i>The Dark Knight </i>(2008) is about the escalation of violence by Gotham's criminal underworld in reaction to Bruce Wayne's efforts to terrorize them as the Batman. As the mobsters' slice of the Gotham pie decreases day by day, they pool their efforts together to counterattack Batman. In their shortsighted attempt to destroy Batman, the criminals look to a man who seems capable of out-terrorizing even Batman himself, an agent of chaos known only as <i>The Joker</i>.<br />
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<b><u>THE DARK KNIGHT</u></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Villain #1: Chaos, the Joker Turns Partner Against Partner and Dog Against Master</td></tr>
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Even more destructive than <i>The Joker</i> himself, is the poisonous philosophy he spreads in his wake. We learn this philosophy through its practice before <i>The Joker</i> reveals himself in the opening scene. A team of criminals rob a mobster-controlled bank, but as soon as any of them finish their assignment, the next pawn up the hierarchy kills them for the hope of a larger share. In a brilliantly duplicitous way, <i>The Joker</i> hedges his bets by setting each of his henchmen against the others until <i>The Joker</i><span style="background-color: white;"> is left standing. As fear was the overriding abstract villain for Bruce Wayne to defeat in Batman Begins, now </span><i>The Joker</i><span style="background-color: white;">'s philosophy of chaos threatens to tear Gotham apart.</span><br />
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<tr><td style="text-align: center;"><a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/batman-begins_00263396.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/batman-begins_00263396.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Villain #2: The Joker
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<i style="background-color: white;">The Joker</i><span style="background-color: white;"> gleefully describes himself as an agent of chaos, and it soon becomes clear </span><i style="background-color: white;">The Joker</i><span style="background-color: white;"> is as dedicated to this role as the Batman is to upholding his role as Gotham's protector. Because of Batman's dedication to upholding a chivalrous code, it makes sense why Batman begins to be known by another title this film: the Dark Knight. In antiquity, honorable </span><span style="background-color: white;">knights lived by a strict code to protect the helpless and innocent. </span><i style="background-color: white;">The Joker</i><span style="background-color: white;"> on the other hand is the polar opposite, attempting to prove that deep down no one is helpless or innocent. He will stop at nothing in his quest to bring good people down to his level, in his mission to eradicate humankind's belief in a safe society built up by rules of behavior and codes of conduct</span><br />
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<i>The Joker</i> does not seek money, love, acceptance, or popularity. <i>The Joker</i><span style="background-color: white;"> is an ideological beast that only wants to watch the world burn. While the Dark Knight attempts to provide another check and balance to a broken system, </span><i>The Joker</i> simply wants to destroy all systems<span style="background-color: white;"> and unleash the id hiding behind everyone's ego and superego. He conceals his identity behind a completely blank paper trail of an existence and constantly lies to his victims about how he got those scars. So </span><i>The Joker</i><span style="background-color: white;"> seems obsessed with uncovering the deepest recesses of everyone's identity but his own. And there's no brownie points to be earned with </span><i>The Joker.</i><span style="background-color: white;"> If he cannot find a way to corrupt you, he might let you live until he does. But he will eventually kill off anyone and everyone who chooses to work with him.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Villain #3a: Chechen, Gotham's Russian Crime Boss</td></tr>
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The next three villains really represent different aspects of the same villain, namely the archetypal organized crime boss. Each man has painstakingly worked themselves up the ranks of leadership in their respective crime families. Each man participates in a crime council where they liaise with each other about their respective projects and territories, partly to stay out of each other's way, but also to provide aid and assistance. We will call them a fraternity of crimelords. Chechen is brutal and is the first of Gotham's crime bosses to acquiesce to <i>The Joker</i><span style="background-color: white;">'s offer/demands to kill the Batman. </span><i>The Joker</i><span style="background-color: white;"> shows his gratitude by co-opting Chechen's criminal organization, chopping up his body and feeding him to his own guard dogs.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Villain #3b: Salvatore Maroni, Gotham's Italian Crime Boss</td></tr>
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Salvatore Maroni succeeded Carmine Falcone as Gotham's Italian Crime Boss, apparently the strongest of Gotham's three mafia syndicates. Early in the film, District Attorney Harvey Dent attempts to put Maroni behind bars, but Maroni manipulates the trial into an unsuccessful assassination attempt on Dent's life. Maroni is ambivalent about going into business with <i>The Joker</i><span style="background-color: white;">, but Batman's eventual abduction of his money launderer Lau will nudge Maroni off the fence to join Chechen in hiring </span><i>The Joker</i><span style="background-color: white;"> to eliminate Batman for them. Maroni is repaid by </span><i>The Joker</i><span style="background-color: white;">'s accolyte Harvey "Two-Face" Dent, who shoots Maroni's driver on a coin flip.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Villain #3c: Gambol, Gotham's African-American Crime Boss</td></tr>
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And then we look to the crime boss most militantly opposed to hiring <i>The Joker</i><span style="background-color: white;">, African-American Crime Boss Gambol. Of all the three mobsters, Gambol is the only one of them to recognize </span><i>The Joker</i><span style="background-color: white;"> for the dangerous and degenerate terrorist he really is. Unfortunately, Gambol underestimates </span><i>The Joker</i><span style="background-color: white;">'s resourcefulness and falls prey to a Trojan Horse early in the game.</span><span style="background-color: white;"> Among Gotham's Crime Bosses, Gambol stands out as a better judge of character and probably had the most integrity of the three, which is partly why </span><i>The Joker</i><span style="background-color: white;"> eventually kills him t</span><span style="background-color: white;">o get the ball rolling with the other two Crime Bosses.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Villain #4: Lau, C.E.O. of a Chinese Corporation and Mob Money Launderer</td></tr>
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Harvey Dent prosecuted and convicted every money launderer in Gotham, leaving the Crime Bosses to entrust their money with a Chinese foreign national with his own corporation to help justify his frequent excursions to Gotham. <i>The Joker</i> correctly surmises Lau is a slippery white collar criminal who is vulnerable to Batman and will turn state's witness given half a chance. Lau has a fascinating implied back story, because he is clearly the wealthiest criminal that Batman has had to face and he lives in a veritable fortress with police and government protecting him when his guards are insufficient.<br />
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This provides an interesting grey area for Batman fans, who many could argue only has a right to perform vigilantism in his own backyard, if he has any right to to perform it at all. This is really the first instance when Batman has pursued his crime-fighting agenda outside of Gotham itself. While Bruce Wayne has had journeys to the far east, eventually joining and in turn destroying the League of Shadows in Batman Begins--Batman was always intended as a symbol against Gotham's criminal underworld and not a globe-trotting hero like Superman or the Green Lantern (also in the DC Comic Universe). As many have noted previously, this is just one of this film's many parallels with the U.S. during the course of its War on Terror. Batman is doing a thinly veiled rendition of an enemy combatant, and then leveraging him against the Gotham mob. </div>
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<tr><td class="tr-caption" style="text-align: center;">Villain #5: Colman Reese, Mergers and Acquisitions Attorney for Wayne Enterprises
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<span style="background-color: white;">Unlike most of Bruce Wayne and Batman's villains, Colman Reese is really a borderline criminal at worst. Reese does not really seem like a man who wants to live a life of crime </span><i style="background-color: white;">per se</i><span style="background-color: white;">, but just chooses to capitalize on secret information he stumbled upon in verifying the due diligence of a potential merger with Lao's company. In this respect, Reese is really an audience stand-in for a regular Joe whose eyes started to get full of dollar signs. In some ways, this amoral ambiguity makes Reese one of the least sympathetic villains in the trilogy. All of Batman's other villains at least have a set of convictions they stand behind, even if those convictions are insane and evil. Colman Reese, on the other hand, is just jockeying for some short-sighted leverage.</span><br />
