How I Learned to Stop Worrying and Love Superman

Superman statue

Image by Joseph Lee Novak

As a new reader, growing up, I was never that into Superman. He was the ultimate Mary Sue. Super strong, super fast, nearly invulnerable, Kryptonite his only weakness; what’s the fun in that? He truly earned his nickname of the big, blue boy scout. Good and altruistic to the core, there seemed to be no darkness in him, no conflict and few shades of gray. Besides, I was a Marvel guy. Spiderman and Iron Man, the X-Men and Conan the Barbarian, they were the one’s I followed month to month. Even when I started buying comics on my own, my first purchase was Ghost Rider. I always wondered what that said about me, that my first choice for a comic book was a vengeance demon from Hell. Even when I started branching out, it was years before I even looked twice at a DC comic. It was their Vertigo line that caught my attention with titles like Preacher and Hellblazer. Even then, I was attracted to the dark and edgy titles; Superman sure as hell wasn’t on my radar. But then a few titles caught my eye and I took the plunge. Now I’ve found a few stories that write Superman in such a complex and vulnerable way that I was sold. These are the stories that convinced me to love Superman.

All-Star Superman

Holy shit, this comic book miniseries is frickin’ awesome. It helps that it was created by the power duo of Grant Morrison and Frank Quietly. I’ve waxed poetic about Quietly earlier, so you know my fan boy man crush on his art, but Morrison really outdoes himself with the story telling in this one. It begins with Superman dying. He has absorbed so much solar radiation, the yellow sun being the very source of his power, that it is breaking him apart. It also has supercharged him, so that during his last few days, he is stronger, faster, smarter, etc. than ever before. He’s always felt responsible for, well, the entire planet, so he knows he needs to get his affairs in order. What follows is a 12 issue tale that pens the Kryptonian with such warmth, such humanity, that I was completely won over.

Does he fly? Does he use his heat vision and bend steel with his bare hands? He does, but many of the challenges he overcomes take far more than brawn or powers. He shows compassion to his enemies and love for his friends. His father’s funeral will break your heart and his date with Lois Lane will make your heart swell. You will be introduced to novel aspects of his story, like black Kryptonite and Bizarro World and a super-powered Lex Luther. Yeah, I’ll be talking about other great Superman stories, but this is the one. This is the story that overcame my disinterest in Superman.

What’s So Funny About Truth, Justice and the American Way

Written by Joe Kelly, this story appeared in Action Comics #775 in the March of 2001 and was called “the single best issue of a comic book written in the year 2001”. Wizard Magazine called it the “Greatest Superman story of all time”, which should prove that I am far from alone in my praise. It was also developed into an animated feature in 2012, called Superman vs. The Elite, which is worth seeing. As the name would imply, Superman encounters a new “superhero” team called the Elite. They clash in their methods in that, while Superman does not kill, the Elite have no qualms about it. This escalates into an all-out brawl where the Elite basically mop the floor with the Big Blue Boy Scout. Then things get interesting.

Seeing Superman turn bad-ass is always a treat. The juxtaposition between someone who is so morally good that it’s almost sickening and an alien being with nearly god-like power and no sense of restraint has been a winning recipe in a number of different stories. That’s what Bright Burn banked on, but What’s So Funny About Truth, Justice and the American Way may be one of the earliest stories to lean into it. It was written at a time when superhero comics were getting grittier, more violent and central to the plot is the question, “Has Superman’s time passed?” Let’s just say that Superman convinces the Elite, and the world at large, to be happy with the way he is. Cause they won’t like the alternative.

Irredeemable

I’ve already talked about the storyline of Superman going bad , but I don’t believe anyone takes it as far as Irredeemable. Written by Mark Waid, for Boom Comics, and spanning an impressive 37 issue run, it featured a Superman copy called, the Plutonian. Superman, being one of the most powerful and idolized superheroes on Earth, has always had the weight of the world on his shoulders, but he had the mental stability to handle it. The Plutonian does not. He cracks under the pressure and lashes out at both his superhero team mates and the entire world. As I said, there are other stories like this, but none have a 3 year time span to explore the concept as fully. The title is completely appropriate, as well; this character does reprehensible things. I should mention that Boom comics put out a related comic called Incorruptible, also by Mark Waid, but it doesn’t live up to Irredeemable. In it, one of the Plutonian’s enemies, Max Damage, is so shaken by the Plutonian’s turn to evil, that he becomes good. It’s a good concept, but it just doesn’t read as well.

So, why am I including this Superman knock-off in a piece specifically about Superman? A few reasons. In addition to the blatant similarities, it is revealed that the Plutonian’s powers are mentally related, or psionic, rather than physical. This is a reference to a research paper published back in 2009 that stated that, with the breadth of Superman’s powers, it would break the laws of physics if they were physically based and, therefore, they had to be supernatural in nature. Also, at the end of Irredeemable, the very last issue, Waid makes it perfectly clear that the entire thing is a gorgeous homage to Superman.

Kingdom Come

Conceived and illustrated by Alex Ross and written by Mark Waid, Kingdom Come presents Earth on the brink of disaster from the multitude of vigilante superheroes that have populated the planet. Much like What’s so Funny About Truth, Justice and the American Way, a younger breed of superhero, one who doesn’t mind the use of lethal force, has come into favor and the public has turned away from Superman. As a result, he has sequestered himself in a holographic Kansas, away from the world. But with violence spiraling out of control, a militant Wonder Woman convinces him to return to the fight. There begins a battle of the wills, with Superman determined to stick to his ethical refusal to kill and nearly everyone else screaming for blood. As if this weren’t enough, mankind has generally grown sick of all these living weapons running around and generally, making the world a dangerous place to live in, so they’re planning to take drastic action on all the capes, both good and bad.