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<tr><td class="tr-caption" style="font-size: 12.571428298950195px;">Short-Sighted, Self-Serving, and Super-Slimy = A Typical Gothamite</td></tr>
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At first, Reese just wanted hush money to keep silent, but later he attempted to capitalize his knowledge for fame, money, and potentially for the ethical dilemma of letting <i>The Joker</i> continue killing cops each day Batman did not come forward. But <i>The Joker</i> intended this as a personal challenge to Batman, and never intended for this slimy lawyer to ruin his test of Batman's mettle. So <i>The Joker</i><span style="background-color: white;"> threatens to blow up a hospital if someone in Gotham does not kill Reese first.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">The Joker Needed to Buy Time to Prepare the Ace Up his Sleeve to Undo All<br />
the Good Batman, Commissioner Gordon, and Harvey Dent did for Gotham</td></tr>
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</span><i>The Joker</i><span style="background-color: white;"> was already preparing to blow up Gotham General Hospital. But this was an effective gambit to kill two birds with one stone. This would effectively silence Reese so that his personal challenge to Batman stood. It also caused chaos in the city sufficient to distract Batman and the police while </span><i>The Joker</i><span style="background-color: white;"> converted Harvey Dent to his way of thinking.</span><br />
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<tr><td style="text-align: center;"><a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/Coleman-Reese.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="251" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/Coleman-Reese.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Singular Moment of Contrition by One of Bruce Wayne and Batman's Rogues Gallery</td></tr>
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<span style="background-color: white;">Bruce Wayne had every right to leave Colman Reese in the cold when <i>The Joker</i> made his threat. Which gives Bruce Wayne's moral stance to protect the citizens of Gotham even greater weight when he ultimately saves Reese's life. The shame in Reese's eyes when confronted with an injured Bruce Wayne, who put himself (and his Lamborghini) at risk to save his life was enough to silence Reese for good, without intimidation or threats. Reese is one of the few villains Batman manages to convert throughout the trilogy. And he did not do it with his conventional arsenal of fear an intimidation, but through forgiveness and a generous sacrifice. </span><br />
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<tr><td class="tr-caption" style="text-align: center;">Villain #6: Glaring Corruption Allowed to Exist Within the System, Police Officers on the Take</td></tr>
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<span style="background-color: white;">Officers Wuertz and Ramirez work for Gotham Police Department and were controversially assigned to Jim Gordon's Special Task Force against organized crime. District Attorney Harvey Dent objected to their presence on the task force, having investigated them for corruption amd criminal activity while he worked at Internal Affairs. Harvey turned out to be correct when Officers Wuertz and Ramirez were revealed as spies and operatives of Salvatore Maroni. Like Detective Flass in <i>Batman Begins</i>, Wuertz and Ramirez are corrupt cogs in the broken machine of Gotham, and represent the reason why a crime-fighting masked vigilante like the Batman became necessary.</span><br />
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<tr><td style="text-align: center;"><a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/WUERTZ.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/WUERTZ.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Villain #6a: Officer Wuertz, Corrupt Cop on Gordon's Special Task Force</td></tr>
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<span style="background-color: white;">Wuertz shares a lot in common with Detective Flass from <i>Batman Begins</i>. Aside from their greed and similarities in physical apperance, both men have an unpleasant demeanor and act abrasive to others by virtue of the protection they have by wearing a badge. For public relations reasons, Wuertz was assigned by Jim Gordon to uncover the identity of Batman, but that assignment was clearly just for show as the case board revealed his Batman suspects as Bigfoot, Elvis, and Abraham Lincoln. Wuertz never shows any signs of remorse for his crimes until Harvey "Two-Face" Dent places a gun in his face and pulls the trigger for his part in the kidnapping and murder of his Assistant District Attorney and fiance Rachel Dawes.</span><br />
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<tr><td style="text-align: center;"><a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/Anna_Ramirez_01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="336" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/Anna_Ramirez_01.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Villain #6b: Officer Anna Ramirez, Corrupt Cop on Gordon's Task Force</td></tr>
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Officer Anna Ramirez, on the other hand, does show signs of remorse throughout the movie. Her mother is chronically in the hospital for an unknown illness and the medical bills keep piling up. Unlike Flass, Wuertz, and Colman Reese, Ramirez is acting out of desperation more than out of a desire to make fat stacks of cash. Ramirez places in danger the lives of her fellow officers and public officials, but Ramirez likes to think of her corruption as selfless since it is ostensibly done to save her mother. Ramirez helps prolong a brutal mob war and destroys the lives of many innocent people, including the love of Bruce Wayne's and Harvey Dent's lives. Ramirez evades Two-Face's revenge on a coin flip and her fate is left unclear throughout the rest of the <i>Dark Knight Trilogy</i>.<br />
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<tr><td class="tr-caption" style="font-size: 12.571428298950195px;">Villain #1a : Chaos, Batman Must Choose to Save Harvey Dent or Rachel Dawes</td></tr>
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<i>The Joker</i> strikes out at Batman personally and forces the Caped Crusader to choose one of two lives to save from a fiery explosion: Rachel Dawes or Harvey Dent. District Attorney Harvey Dent was the most necessary component to turning Gotham around and purging the corruption in the system, yet <i>The Joker</i><span style="background-color: white;"> detected genuine feelings of love and romance in Batman for Rachel Dawes. At the Dent fundraising party </span><i>The Joker</i><span style="background-color: white;"> pushed Rachel off a skyscraper and Batman abandoned a large room full of Gotham's elite at risk from </span><i>The Joker</i><span style="background-color: white;"> to fling himself after Rachel alone.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The Joker</i>'s Philosophy of Chaos Demands Lose-Lose Scenarios to Drive People Insane</td></tr>
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</span><i>The Joker</i><span style="background-color: white;"> gives Batman just enough time to rescue one of them before the explosives go off, but reverses the addresses of where they are being held. </span><i style="background-color: white;">The Joker</i><span style="background-color: white;"> wants to break Batman's ethical code, provoke him to the point of making him homicidal and kill </span><i style="background-color: white;">The Joker</i><span style="background-color: white;"> in response. He essentially wants to become Kevin Spacey's serial killer character at the end of David Fincher's <i>Seven</i> (1997), whose ultimate philosophical victory is to break his opponent to prove his chaotic philosophy of life correct.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The Joker</i> Pulls a '<i>Seven</i>' on Batman</td></tr>
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<span style="background-color: white;">So </span><i style="background-color: white;">The Joker</i><span style="background-color: white;"> reverses the addresses where Batman can find Rachel and Harvey, thereby killing the person Batman cares about most. Batman said he lives by only one rule. In <i>Batman Begins</i> (2005) he demonstrated that that rule is not killing people. And </span><i style="background-color: white;">The Joker</i><span style="background-color: white;"> wants to ensure that by the time this is all over, in some way Batman will feel responsible for the death of the person he cares about most.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Villain 1: Chaos, The Joker Forces One Boat Full of Gotham Citizens to Eliminate Another One or Both be Destroyed</td></tr>
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This next class of villain is more of an abstract concept that is taking root in several Gotham citizens, namely <i>The Joker</i>'s philosophy of chaos. In an attempt to prove that human beings are vicious and selfish by nature, <i>The Joker</i><span style="background-color: white;"> sets up what he calls "<i>a sociological experiment</i>." </span><i>The Joker</i><span style="background-color: white;"> hijacks the controls of two ferries by remote, each filled with Gothamites. One ferryboat is filled with Gotham's most dangerous criminals being transferred from prison. The other ferryboat is filled with everyday civilians. </span><i>The Joker</i><span style="background-color: white;"> rigs both ferries to explode and offers the remote detonators to the passengers of each vessel. If anyone attempts to jump off the ferry, </span><i>The Joker</i><span style="background-color: white;"> will blow up both boats. If neither boat's passengers makes a decision by midnight, </span><i>The Joker </i><span style="background-color: white;">will trigger both boats to explode. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Villain 1b: Fearful Mother Riding a Ferry Hijacked by the Joker </td></tr>
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Although not conventional villains, there are three morally challenged ferryboat passengers given particular emphasis during this scene. The first is an average mother, who was simply trying to escape Gotham with her son to avoid getting caught in the very game she now finds herself. When the ferryboat captain with the remote trigger refuses to discuss the possibility of murdering the people on the other ship, this mother helps lead the cause for putting the issue up for a vote. She argues for the sanctity and value of these passengers' lives over that of the prisoners' lives. Like Ramirez before, this mother seems to have some remorse and second thoughts about her rashness when the vote is overwhelmingly in favor of blowing up the boat of prisoners.</div>
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<tr><td class="tr-caption" style="text-align: center;">Villain 1c: Fearful Prison Warden Riding a Ferry Hijacked by the Joker </td></tr>
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The next villain is intriguing since his only wrongdoing is that of omission. That is, the prison warden seems like a relatively good and honorable man generally speaking, but when his life is at risk he selfishly keeps the remote trigger in hand in spite of the criminals who will surely wrest control of it when the deadline approaches. In a powerful moment, an intimidating murderer convinces the warden to hand the device over to him for the purpose of triggering it, but throws the remote trigger out the window of the boat instead. In the words of the prisoner, "I'll do what you should have did 10 minutes ago."</div>
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<tr><td class="tr-caption" style="text-align: center;">Villain 1d: Coldly Pragmatic Gotham Citizen Riding a Ferry Hijacked by the Joker</td></tr>
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And finally there is the coldly logical intellectual who declares definitively that his ferryboat of civilians is ethically in the right blowing up the ferryboat of criminals, and that it makes no sense for all the passengers to die in both boats. He led the debate for putting the matter of the detonator up to a democratic vote and when everyone else aboard the ferry shirked in the face of murdering the passengers of the other boat, he boldly pronounced the righteousness of their cause and offered to be the executioner. The ironic aspect to this villain is that ethically he's right: killing the boat full of criminals is logically the best option. But morally, he's wrong: killing others simply to spare yourself from getting killed by a third party leads to the utter corruption of your soul, something the man finally discovers when he ultimately stops himself from triggering the detonator. <br />
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<tr><td class="tr-caption" style="font-size: 12.571428298950195px;">Villain #7: Harvey "Two-Face" Dent, the Only Thing Fair is Chance...</td></tr>
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Arguably, <i>The Joker</i>'s greatest success was in converting Gotham's White Knight, Harvey Dent, into a demented killer bent on revenge. Batman's greatest goal was to help usher in a Gotham where a Batman would no longer be needed. Commissioner Gordon, District Attorney Harvey Dent, and Batman put their lives on the line and risked everything in pursuit of this goal. So when <i>The Joker</i> robbed Harvey of his true love and half of his face, <i style="background-color: white;">The Joker</i><span style="background-color: white;"> also robbed him of his sanity. In this state, Harvey was susceptible to </span><i style="background-color: white;">The Joker</i><span style="background-color: white;">'s philosophy of chaos and made it his own.</span><br />
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<tr><td class="tr-caption" style="font-size: 12.571428298950195px;"><i>The Joker </i>Wishes to Cause the Ultimate Inversion and for Chaos to Reign<br />
in the Wake of Gotham's Fallen Hero Going Mad with Revenge</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Villain Gotham Deserves...</td></tr>
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As Two-Face, Harvey Dent goes on a one-man killing spree and even holds Commissioner Gordon and his family hostage, the life of Gordon's son subject to the whimsy of a coin flip. Batman pleads with Harvey to come back to his senses, but only Two-Face exists now. Batman must kill Harvey to save Gordon's son. With Commissioner Gordon and Batman standing on the precipice of defeat, facing a future of a demoralized Gotham sinking lower and lower into crime and corruption, Batman sacrifices the symbol of Batman and takes the blame for Harvey's murders and allows his justifiable killing of Harvey to be labeled a senseless murder instead.<br />
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<tr><td class="tr-caption" style="text-align: center;">... But Not the One it Needs Right Now</td></tr>
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Batman sees that this is the best way to honor the legacy he's created. All that matters to him at this point is beating back <i>The Joker</i>'s philosophy of chaos before it consumes Gotham permanently. As Commissioner Gordon informs his bewildered son, <i>"... [H]e's the hero Gotham deserves, but not the one it needs right now. So we'll hunt him. Because he can take it. Because he's not a hero. He's a silent guardian, a watchful protector, a dark knight."</i><br />
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com0tag:blogger.com,1999:blog-1241724580325690364.post-40424826802809869022012-07-18T21:13:00.003-07:002012-11-19T13:10:50.032-08:00Bruce Wayne and Batman's Rogues Gallery: Batman Begins (2005)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/batman-begins.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/batman-begins.jpg" width="400" /></a></div>
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Christopher Nolan's ambitious <i>Dark Knight Trilogy</i> raised the bar for not only comic book movies but also movies in general. And that is in no small part due to the unique rogues gallery of villains that Bruce Wayne and his alter ego Batman must face throughout the films. As we enter the final chapter of this trilogy on Friday with the opening of <i>The Dark Knight Rises</i> (2012), this article will take stock of this saga's villains up until now. We will then end with a preview of Bruce Wayne and Batman's final challenges and what we predict Bruce will do to overcome them.</div>
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<b><u>BATMAN BEGINS</u></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Villain #1: Fear Itself (The Bats of Wayne Manor)</td></tr>
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<i>Batman Begins</i> (2005) immediately introduces a powerful conflicting theme to frame the <i>Dark Knight Trilogy</i>, namely the destructive and constructive uses of fear in society. In the opening scene, Bruce Wayne as a young child plays with his childhood friend Rachel Dawes over an old boarded up well on Wayne Manor. The wood covering the well is rotted and collapses under his weight, causing Bruce to fall a long distance and break his leg.<br />
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<tr><td class="tr-caption" style="text-align: center;">Thousands of Bats Pass by a Terrified Bruce Wayne as they Exit the Cave</td></tr>
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Rachel leaves him behind to get help, leaving Bruce alone in the dark. Here Bruce begins to dread the possibility he is not alone in the cave and as he stares into the abyss, the abyss stares back and impossibly lunges at him. Thousands of bats escape past him, probably more afraid of Bruce than he is of them, as his father Thomas Wayne later points out to him. But Bruce will carry with him a phobia of bats for the next 20 years of his life.<br />
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<tr><td style="text-align: center;"><a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/JoeChill.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="183" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/JoeChill.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Villain #2: Joe Chill, the Man Who Killed Bruce Wayne's Parents</td></tr>