I’ve already written about how much I love Ross’ artwork and that is one of the best parts of this graphic novel. The story itself is told through the eyes of a minister who feels as if God is showing him all the events unfolding so that he can save the world. There is great comic book action here, but also complex ethical struggles that are rarely seen in the superhero world. My copy of this graphic novel is almost as well read and tattered as my copy of the Watchmen, which, by the way, is falling apart.

Grounded

In 2010, J. Michael Straczynski took over as writer for Superman and DC’s Dan Dido wanted him to re-invigorate the character. What emerged was a 14 issue run called, “Grounded”. The events of the previous run,” New Krypton“, finds Superman feeling disconnected from Earthlings and wondering if he can truly be the planet’s protector any longer. Disillusioned and lost, he decides that in order to get back in touch with the common man, he’s going to travel across America. And since he can’t connect with them from 20,000 feet in the air, looking down on them from above, he decides to walk the length of the country.

It’s a great look into Superman’s psyche, a god among men, trying to understand their experience as mortals. Once again, this is a story that in which his powers are useless. There’s no enemy to defeat nor disaster to overcome, while the run isn’t devoid of action, its main theme is Superman’s soul searching. My main complaint about the character Superman is that he can’t be beat, but this story shows that he isn’t immune to self-doubt. During his walk across America, he encounters very human problems. People with life-work issues, loneliness, domestic abuse, joblessness and poverty. Problems for which super strength and heat vision are useless. Grounded was a great run that showed a side of Superman that has rarely been explored and it’s written amazingly well.

Runner Up: The Incident

In 2011, DC published Action Comics #900, a title primarily featuring Superman, and ran a story called “The Incident” written by Paul Cornell. While not as deep or meaningful as the stories I have discussed above, nonetheless, I feel that it’s a story that deserves to be mentioned. It’s set in Iran, where a group of peaceful protesters are being attacked by Iranian soldiers and Superman swoops in to save the day. While, on the face of it, this is a straight up heroic act, it angers both the Iranian and American governments. Basically, this is because both governments consider Superman an exclusively American asset. As such, Superman’s actions could be considered an act of American aggression, maybe even a declaration of war. Realizing his duty is to protect the entire planet, not just the U.S., he publicly renounces his American citizenship.

While this was a nifty development for Superman’s story, what was really amazing was how much of a fervor this caused. The news story that Superman had renounced his citizenship was carried by everyone from Fox news to the New York Times and it caused such an uproar that DC comics back tracked on the story, labeling it a “What if” story. It goes to show what an icon Superman is, that a 70 year old comic book character is still so important to so many people.

Supernatural

Earlier, I had shared my concept of the Children of the Slayer, in a reference to Buffy the Vampire Slayer, (BtVS), a show so influential it begat a myriad of imitators. Of all these children I could discuss, one would assume I might talk about her closest child, Angel, spawned from the same writers, the same creative minds and sharing quite a few of the same actors. I will discuss Angel later, but right now I want to talk about arguably the most successful of all the Slayers children, Supernatural. It’s ending this year, after an impressive 15 seasons, with thousands of adoring fans, it was originally only planned for a three season run, but the overwhelming popularity of it extended that.

The show follows a pair of brothers, Sam (Jared Padalecki of Gilmore Girls and House of Wax) and Dean (Jensen Ackles of Smallville and Dawson’s Creek) Wincester, who are “Hunters”, a vocation which involves them tracking down and killing all manner of supernatural creatures. It’s a family calling, as their parents were hunters, but their mother was killed in a tragic, demon-related fire when they were young. Their father accompanies them in the end of the first season, he leaves early in season 2. And it’s just the brothers for the vast majority of the series, though he does return briefly (1 episode) in season 14 . Actually, that’s not entirely true. Throughout the show, there is a rotating cast of characters that interact with the Winchesters. I say interact, because these characters are wonderfully dynamic, villains becoming allies, friends becoming evil; there are so many twists and turns, double crosses and reversals of fortune, that the show traipses dangerously close to soap opera territory. It is this crowd of personalities that gives the show a richer, more complex tone that I am sure contributed to the show’s longevity.

Sam and Dean are consummate bad-asses, often going toe-to-toe with demons, vampires and even the gods themselves. They have demonstrated exceptional fighting skills, though more street fighter than martial artist. They are also weapons experts, usually carrying around enough firepower to equip a small army. Given the nature of their prey, they have demonstrated a comprehensive grasp of magic, routinely exercising demons and creating protective circles. To round out these many talents, they seem to be masters of disguise, or, at the very least, infiltration. On multiple occasions, we see them being accepted as doctors in a hospital using nothing more than a stethoscope and a lab coat or getting the run of a police departments by wearing a suit and tie and flashing a fake FBI badge accompanied by the hokiest sounding of fake names. By far, their greatest weapon, however, is The Colt, a mystical weapon that will kill anything, and I mean ANYTHING, that it hits. And lest I be incomplete, I must mention the Impala. That’s not a euphemism; their car is a 1967 Chevy Impala that Dean refers to as Baby. It’s magically protected and serves as both second home and rolling arsenal.

While the Winchesters, sometimes affectionately referred to as “The Boys” (Not to be confused with the Amazon show, which is based off of Garth Ennis’ comic, The Boys. Though, to be fair, the Amazon show is written by the writer of Supernatural, Eric Kripke), are very much the stars of the show, they share the screen with many others, who occasionally steal the spotlight. There’s Crowley (Mark Sheppard of 24 and Leverage), the once-King of Hell, a demon, who frequently teams up with Sam and Dean, for his own purposes. I have to mention Bobby (Jim Beaver of Justified and Deadwood), long-time family friend and hunter, who acts as the wise uncle. If there was anyone who could be considered a “third Winchester”, it’s Castiel (Misha Collins of 24 and ER), an angel who is a staunch ally to the Boys. Introduced to the show in 2008, in the fourth season premier, Collin’s character went from guest star to regular, won a People’s Choice Award in 2015 and has even directed for the show. There’s Rowena (Ruth Connell of Hari Kari and The Cursed Man), the mother of Crowley, before he became a demon, and 1000 year old witch who, while usually helpful, is as fickle a friend as her son. I shit you not, I could go on and on, there’s so many well fleshed out semi-regulars to mention, but I also wanted to mention the level of guests they have on the show. Nerd-favorite, Felicia Day; Battlestar Galactica’s, Tricia Helfer; Curtis Armstrong, known to most people as Booger from Revenge of the Nerds; The Walking Dead’s Jeffrey Dean Morgan, AKA the infamous Negan; Star Gate’s Amanda Tapping; BtVS alumni, Amy Acker and Julie Benz; even Linda-fucking-Blair was on the show. Talk about royalty

So, how is Supernatural doing as a Child of the Slayer? Let’s see, bad-ass main characters that fight vampires, werewolves and demons with both conventional weaponry and magic? Check. A team of Scoobies to back them up? Mega-check. Combining dark humor and witty banter with gothy angst? So much check. Supernatural may be more BtVS than BtVS. Just like Buffy, Supernatural was a monster of the week series that also had a larger story arc playing over the whole season, but the big bad at the end wasn’t always something that could be fought. Many seasons included an “inevitable” dark fate for one or the other of the Boys, or insanity-provoking torment for a beloved member of the team. There are some parts that are so over the top brooding and sad that, well, it’s almost too much. But, then, they balance it out with something so ludicrous completely turning the mood. Over the course of its 15 season run, both Sam and Dean have been killed and sent to Hell, Dean actually going on two different occasions. Sam has had a girlfriend killed and became addicted to demon’s blood (who knew that was a thing?). Dean was trapped in Purgatory for a year and bore the cursed Mark of Cain. Themes of abject loneliness and painful regret should be listed in the credits, they’re on the show so much.

Oh, I almost forgot, Supernatural‘s contribution to pop culture. Much like BtVS, Supernatural has spawned several artistic offspring. Fan conventions began in 2006 and have been going strong ever since. Mayor Steve Adler of Austin, TX proclaimed June 23rd, 2018 as Supernatural Day. There are comic books, a series of novels, webisodes, an anime series, and several attempted spin-offs. I say attempted, because none of them really ever caught on. Maybe once the show is over they’ll stand more of a chance, because, let’s face it, the Winchesters should never truly die.  

This may be the longest post I’ve ever written and I’ve still only just touched the surface. I’ve already mentioned the writer of the show, Eric Kripke, but in addition to writing The Boys, he’s also written NBC’s Revolution and The House with a Clock in Its Walls. He pitched the concept of Supernatural for nearly 10 years before the WB picked it up. While some seasons are better than others, the storytelling on this show is always solid. It’s been a favorite of mine for the entire 15 year run, but I’m not sad to see it end. It’s not only outlived its mother, but all its brothers and sisters. And they’re sure as hell going out with a bang; the big bad they’re up against for the finale is none other than God himself. I don’t know how it all will end, but I can’t wait to see.

Upload

As much as I love talking about my favorite movies and TV shows, I figured I could put my video addiction in service to the public by talking about newer shows. You know, shows that you’re on the fence about. Shows like Amazon’s new vehicle, Upload. The promo trailers for this show started playing around the time that The Good Place was ending, so I assumed that this was Amazon’s attempt to fill that void, particularly since it’s set in a sort of afterlife. Whether that was the intention or not, this is a very, very different show from The Good Place. Far from being a feel good comedy that addresses philosophical and ethical topics, Upload is actually a terrifying horror series, of Black Mirror proportions, masquerading as a comedy. I’m not sure if it knows that.

Right away, we are introduced to Nathan Brown (Robbie Amell of The Tomorrow People and Code 8), an uber-vain, but otherwise all-around good guy and his fiance, Ingrid (Allegra Edwards of Briarpatch and Orange is the New Black). The circumstances are not ideal; Nathan has been involved in a serious car accident and is, apparently, dying. Luckily, he exists in a fictional world where one can upload their consciousness to a virtual reality, effectively becoming immortal. Immortal, that is, as long as the servers that contain this digital afterlife keep running; can you imagine the pressure on their IT department? This is not a cheap procedure, but Ingrid comes from a super rich family, and she not only pays for Nathan to be uploaded, but also pushes him into it. Once in the system, Nathan meets Nora (Andy Allo of Pitch Perfect 3 and Chicago Fire), a woman working for the company hosting Nathan’s consciousness, who is essentially his handler. This company, Horizon, is the stereotypical, soulless tech company, and Nora, with as much power she has over Nathan and his entire reality, is just a lowly gig worker in the real world. On top of that, her father is dying and she’s desperate to save up enough for his upload.