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In fact, young Bruce Wayne's phobia of bats is so severe that he asks his parents to leave early when the opera they are watching downtown simply features some people performing as bats. Thomas Wayne seems to catch on quickly the reasons for Bruce's fears and discreetly leaves the opera alone with his wife and son, only to be confronted by a desperate criminal hoping for a big score from the wealthy family. Trying to protect his wife, Thomas Wayne inadvertently scares the mugger and is shot to death along with Mrs. Wayne. As Thomas slips away into death, he admonishes his son, "Bruce... don't be afraid."<br />
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<tr><td class="tr-caption" style="text-align: center;">Villain #3: Carmine Falcone, Gotham's Most Powerful Crime Boss Who Ordered<br />
the Assassination of Joe Chill for Turning State's Witness</td></tr>
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Gotham successfully captured and incarcerated Joe Chill for the Wayne murders, but Bruce Wayne was tormented by the impotence and powerlessness he felt as a child and over the years he apparently planned to avenge his parents' death if Joe Chill were ever released from prison. But on the fateful day Bruce planned to publicly execute Joe Chill, a Jack Ruby-like assassin beat him to the punch. Rachel Dawes helped explain the criminal hierarchy to Bruce and blamed people like Falcone for being a predator to the economically depressed citizens of Gotham. Falcone teaches Bruce a lesson in power rooted in fear, causing Bruce to embark on a seven year odyssey across the globe to understand the fear criminals feel.<br />
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<tr><td class="tr-caption" style="font-size: 12.571428298950195px;">Villain 1a: Fear Itself (Fear-Inducing Toxin)</td></tr>
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A kindly Henri Ducard (Liam Neeson) finds the troubled Bruce Wayne in a Mongolian prison and exerts influence to have Bruce released under his custody. Henri mentors Bruce in the ninja-like ways of the League of Shadows, eventually testing Bruce's willpower under the hallucinogenic effects of a local blue flower that when dried, burned, and inhaled will serve to stimulate the fear centers of the brain and amplify the normal fear response. Bruce must encounter bats while thinking clearly enough to get the drop on Henri, which he amazingly does.<br />
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<tr><td style="text-align: center;"><a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/image1full.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/image1full.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Villain #4: Ra's Al Ghul, Leader of the League of Shadows</td></tr>
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The League of Shadows' leader, Ra's Al Ghul, seems pleased by Bruce's development, but demands Bruce execute a local murderer as part of his final initiation into the League. It is made clear to Bruce that the League cannot afford to keep him alive if he does not pass this final test, so he must part ways with the League by blowing up their training facility, incidentally killing Ra's in the process. Bruce does manage to save his mentor and friend, though, the unconscious Henri Ducard.<br />
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<tr><td class="tr-caption" style="text-align: center;">Villain #4a: Henri Ducard</td></tr>
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Many world leaders employ the use of body doubles to offer an extra margin of protection from assassination attempts. But Ra's Al Ghul took things to a <i>Prestige</i>-level of commitment to deceive everyone into thinking he was just a lieutenant in the League of Shadows, while propping up his front man as the League's ostensible leader. The man we thought was Ra's Al Ghul was really a Keira Knightly to the real Ra's Al Ghul's Natalie Portman (<i>Star Wars - Episode 1: The Phantom Menace</i>).<br />
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<tr><td class="tr-caption" style="text-align: center;">Pictured: Ken Watanabe and Liam Neeson</td></tr>
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Only near the end does Bruce learn that Ra's Al Ghul led the League of Shadows in causing the economic attacks on Gotham that impoverished the lower class to dangerous levels, hoping to prompt an artificially planned revolt against the wealthier middle and upper classes. The League hoped their efforts would destroy Gotham and wipe it off the map, a warning to other cities across the globe to clean up their act.<br />
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<tr><td class="tr-caption" style="text-align: center;">A.K.A. The Real Ra's Al Ghul, Leader of the League of Shadows</td></tr>
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<span style="background-color: white;">Bruce Wayne's parents had stood up to this economic subversion, becoming Gotham's guardians to the underprivileged. The murder of the Waynes also helped galvanize the other wealthy Gothamites to action, and they helped repair the economically distressed conditions of the poor. So in a very real sense, Ra's Al Ghul turns out to be the actual killer of Bruce Wayne's parents. Joe Chill and many thousands like him were simply manipulated into a frenzy of crime to save themselves from the League of Shadows' economic attacks on Gotham. Late in the game, Bruce realizes that he has taken up the same banner as his parents in the fight against the League of Shadows to save Gotham, and in his own way, is following in their footsteps.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Villain 5: Earle, C.E.O. of Wayne Enterprises in Bruce's Absence</td></tr>
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Bruce's butler Alfred Pennyworth informs Bruce that Earle, the current C.E.O. of Wayne Enterprises, had Bruce officially declared dead after being unaccounted for the past seven years. This allows Earle to acquire Bruce Wayne's majority shares in Wayne Enterprises at a fair price so that Earle can take the company public and sell shares of the company on the stock market for a hefty profit. This villain is more of a usurper of Bruce's birthright than a malignant threat. But Earle does prompt Bruce to fight with a creative financial gambit resulting in the acquisition of a controlling interest in his father's company, further enabling Bruce to act as a financial guardian of Gotham rather than just a criminal deterrent.<br />
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<tr><td style="text-align: center;"><a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/Flass.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="167" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/Flass.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Villain 6: Detective Flass, a Corrupt Gotham Police Officer on Carmine Falcone's<br />
Payroll and is Partnered with the Honest and Frustrated Jim Gordon</td></tr>
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Detective Flass is kind of the self-serving every-man of Gotham. He represents the corrupt norm in Gotham's police force and government, the sense of misused power that permeates every level of Gotham's defense against criminals. Flass is not just turning the other way while crime bosses like Falcone reign supreme, but is an actual enforcer of Falcone's rule across the city. Flass is the reason for a Batman being necessary in Gotham. Normal efforts to clean up the city cannot work when the entire system is rotten from the inside out.<br />
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<tr><td class="tr-caption" style="text-align: center;">Villain #7: Dr. Crane, Police Psychiatrist and Working with the League of Shadows</td></tr>
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Dr. Crane is a brilliant psychiatrist who specializes in psychopharmacology, developing medicines that exert a powerful effect on the human mind. At some point, Ra's Al Ghul acquired the services of this evil genius to weaponize the blue flower fear toxin into a far more potent and concentrated strain. Dr. Crane is under the impression that they will threaten the city for ransom. The League of Shadows robs from Wayne Enterprises a specialized device that can help deliver the new weaponized fear toxin into the lungs of nearly everyone in Gotham.<br />
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<tr><td style="text-align: center;"><a href="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/Crane02.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="223" src="http://i1232.photobucket.com/albums/ff362/TheScoreBlogger/Joss%20Whedon/Crane02.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dr. Crane (A.K.A. The Scarecrow) Balances the Demands of a Respectable and<br />
Believable Cover Before Unleashing his Monstrous True Self via his Alter Ego</td></tr>
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<span style="background-color: white;">Dr. Crane is an intriguing villain, who cultivates a position of trust within Gotham society while carrying on a secret double life via his masked persona. Like Bruce Wayne, Dr. Crane is viewed as an honorable law-abiding citizen by day, but frequently puts on a mask to protect his identity and to exert a symbolic power of fear over those he wishes to intimidate by night. In this respect, Dr. Crane/The Scarecrow is the evil analogue to the heroic Bruce Wayne/Batman.</span><br />