The comedy aspect is kind of meh. The jokes never achieve laugh out loud status, nor are they overly insightful. While the world they have built is clearly a parody of modern day society, rather coming off as witty, as scathing commentary, they are blunt and heavy handed. It doesn’t help that none of the characters are very likable. That being said, there is one element of the show that keeps me watching. The mystery. A regrettably minor character is Fran (Elizabeth Bowen of Michelle’s and No Tomorrow), Nathan’s cousin who begins to investigate his death. In her amateurish, but dogged, investigation, she begins to uncover some very suspicious clues that he may have been murdered. Little breadcrumbs of clues are doled out, stringing the viewer along. Particularly me, since it’s the only aspect of this show that I find remotely satisfying. If I tune in for season 2, and that’s a big if, to follow Fran and her investigation will be the only reason.

One of the reasons I watched in the first place is to see Robbie Amell. Not because I’ve seen any of his other stuff, except for his brief time as Firestorm on the CW show The Flash, but because looks so much like Stephen Amell, of the CW show Arrow, I thought they were brother. The last name helped that thought as well. Turns out they’re cousins, but, damn, that resemblance. Andy Allo is decent as Nora, but one has to wonder if her talents are being squandered, as she is an accomplished musician. She sings, plays both piano and guitar, and has five albums to her credit. She’s good enough to be in Prince’s band and even collaborated on writing songs with him, which I consider pretty damn impressive. I gotta give a shout out to William Davis, who plays the super rich, David Choak, Nathan’s neighbor in the afterlife. If he doesn’t sound familiar, most people probably know him as The Smoking Man, from the X-Files. Arrogant and jaded, his brutal honesty with Nathan was a nice dash of spice in an otherwise bland show and I hope he gets more screen time in the next season.

Let me revisit my claim that this show is a horror. In the first episode, in his first few moments in the afterlife, we see Nathan looking at himself in the mirror. He is annoyed to find part of his hair out of place, sticking up like a cowlick. Viewers know that this Nora’s fault, as she gave it to him while creating his avatar as part of his upload. Try as he might, he can’t get his hair to lay down. At another time, we see Nathan reach for something he wants, only to be blocked and see a message come up that he has to pay more for it, like some in game purchase. Given that he doesn’t have any money, that he is on his fiancé’s dime, he seemed resigned to a very boring existence. Lastly, we are given a peek at the low rent region of the afterlife and it is Spartan to say the least. Stark, white, windowless walls, devoid of any art or decoration, enclose a cell-like room containing only a bed, chair and bureau, also all white. Far from being a virtual paradise, Nathan has absolutely no agency. Others control how he looks, what he has access to and the very world around him. This definitely feel more like Altered Carbon than The Good Place. Except that, unlike Altered Carbon, he can’t be resleeved, he can’t be put in another body, he will never again have a physical form.

Considering this reality to its inevitable conclusion, this a terrifying form of existence, because of the implications. If this technology exists, surely less scrupulous people/corporations/governments can use it for other purposes. This is an inescapable prison, a chamber of endless and novel torture. The show makes jokes around this concept, trying to be funny, but all I can think as I am watching this is OMG, this looks like hell. Even in the concept of hell, one is put there under a judgement from God, the Almighty. In Upload, it’s a human’s decision, with all the flaws and weaknesses of our species. This thought deadens every punchline for me. It paints a very dark reality and makes no concessions to soften the blow. There’s no mention of an ethics committee, no talk of regulation by an independent body, nothing about a legal framework moderating how this technology is used.

Look, I get it. It’s a TV show, it’s parody. Why am I thinking so much? First of all, that’s what I do and I’m not going to turn that off just to watch a TV show. Second, we’ve seen trope of a virtual reality before and it usually doesn’t end well. I’ve already mentioned Altered Carbon and Black Mirror (the episodes White Bear and White Christmas embody what I am talking about perfectly), but I’ve also seen it in Cube Zero, Source Code and Inception. In fact, even in the very first episode of Upload, the reality of Nathan’s new existence drives him to almost take his own “life”. I’m a little surprised that the show came from the mind of Greg Daniels, the creator behind such shows as The Office and Parks and Rec. With all my bitching, I gotta say that it’s not that bad of a show. It’s not that great of a show, but it’s not that bad. I did watch to the end. One could do worse for a sit-com. But with my background of watching sci-fi and horror, Upload just lands too close to some of the most horrific virtual reality scenarios I’ve seen. For every joke that brings a chuckle, it’s accompanied by a chill that runs down my spine.

A Cure for Wellness

While many works of fiction strive for the label of Lovecraftian, very few live up to the title. Trust me, I’ve seen more than my fair share. I love cosmic horror and the term Lovecraftian is irresistible to me and I am almost always disappointed. Then I saw the movie, A Cure for Wellness. It has that eerie, alien feel that proves so elusive to so many other contenders. It doesn’t quite embody cosmic horror, there’s no sense of a terror so large that it encompasses the planet or some god-like entity from outer space, but certainly a feeling that something is just…off. The sense that reality is not as solid as we thought and that there are corners of the world where man is not the only form of sentient life.

The movie follows Lockhart (Dane DeHaan of The Amazing Spiderman 2 and Valerian and the City of a Thousand Planets), an employee who is tasked with retrieving the absent CEO of a large company. The CEO went off to an exclusive spa in the Swiss Alps and has not been seen or heard from since, except for a cryptic letter, in which he sounds bat-shit insane. Just as Lockhart is arriving at the spa, he is involved in a major car accident and regains consciousness, in the spa, to find his leg in a cast. That’s when he meets Dr. Heinreich Volmer (Jason Isaacs from Star Trek Discovery and the Harry Potter films), the enigmatic proprietor of the spa and, shortly after, Hannah (Mia Goth of Nymphomaniac and Suspiria), a patient at the spa. I would describe her as a manic pixie girl, if she weren’t so damn creepy, almost inhuman. And while Dr. Volmer is quite personable, he will still give viewers the willies, though they won’t quite know why. Or maybe that’s just Isaacs. Through out the film, Lockhart never quite seems to find the CEO, and then, when he tries to leave, he finds that impossible, as well. In his explorations, Lockhart sees plenty of weirdness, but nothing compared to when he starts to get treatments himself. Let’s just say that there’s a lot of worms involved. I can’t say much more without giving anything away, but, while the movie does start a little slow, it gets to edge of your seat territory soon enough.

I am not very familiar with the works of DeHaan or Goth, but I have loved Jason Isaac’s work for years. I loved him in Case Histories, was very happy to see him in Star Trek: Discovery and was so, so disappointed when Awake was canceled. Regardless of his role, I’ve always felt that he’s given his all to to the part. There’s a certain weightiness to his acting, a gravitas that makes me think he performed nothing but Shakespeare, before making the leap to film, but what the hell do I know. I would love to tell you to go see the series Awake, since some have described Isaac’s acting in it Emmy worthy, but I can’t, in good conscience, recommend a one-season show to anyone. In it, Isaac’s plays a police detective, who is in a serious car crash with his family, in which, he loses his wife or his son. That “or” isn’t a typo. For the extent of the show, Isaac’s character lives in two realities; one in which his wife survived, but when he goes to sleep, his reality changes into one in which his son survived. These fluctuating realities, and the confusion behind which one is “real” is a central theme of the show. Writers for Awake had to keep track of two separate realities and timelines to avoid continuity errors. It was a phenomenal show and I have no idea why on Earth it was canceled. As to the other two actors, all I can say is that I’m glad I saw DeHaan in A Cure for Wellness first, because Valerian and the City of a Thousand Planets totally sucked balls.

I wish I could talk about how this movie is genre bending, because the mystery behind the spa is key to the plot and there is a bit of romance between Lockhart and Hannah, but the oppressive unease that it fills one with places it squarely in the realm of horror. The way many of the characters act, one could be convinced that they aren’t really human at all and could take off their skins at any moment, revealing their true, horrifying nature. The conspiracy to manipulate and control Lockhart had me paranoid the entire time, like I was trapped, with the walls closing in. We never quite feel that his life at risk, there is no ax wielding manic hunting him down to dismember him or inhuman monster hungry for his flesh, but he is slowly tortured, in a variety of ways, and through watching this, we experience this torture as well. In fact, if I were to level one bit of criticism at this movie, it’s that it’s so damn long. While I was entertained by the non-stop anxiety the film induces, at almost two and a half hours, the run time may be more than most audiences can bear.

For all the negative emotions that I rattled off, this is a gorgeous film. Beautifully filmed, this may be one of the prettiest horror films I’ve seen. Filmed in the Swiss Alps, at a sanitarium that hosted Adolf Hitler and where political prisoners were lobotomized, the movies walks a line between horrific and ethereal. Like a fever dream that one wakes from, covered in sweat, plagued by vague fears that fade from the mind as consciousness takes hold, but remain in the pit of one’s gut, this film is psychological torture porn. I’ll be the first to admit that A Cure for Wellness may not be everyone’s cup of tea, but it strikes a chord in me that few other movies do. Perhaps that’s why no one ever wants to go to the theater with me?

It Slices, It Dices

When I was growing up, late night television was a very different beast from what it is today. My family didn’t even have cable until I was in my late teens. No video on demand, no Tivo, no infinite channels, no online streaming and some television stations even went off the air at night. We got exactly 6 stations; ABC, CBS, NBC, PBS and 2 independent stations on UHF. There’s no comparison to how much better both the quality and variety of programming is now, but, still, there are things that I miss from the earlier days of television. One of those things is the commercials I used to see on late night TV.

Both the products and the style of the ads were so striking that I remember many of them to this day. I can’t hear the phrase, “we’ll be back to pick you up later” without thinking of the Mr. Microphone commercial. Several of the favorite songs of my youth came off of a variety of K-Tel music collections. I often marveled at the inventiveness of products that rolled out, seemingly endless, to address innumerable needs, both real and imagined. And the delivery? These commercials featured reenactments of everyday problems, played out by low budget actors, overdramatized to catastrophic proportions. Or, alternatively, displaying the amazing life that could be yours if only you purchased these amazing inventions. The pitches were delivered with all the subtlety of a carnival huckster.