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<tr><td class="tr-caption" style="font-size: 12.571428298950195px;">A.K.A. The Scarecrow</td></tr>
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Dr. Crane insinuates himself in with crime boss Carmine Falcone, who ironically helps Dr. Crane undermine his own territory by aiding the Scarecrow in manufacturing the very weapon the League of Shadows is planning to use against him and the rest of Gotham. And the Scarecrow proved a formidable opponent and is the only villain to escape Bruce Wayne and Batman's justice in <i>Batman Begins</i>, as he rides off on his horse leading a band of violent insane asylum fugitives through the ghettos of Gotham. The Scarecrow is not be underestimated in this film, although his aura of fear is somewhat diminished with his anticlimactic capture at the beginning of T<i>he Dark Knight</i> (2008).<br />
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<tr><td class="tr-caption" style="text-align: center;">Villain 1b: Fear Itself (Gotham Goes Mad with Fear in a Murderous Frenzy)</td></tr>
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Batman encounters this weaponized fear toxin early in the game, enabling his trusted friend Lucius Fox to develop an antidote to the mind-altering hallucinogenic gas. Batman is able to pass on the antidote to Lt. Gordon who in turn gives it to the government who in turn can start mass producing the antidote. Meanwhile Batman confronts Ra's Al Ghul directly and helps stop the gas from spreading citywide. But on a personal level, this hallucinogenic experience reawakens his most primal fears and intensifies them nearly to the point of death. Only the efforts of Alfred and Lucius can save him from being afraid to death. In a literal and symbolic sense, Bruce Wayne fights fear with fear and wins this crucial engagement to save Gotham.<br />
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<tr><td class="tr-caption" style="text-align: center;">Batman is Frequently Cornered by the Police and Must Escape</td></tr>
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So Bruce Wayne completes the circle, maturing from a fearful child into a master of fear as an adult. He has passed through the gauntlet of all his own personal list of fears, including bats, random acts of violence, and the guilt he has over his parents' death. And as he decides to fight the fear of organized criminals and the fear wielded by the League of Shadows against Gotham, Bruce must transform himself into a symbol of fear that Gotham's enemies will think twice about crossing: Batman.<br />
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As Bruce Wayne says, "<i>I'm going to show the people of Gotham that the city doesn't belong to the criminals and the corrupt. People need dramatic examples to shake them out of apathy. I can't do this as Bruce Wayne. A man is just flesh and blood and can be ignored or destroyed. But as a symbol... as a symbol, I can be incorruptible, everlasting...</i>"<br />
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In this respect, it seems likely that in the final movie Bane will attempt to tear down the symbol of Batman and expose him as just a man, Bruce Wayne. By incapacitating Gotham's symbol of strength and power against overwhelming odds, Bane can destroy Gotham's spirit and finish the work Ra's Al Ghul and the League of Shadows started: destroy Gotham through economic manipulation and class warfare. If Bane truly is the new leader of the League of Shadows, as we suspect, then this will likely result in him killing Bruce Wayne to eliminate the legend of Batman, the Dark Knight. But if that's the case, Bruce Wayne could be victorious post mortem if another person takes on the mantle of the Dark Knight to defeat Bane afterward. Since the true test of Bruce Wayne's success is not his immortality, but Batman's.<br />
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<b><u>Next Article</u></b></div>
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<a href="http://josswhedon.blogspot.com/2012/07/bruce-wayne-and-batmans-rogues-gallery_19.html">Bruce Wayne and Batman's Rogues Gallery: <i>The Dark Knight</i> (2008)</a><br />
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com0tag:blogger.com,1999:blog-1241724580325690364.post-72309804744200337972012-05-13T09:53:00.003-07:002012-11-19T13:08:22.424-08:00Happy Mothers Day!<div dir="ltr" style="text-align: left;" trbidi="on">
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The above video of Joss Whedon's speech was recorded on May 15, 2006 at an <i>Equality Now</i> event titled, "Honoring Men on the Front Lines." Joss Whedon's mother, the late Lee Stearns (1936-1992), helped inspire him to create many strong women characters in his work. And as Meryl Streep points out when introducing Joss, Lee Stearns also inspired the creation of the very organization they were gathered at that day, co-founding the Women's rights organization <i>Equality Now</i>. We think Joss's speech would make his mom proud.</div>
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com0tag:blogger.com,1999:blog-1241724580325690364.post-32750296747151757182012-04-12T18:36:00.001-07:002012-11-19T13:08:05.562-08:00Buffy and Angel Season Trailers<div dir="ltr" style="text-align: left;" trbidi="on">
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Fans of the series created these excellent trailers to summarize the TV shows <i>Buffy the Vampire Slayer</i> (1997-2003) and <i>Angel</i> (1999-2004). An impressive feat and well worth watching. (SPOILER WARNING: These trailers will reveal key plot points throughout the series.)</div>
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com2tag:blogger.com,1999:blog-1241724580325690364.post-49882832172677114902012-04-11T22:52:00.000-07:002017-01-15T11:14:13.132-08:00Buffy and Angel Episode Viewing Order<div dir="ltr" style="text-align: left;" trbidi="on">
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Do you want to watch the interconnected TV shows <i>Buffy the Vampire Slayer</i> and <i>Angel</i> side by side, but you are not sure the best order to view them in to best take advantage of their many crossover stories and joint continuity? You are not alone. Noticing the lack of a definitive and spoiler-free episode viewing guide, we took the task upon ourselves to create one.<br />
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Bookmark this article and return regularly to help you determine the best order to watch every episode of <i>Buffy</i> and <i>Angel</i>. If you notice ways to improve our list, then please write a comment below explaining the change you recommend and why. If we agree with your reasoning, then we will update the viewing guide. Whenever a conflict arises in our list between emphasizing dramatic impact of the two show's parallel stories and strict observance of timeline continuity, we lean toward whatever improves the dramatic flow between them.<br />
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Joss Whedon exceeded audience expectations when he created the smart, ambitious, and heavily serialized drama/horror/comedy/fantasy hybrid: <i>Buffy the Vampire Slayer</i> (1997-2003). Although a feature film of the same title in 1992 was based loosely on his original screenplay, Joss was not satisfied with the translation of his story to the big screen. Joss elegantly transitioned his high-school-cheerleader-turned-vampire-slayer to the small screen by focusing on characterization, making a far funnier and more entertaining TV series than anyone thought possible.<br />
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By the end of its third season, <i>Buffy</i> grew so popular that Joss Whedon created a rare spinoff series that actually played concurrently with the original series. Most spinoffs are developed to follow a popular character once the original TV series ends, like <i>Frasier</i> (1993-2004) returning home to Seattle after leaving his favorite bar in Boston behind him on <i>Cheers</i> (1982-1993), or <i>Joey</i> (2004) moving to Hollywood to pursue his acting career at the end of <i>Friends</i> (1994-2004). But Joss created <i>Angel</i> (1999-2004) at the height of <i>Buffy</i>'s popularity, and ran the two shows side by side as equals throughout the remainder of their respective runs.<br />
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Today's viewers are fortunate to have easy access to both TV shows in their entirety on Netflix Instant Watching and DVD, with the opportunity to watch all 254 episodes of quality programming at their leisure. But in spite of our convenient access to these two brilliantly interconnected shows, anyone who attempts to watch <i>Buffy </i>and<i> Angel</i> side by side will encounter continuity problems in a conventional viewing schedule.<br />
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Many episodes from the two shows either aired out of chronological order of each other's respective plot lines, or simply aired on slightly divergent timetables. At one point, the two shows began to air on completely separate networks, further complicating any attempts at nailing their joint continuity. And on occasion, one episode of one series will expand on a single day for several episodes while the other series jumps over more time.<br />