I’m guessing that air time was cheap for a Maine television station at 3AM, so you’d inevitably see local car dealers and furniture stores hawking their wares, but the two big players of the late night circuit were Ronco and K-Tel. Ronco was an American company founded by Ron Popeil, who learned his trade from his inventor/salesman father, Samuel. Starting in 1964 making $89,000 in sales, by 1969 that figure had risen to $14 million. Popeil sold the company for $55 million in 2005, only to go bankrupt and fold in 2018. Quite possibly the father of the infomercial, Ron Popeil and his company have been featured in numerous news segments and interview, been the recipient of several awards, both honorary and derogatory and insinuating themselves into pop culture by everyone from the Simpsons to Saturday Night Live. Among their more well known offerings are:

The Chop-O-Matic – One of their earliest and longest running products

The Popeil Pocket Fisherman – I’ve never met anyone who has owned one of these, so I have no idea if they work or not, but the alliteration in the name made it fun to say.

Mr. Microphone – This seems like it would be the most annoying product one could ever design, but what has stuck with me is the ultimate cringe of a car full of teens using it to try and pick up some girls just minding their own business.

Inside-The-Shell Egg Scrambler – I never saw the purpose for this. I’ve scrambled eggs for a good part of my life and I’ve never had an issue with the traditional, outside-the-shell way of doing things. Evidently, this invention was inspired by Ron Popeil’s utter disgust at egg whites and incompletely scrambled eggs. While I think this is nonsense, it did win 84th place in Mobile Magazine’s Top 100 Gadgets of All Time, so what the hell do I know?

I could go on, but, seriously, one could write an entire book and I want to get this posted today.

K-Tel is a Canadian company founded in 1962 and became one of Ronco’s biggest rivals. Started by Philip Kives, a door-to-door salesman and a pitchman on the Boardwalk in Atlantic City, he was the perfect man to match Popeil at his own game. In fact, K-Tel started out by selling some of Popeil’s products, like the Veg-O-Matic, before selling their own products. This company is no joke, going from $23 million in sales in 1971 to $178 million 10 years later, expanding their holdings to include real estate and oil exploration. They’re still functioning today, mainly making money from their 200,000 song catalog of golden oldies, such as “Tutti Frutti” by Little Richard and “Surfin’ Bird” by the Trashmen, carried on platforms such and iTunes and Spotify and featured in television, movies and commercials. Among their offering were:

The Miracle Brush – Basically a glorified lint brush. I was all set to talk shit about this product, but in doing some research, I’ve found several testimonials that rave about the Miracle Brush and state that they are still using theirs after 20-30 years.

The Fishin’ Magician – An all-in-one multitool, this gadget had a scale to weight your fish, a tape measure to measure it, a hook remover, a filet knife, a scaler, a bottle opener and more.

The Scrappy Scrubber – I only vaguely remember this one, but think an oversized electric toothbrush for your dishes.

Too many music compilations to count – Still a music powerhouse, K-Tel has released such timeless collections such as Disco Fever, Hooked on Rodgers & Hammerstein, Chipmunk Mania, Street Wave, Good Times in Country Music, Themes for Dreams – The Magic Sound of Panpipes and the list goes on and on.

While we have K-Tel and Ronco duking it out like Godzilla and Gamara, I would be remiss to not mention some of the other participants of the late night circuit. Notably, Ginsu Knives and their amazing feats will be forever burned into my brain. They sliced through a tin can and it still stays sharp enough to slice a tomato. What the hell kind of kitchen were they thinking of? Who could ever forget Suzanne Summers and her erotically charged ThighMaster? In addition to all the goods being sold, I must also mention the services. Classics like the Psychic Friends Network, Tony Robbins’ Self Help seminars and even sexy chat lines like 544-CHAT and 550-TEEN were all major players trying to capitalize on the desperation of someone watching television at 3 in the morning. These are all the classics I grew up with, now remnants of history, a dying breed after giving rise to Ebay and the Home Shopping Network. I often wonder if these things will all be forgotten in the passage of time, but I promise you that I will keep their memory alive until I take my last breath.

Contracted – The Most Disgusting Zombie Movie of All Time

If you know me, or if you’ve read enough of this blog, you know that it takes a bit to disturb me. As a former anatomy instructor, I’m no stranger to, not only dead bodies, but actively dismembering them. Sure, we call it dissection, but tomato/tomato. During my short term as a doctor, I’ve sewn up mangled hands and facial lacerations, driven a needle into a man’s stomach to draw fluid off (paracentesis), and, well, you get the idea. It should surprise no one that I am into the more extreme forms of horror. With that in mind, I want you to know that I am deadly serious when I say that Contracted, and its sequel, the inventively named, Contracted: Phase 2, are two of the most disturbing movies I have ever seen. These films fall squarely into the subgenre of body horror. What makes them more horrifying than most is their focus on sex.

Before I say more, let me tell you what these films are about. The first movie, Contracted, follows a young woman named Samantha (Najarra Townsend of Breakfast Buddies and Medinah) who is basically date raped at a party. Over the following days, she begins to feel sicker and sicker and fears that she has an STD. The rest of the movie is a slow burn, as we watch Samantha deteriorate, her symptoms becoming more and more disgusting. How disgusting, you ask? Well, there’s an awful lot of vaginal bleeding, hair and teeth falling out, vomiting, maggots under the skin; I could go on, but I’ll spare you the details. Equally disturbing is the gradual mental decline as the infection takes over. Her impulse control goes out the window and she begins to have violent outbursts. By the end of the film, she has become a full fledged zombie. Knowing this in no way takes anything away from the film; there is never any glimmer of hope for poor Samantha, as we watch her life crumble.

I can’t stress this enough, but absolutely do NOT watch this with someone you are romantically/sexually interested in. This is the opposite of a date movie and will completely destroy any sort of interest in sex, or even human contact. At least, it did for me. The is also the opposite of a feel good movie. I mean, it’s no Come and See, but the grim, bleakness embodied by this film will have you looking at the world through filth-colored glasses for a few days.

The sequel, Contracted: Phase 2, is not as good as the first movie. I would recommend skipping this one altogether, as it doesn’t improve the story any, exploring ideas within the first movie that didn’t really need exploring. Here we follow Riley (Matt Mercer of Auteur and Beyond the Gates), a friend of Samantha’s from the first movie, the two of them getting hot and heavy in one of the most skin crawling scenes I’ve ever seen. Starting to feel sick himself, and hearing of Samantha’s fate, Riley is appropriately worried and sees a doctor, who is frickin’ worthless. Allow me to digress a little here, since I’m a doctor and it always bothers me to see medical inaccuracies, but both of these characters received the most inept treatment possible. Fever, bleeding out of places that should not be bleeding, vomiting; if these people came into my office, I would be like WTF? The doctor doesn’t do a pelvic exam on Samantha, no blood cultures taken, and, in the second movie, where we learn that the government has knowledge of this virus, there’s no CDC alerts. I’m not saying that medical science is the end all, be all, but I wish they had a medical consultant for these movies, because the care they received did not at all ring true.

Anyway, enough of my rant. The second movie basically follows the exact same arc as the first, as we watch Riley slowly decline, oozing pus and peeing enough blood to stock a blood bank. Seriously, this movie took the disgusting theme and ran with it. No lie, the scene where he nose bleeds into the dip at a party, which is subsequently eaten by one of the guests, made me gag a little. Into this mix is thrown the additional plot behind the man spreading this virus, as a terrorist device, being hunted down by a police detective and, ultimately, the U.S. Government. This had the potential for adding depth in the narrative, but instead comes off as half baked and haphazardly tacked on. Where as Samantha was a tragic figure, I just wanted Riley to die already. There have been rumors about another movie, Contracted: Phase 3, but I have yet to find any solid information on this.

I like body horror, both because of the medical nature of most such films and because there is little I can think of that matches the terror of feeling one’s self rot away from the inside. The Fly, Cabin Fever, Splinter; I love these kinds of movies. I would contend that Contracted is a worthy entry into this genre, and that Contracted: Phase 2 is a sorry imitator. The first movie is like a case study in misery, Samantha’s life, health and, finally, sanity all slowly decaying with a morbid inevitability. If the second movie had just been a repeat of the first, only following Riley instead of Samantha, it would have been better. The terrorist side plot feels clunky and poorly executed and takes away from the film. But maybe that’s just me. Watch them for yourself and make up your own mind. But remember, and this is very important, DON’T see them with someone you love.

Happy Death Day

Spoiler Alert! I think I tried to avoid spoilers for these movies in this post, but I can’t be entirely sure. Therefore, I am placing the ubiquitous spoiler warning here. Consider yourself warned.

Much like my attitude regrading sit-coms, I’ve kind of lost my taste for slasher flicks. I saw Halloween and Friday the 13th when they first came out at the theater. At the drive-in, to be honest, which is an experience worthy of its own blog post, but I’ll save that for another time. The jump scares, the gore, the violence; it’s all sort of old to me now. There’s only so much you can see before it all looks pretty much the same and, let’s face it, I’ve dismembered several human bodies myself. No biggie. So, when I first heard about Happy Death Day, I wasn’t very interested. I probably would have remained completely ignorant of the franchise were it not for my unending hunger for things to watch. As chance would have it, I happened to stumble across Happy Death Day 2 U, the second movie, and figured, “What the heck?” I didn’t think I’d really be watching it, but surprise! What I found was a fun filled thrill ride that kept me intently watching the action.

What makes these movies different from the standard flavor of slasher movies? If you’ve read my previous posts, I’m sure you know the answer; because they’re fun. We follow the protagonist, Tree (Jessica Rothe of La La Land and the upcoming Valley Girl), the stereotypical sorority girl and total bitch, as she wakes up in the dorm room of Carter Davis (Israel Broussard of the Bling Ring and Extinction), all around, mild mannered nice guy. Her hangover doesn’t help her disposition any and she storms off across campus back to her sorority, where she’s an asshole to her roommate, a fellow sister and several random college students before fooling around with her married professor. After it’s established how shitty a person she is, true to slasher movie tradition, she is butchered by a masked killer, whereupon she awakens, once more in Carter’s bed. And so goes the pattern, as Tree is killed again and again, each time waking up, ala Groundhog Day, until, it is presumed, she solves her own murder.