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Because of these issues, most people view <i>Buffy </i>and<i> Angel</i> less than ideally, making the crossover story lines between the two shows confusing to follow at times. But more important than potential confusion is how distracting it is when you encounter a major timeline discrepancy. It pulls you out of the show every time your brain recognizes that something being referenced to in one show either happened a long time ago in the other, or even has not happened yet, spoiling you unintentionally. We intend to correct that problem once and for all with this simple and useful viewing guide.<br />
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Although we believe these two TV shows are best viewed side by side, some viewers prefer watching long stretches of one show before switching back to the other. <span style="color: red;">Episodes highlighted in red</span> are the most important ones to view in the order we specify. Make sure you are caught up on both TV series before viewing the <span style="color: red;">red episodes</span>.<br />
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<b>BUFFY THE VAMPIRE SLAYER</b></td>
<td class="xl63" style="text-align: center; width: 188pt;" width="251"><b>ANGEL</b></td>
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<td class="xl64" height="20" style="height: 15pt; text-align: center;"><u><b>Buffy Season 1</b></u></td>
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<td height="20" style="height: 15.0pt;">1. Welcome to the Hellmouth</td>
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<td height="20" style="height: 15.0pt;">2. The Harvest</td>
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<td height="20" style="height: 15.0pt;">3. Witch</td>
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<td height="20" style="height: 15.0pt;">4. Teacher's Pet</td>
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<td height="20" style="height: 15.0pt;">5. Never Kill a Boy on the First Date</td>
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<td height="20" style="height: 15.0pt;">6. The Pack</td>
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<td height="20" style="height: 15.0pt;">7. Angel</td>
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<td height="20" style="height: 15.0pt;">8. I Robot, You Jane</td>
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<td height="20" style="height: 15.0pt;">9. The Puppet Show</td>
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<td height="20" style="height: 15.0pt;">10. Nightmares</td>
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<td height="20" style="height: 15.0pt;">11. Out of Mind, Out of Sight</td>
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<td height="20" style="height: 15.0pt;">12. Prophecy Girl</td>
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<td class="xl64" height="20" style="height: 15pt; text-align: center;"><b><u>Buffy Season 2</u></b></td>
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<td height="20" style="height: 15.0pt;">13. When She Was Bad</td>
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<td height="20" style="height: 15.0pt;">14. Some Assembly Required</td>
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<td height="20" style="height: 15.0pt;">15. School Hard</td>
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<td height="20" style="height: 15.0pt;">16. Inca Mummy Girl</td>
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<td height="20" style="height: 15.0pt;">17. Reptile Boy</td>
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<td height="20" style="height: 15.0pt;">18. Halloween</td>
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<td height="20" style="height: 15.0pt;">19. Lie to Me</td>
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<td height="20" style="height: 15.0pt;">20. The Dark Age</td>
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<td height="20" style="height: 15.0pt;">21. What's My Line, Part One</td>
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<td height="20" style="height: 15.0pt;">22. What's My Line, Part Two</td>
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<td height="20" style="height: 15.0pt;">23. Ted</td>
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<td height="20" style="height: 15.0pt;">24. Bad Eggs</td>
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<td height="20" style="height: 15.0pt;">25. Surprise</td>
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<td height="20" style="height: 15.0pt;">26. Innocence</td>
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<td height="20" style="height: 15.0pt;">27. Phases</td>
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<td colspan="2" height="20" style="height: 15.0pt; mso-ignore: colspan;">28. Bewitched, Bothered and Bewildered</td>
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<td height="20" style="height: 15.0pt;">29. Passion</td>
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<td height="20" style="height: 15.0pt;">30. Killed by Death</td>
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<td height="20" style="height: 15.0pt;">31. I Only Have Eyes for You</td>
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<td height="20" style="height: 15.0pt;">32. Go Fish</td>
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<td height="20" style="height: 15.0pt;">33. Becoming, Part One</td>
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<td height="20" style="height: 15.0pt;">34. Becoming, Part Two</td>
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<td class="xl64" height="20" style="height: 15pt; text-align: center;"><b><u>Buffy Season 3</u></b></td>
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<td height="20" style="height: 15.0pt;">35. Anne</td>
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<td height="20" style="height: 15.0pt;">36. Dead Man's Party</td>
<td></td>
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<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">37. Faith, Hope & Trick</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">38. Beauty and the Beasts</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">39. Homecoming</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">40. Band Candy</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">41. Revelations</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">42. 8 Lovers Walk</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">43. The Wish</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">44. Amends</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">45. Gingerbread</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">46. Helpless</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">47. The Zeppo</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">48. Bad Girls</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">49. Consequences</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">50. Doppelgängland</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">51. Enemies</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">52. Earshot</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">53. Choices</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">54. The Prom</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">55. Graduation Day, Part One</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">56. Graduation Day, Part Two</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15pt; text-align: center;"><b><u>Buffy Season 4</u></b></td>
<td class="xl64" style="text-align: center;"><b><u>Angel Season 1</u></b></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">57. The Freshman</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>58. City of...</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">59. Living Conditions</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>60. Lonely Hearts</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"><span style="color: red;">61. The Harsh Light of Day</span></td>
<td class="xl66"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl66" height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">62. In the Dark</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">63. Fear, Itself</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>64. I Fall to Pieces</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">65. Beer Bad</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>66. Rm w/a Vu</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">67. Wild at Heart</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>68. Sense & Sensitivity</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">69. The Initiative</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl66" height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">70. Bachelor Party</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"><span style="color: red;">71. Pangs</span></td>
<td class="xl66"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl66" height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">72. I Will Remember You</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><span style="color: red;">73. Something Blue</span></td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>74. Hero</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">75. Hush<br />
76. Doomed</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>77. Parting Gifts</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><br /></td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>78. Somnambulist</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">79. A New Man</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>80. Expecting<br />
81. She</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">82. The I in Team</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td><br /></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">83. Goodbye Iowa</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>84. I've Got You Under My Skin</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"></td>
<td class="xl67">85. The Prodigal</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl67" height="20" style="height: 15.0pt;">86. This Year's Girl</td>
<td class="xl67"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl67" height="20" style="height: 15.0pt;">87. Who Are You</td>
<td class="xl65"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td class="xl67">88. The Ring</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">89. Superstar</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>90. Eternity</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">91. Where the Wild Things Are</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">92. New Moon Rising</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">93. Five by Five</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">94. Sanctuary</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"><span style="color: red;">95. The Yoko Factor</span></td>
<td class="xl65"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">96. Primeval</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">97. Restless</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>98. War Zone</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>99. Blind Date</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>100. To Shanshu in L.A.</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15pt; text-align: center;"><u><b>Buffy Season 5</b></u></td>
<td class="xl64" style="text-align: center;"><u><b>Angel Season 2</b></u></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>101. Judgment</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">102. Buffy vs. Dracula</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>103. Are You Now or Have You Ever Been</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">104. Real Me</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>105. First Impressions</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">106. The Replacement</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>107. Untouched</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">108. Out of My Mind</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>109. Dear Boy</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">110. No Place Like Home</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>111. Guise Will Be Guise</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">112. Family</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">113. Darla</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"><span style="color: red;">114. Fool for Love</span></td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>115. The Shroud of Rahmon</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">116. Shadow</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>117. The Trial</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">118. Listening to Fear</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>119. Reunion</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">120. Into the Woods</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>121. Redefinition</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">122. Triangle</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>123. Blood Money</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">124. Checkpoint</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>125. Happy Anniversary</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">126. Blood Ties</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td><span style="color: red;">127. The Thin Dead Line</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><span style="color: red;">128. Crush</span></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"></td>
<td>129. Reprise</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">130. I Was Made to Love You</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>131. Epiphany</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><span style="color: red;">132. The Body</span></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">133. Disharmony</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"><span style="color: red;">134. Forever</span></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>135. Dead End</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">136. Intervention</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>137. Belonging<br />
138. Over the Rainbow</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">139. Tough Love</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">140. Spiral</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>141. Through the Looking Glass</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">142. The Weight of the World</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><span style="color: red;">143. The Gift</span></td>
<td><br /></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"></td><td class="xl65"><br /></td></tr>
<tr height="20" style="height: 15.0pt;"><td class="xl65" height="20" style="height: 15.0pt;"><br /></td><td class="xl65"><span style="color: red;">144. There's No Place Like Plrtz Glrb</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15pt; text-align: center;"><u><b>Buffy Season 6</b></u></td>
<td class="xl64" style="text-align: center;"><u><b>Angel Season 3</b></u></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>145. Heartthrob</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>146. That Vision Thing<br />
147. That Old Gang of Mine</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">148. Bargaining, Part One</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">149. Bargaining, Part Two</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td><br /></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">150. After Life</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl66" height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">151. Carpe Noctem</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"><span style="color: red;">152. Flooded</span></td>
<td class="xl66"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td><span style="color: red;">153. Fredless</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><span style="color: red;">154. Life Serial</span></td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>155. Billy</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">156. All the Way</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>157. Offspring</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">158. Once More, with Feeling</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>159. Quickening</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">160. Tabula Rasa</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>161. Lullaby</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">162. Smashed</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">163. Wrecked</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>164. Dad</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">165. Gone</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>166. Birthday</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>167. Provider</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">168. Doublemeat Palace</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>169. Waiting in the Wings</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">170. Dead Things</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">171. Older and Far Away</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>172. Couplet</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>173. Loyalty</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">174. As You Were</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>175. Sleep Tight</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">176. Hell's Bells</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">177. Normal Again</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>178. Forgiving</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>179. Double or Nothing</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>180. The Price</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">181. Entropy</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>182. A New World</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">183. Seeing Red</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>184. Benediction</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">185. Villains</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>186. Tomorrow</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">187. Two to Go</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">188. Grave</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15pt; text-align: center;"><b><u>Buffy Season 7</u></b></td>
<td class="xl64" style="text-align: center;"><b><u>Angel Season 4</u></b></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">189. Lessons</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">190. Beneath You</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>191. Deep Down</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">192. Same Time, Same Place</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>193. Ground State</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">194. Help</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>195. The House Always Wins</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">196. Selfless</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>197. Slouching Toward Bethlehem</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>198. Supersymmetry</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">199. Him</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>200. Spin the Bottle</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">201. Conversations with Dead People</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>202. Apocalypse, Nowish</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">203. Sleeper</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">204. Never Leave Me</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">205. Bring on the Night</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">206. Showtime</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>207. Habeas Corpses</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">208. Potential</td>
<td class="xl64"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>209. Long Day's Journey</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl64" height="20" style="height: 15.0pt;"></td>
<td>210. Awakening</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">211. The Killer in Me</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>212. Soulless</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">213. First Date</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>214. Calvary</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">215. Get It Done</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">216. Storyteller</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>217. Salvage</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>218. Release</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl65" height="20" style="height: 15.0pt;"><span style="color: red;">219. Lies My Parents Told Me</span></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td class="xl65"><span style="color: red;">220. Orpheus</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td><span style="color: red;">221. Players</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td><span style="color: red;">222. Inside Out</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td><span style="color: red;">223. Shiny Happy People</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><span style="color: red;">224. Dirty Girls</span></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>225. The Magic Bullet</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>226. Sacrifice</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">227. Empty Places</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>228. Peace Out</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;">229. Touched</td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td><span style="color: red;">230. Home</span></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><span style="color: red;">231. End of Days</span></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"><span style="color: red;">232. Chosen</span></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15pt; text-align: center;"></td>
<td style="text-align: center;"></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15pt; text-align: center;"></td>
<td class="xl64" style="text-align: center;"><b><u>Angel Season 5</u></b></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>233. Conviction</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>234. Just Rewards</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>235. Unleashed</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>236. Hell Bound</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>237. Life of the Party</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>238. The Cautionary Tale of Numero Cinco</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>239. Lineage</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>240. Destiny</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>241. Harm's Way</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>242. Soul Purpose</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>243. Damage</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>244. You're Welcome</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>245. Why We Fight</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>246. Smile Time</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>247. A Hole in the World</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>248. Shells</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>249. Underneath</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>250. Origin</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>251. Time Bomb</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>252. The Girl in Question</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>253. Power Play</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td>254. Not Fade Away</td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td height="20" style="height: 15.0pt;"></td>
<td></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl63" height="20" style="height: 15pt; text-align: center;"><b><u># of Buffy Episodes</u></b></td>
<td class="xl63" style="text-align: center;"><b><u># of Angel Episodes</u></b></td>
</tr>
<tr height="20" style="height: 15.0pt;">
<td class="xl68" height="20" style="height: 15pt; text-align: center;">144</td>
<td class="xl68" style="text-align: center;">110</td>
</tr>
</tbody></table>
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com210tag:blogger.com,1999:blog-1241724580325690364.post-83588971650909218132012-04-09T19:28:00.002-07:002012-11-19T13:07:13.592-08:00Joss Whedon<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /></div>
<div style="text-align: center;">
<b><u>TELEVISION</u></b>
</div>
<i>Glee</i> (2010) - Director<br />
<i>Dollhouse</i> (2009-2010) - Creator/Writer/Director<br />
<i>The Office</i> (2007) - Director<br />
<i>Firefly</i> (2003) - Creator/Writer/Director<br />
<i>Angel</i> (1999-2004) - Creator/Writer/Director<br />
<i>Buffy the Vampire Slayer</i> (1997-2003) - Creator/Writer/Director<br />
<i>Parenthood</i> (1990-1991) - Writer/Producer<br />
<i>Roseanne</i> (1989) - Writer<br />
<br />
<div style="text-align: center;">
<b><u>FILMS</u></b></div>
<i>Much Ado About Nothing</i> (2013) - Writer/Director<br />
<i>Marvel's The Avengers</i> (2012) - Writer/Director<br />
<i>The Cabin in the Woods</i> (2012) - Writer/Producer<br />
<i>Thor</i> (2011) - Uncredited Director on Post-Credits Scene<br />
<i>Serenity</i> (2005) - Writer/Director<br />
<i>Atlantis: The Lost Empire </i>(2001) - Story<br />
<i>Titan A.E.</i> (2000) - Screenplay<br />
<i>Speed</i> (1994) - Uncredited Dialogue Rewrite<br />
<i>Alien: Resurrection</i> (1997) - Writer<br />
<i>Toy Story</i> (1995) - Screenplay<br />
<i>Buffy the Vampire Slayer</i> (1992) - Writer<br />
<br />
<div style="text-align: center;">
<b><u>OTHER</u></b></div>
<i>Buffy the Vampire Slayer: Season 8 Motion Comic</i> (2011) - Writer<br />
<i>Astonishing X-Men: Gifted</i> (2010) - Writer<br />
<i>This American Life Live!</i> (2009) - Singer/Songwriter<br />
<i>Commentary: The Musical!</i> (2008) - Writer<br />
<i>Dr. Horrible's Sing-Along Blog</i> (2008) - Writer/Director<br />
<i>Buffy the Vampire Slayer: Animated Series</i> (2004) - Writer<br />
<br />
<div style="text-align: center;">
<b><u>THE WATCHER'S COUNCIL ARTICLES</u></b></div>
<div>
<div style="text-align: left;">
<a href="http://josswhedon.blogspot.com/2012/04/buffy-and-angel-episode-viewing-order.html"><i>Buffy</i> and <i>Angel</i> Episode Viewing Order</a></div>
<a href="http://josswhedon.blogspot.com/2012/04/buffy-and-angel-season-trailers.html"><i>Buffy</i> and <i>Angel</i> Season Trailers</a></div>
<div>
<a href="http://josswhedon.blogspot.com/2012/05/happy-mothers-day.html">Happy Mother's Day!</a></div>
<a href="http://josswhedon.blogspot.com/2012/07/bruce-wayne-and-batmans-rogues-gallery.html">Bruce Wayne and Batman's Rogues Gallery: <i>Batman Begins</i> (2005)</a><br />
<div>
<a href="http://josswhedon.blogspot.com/2012/07/bruce-wayne-and-batmans-rogues-gallery_19.html">Bruce Wayne and Batman's Rogues Gallery: <i>The Dark Knight </i>(2008)</a></div>
<div>
Bruce Wayne and Batman's Rogues Gallery: <i>The Dark Knight Rises</i> (2012)
<br />
<a href="http://josswhedon.blogspot.com/2012/10/halloween-episodes-of-buffy-and-angel.html">Halloween Episodes of <i>Buffy</i> and <i>Angel</i></a></div>
<div>
<i>Cabin in the Woods </i>(2012)</div>
<div>
<i>The Avengers</i> (2012)</div>
<div>
<i>Much Ado About Nothing</i> (2013)<br />
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Michael Adam Warrenhttp://www.blogger.com/profile/06823691097383358983noreply@blogger.com0