With my love of comic books, it’s no big surprise that I enjoyed Happy Death Day; it was written by Scott Lobell, a comic book writer who has penned such titles as The X-Men, The Teen Titans and Superman. He stated that he wanted to follow the pattern of having the bad girl die first and the good girl to be hunted last and (in some cases) survive, and that he wanted the main character, Tree, to be both of them. To achieve this, Tree’s character changes, grows throughout the course of the movie, this character development being one of the most satisfying aspects of the movie. I’ve talked about certain movies being genreless, but Happy Death Day leans into genres and tries to stuff as many of them as possible into the film. It is undoubtedly a horror, but the mystery of who the killer is also a central feature. It is a romance, has comedic elements and, regarding the change in Tree’s personality over the course of the movie, feels a little like a coming of age story.

The Sequel, Happy Death Day 2 U, released just 16 months after the first movie, picks up immediately where Happy Death Day left off. It follows roughly the same pattern, throwing an element of Sci-Fi into the mix. This is the movie I saw first, but I recently watched Happy Death Day and went back to rewatch the sequel. Both certainly work as stand alone films, but seeing the first does make the second more enjoyable. In the second film we get to see the reason that Tree was trapped in a time loop, which is a fun pay off to wait to explain until the sequel. I would love to hear about a Happy Death Day 3, Lobell has even intimated some of his ideas for that, but the word from the producer, Jason Blum of Blumhouse Productions (of Paranormal Activity and The Purge, to name a few), is that it is unlikely, though not impossible. I’m not holding my breath.

If you haven’t seen it, and you’re a horror fan, I sincerely recommend these movies, preferably seeing them close to each other as possible, for maximum Easter Egg detection. There have been countless films featuring a knife-wielding maniac in countless variations of this theme, but Happy Death Day and Happy Death Day 2 U are both a breath of fresh air. It’s fast paced, quickly getting the setting and character introductions out of the way to start the killing and mayhem as soon as possible. Hat’s off to the editors on these movies, as they feel like films expertly trimmed of all fat. I applaud Rothe’s performance, as she proves that there are no small roles, as she expresses a range of emotions never before seen in Slasher movie history. Or, at least, that I’ve never seen, most horror movie protagonists seemingly limited to stunned bewilderment and shrieking terror. These actors have been a big source of my dislike of slasher films, since I find myself rooting for the killer. Tree becomes a very likable, somewhat relatable main character, that will have you cheering even minor victories. In that respect, it throws in more more genre to the mix. An action movie.

The Endless

To a movie lover, like myself, it’s always a joy to discover something new, something fresh and unexpected, and that is what I recently found in The Endless. The movie involves two brothers, Justin and Aaron, who had escaped from a “UFO Death Cult” when they were young and are now eking out a meager existence. Justin accepts this, as he feels that they escaped an inevitable mass suicide, but Aaron just remembers being loved and cared for, not to mention being well fed, and hates the life they are currently living. So when they receive a video cassette tape from said “cult”, involving a mysterious message, Aaron convinces Justin to return for a short visit. They are warmly welcomed back and everything seems just as they has left it, but, little by little, odd things keep happening until the truth of their community is revealed.

The movie is good, the mystery captivating and pulling the viewer deeper and deeper, but I am more amazed at the film makers, Justin Benson and Aaron Moorhead, and what they were able to create on a (relative to Hollywood) shoestring budget. I haven’t been able to track down the actual budget for this film, but, for reference, their first film, Resolution, was made for $20,000. I’m willing to bet that most blockbuster movies spend more than that on food for the crew. How do they do it? By wearing a whole shit ton of hats. In addition to the both of them co-directing, editing and handling the special effects, Moorhead does the camerawork and Benson writes the script. In the movie The Endless, they both co-star in the movie, as well. They get amazing mileage out of the simplest of special effect and editing tricks.

Many movies have been called genre-less, but The Endless spans so many styles that the term is especially apt. I’ve already called it a mystery and that is truly what is at the heart of the film. It’s also a horror, the brothers often stalked by otherworldly creatures that drive other characters to madness and suicide. The creatures’ effect on time push the film into the realm of sci-fi and the interactions of the two brothers, between themselves and as prodigal sons to the “cult”, makes for excellent drama. After seeing The Endless, I was inspired to track down their other works, but, so far, the only other movie of theirs I’ve seen is Spring.

Their first movie, Resolutions, 2012, is about a man trying to get his methed out tweaker friend clean. Tracking him down to a backwoods cabin he’s in, the man handcuffs him to a pipe, forcing him to kick cold turkey. Then, weird things start to happen. Benson and Moorhead followed this up with the short film, Bonestorm, 2014, featured in the movie, V/H/S: Viral. They put Spring out in the same year, the most romantic monster movie I’ve ever seen. The Endless came out in 2017 and I just discovered, while researching for this blog post, that they’ve got a new movie coming out called Synchronic. The movie is about two New Orleans paramedics who arrive at an overdose victim and stumble upon the drug, Synchonic, that allows its user to be able to see all time at once. I cannot frickin’ wait to see this!

Some articles have also listed After Midnight to their credit, but they didn’t have the near total involvement that they did in those other films. While The Endless isn’t the only great film that was produced on pocket change, think Primer and The Man from Earth, but there’s so regrettably few of them that it definitely stands out. It’s probably what made the biggest impression on me. In the current atmosphere of blockbuster movies that have more money than some small countries and are absolute crap, seeing a movie made by someone who is really passionate about their craft is a reminder of what good filmmaking can do. After all, attention to details is what makes any art, be it culinary, graphic or orchestral, is what makes a piece great. With the duo of Benson and Moorhead, their love of the craft shines through and makes their movies something that sticks with you, long after the credits have rolled.

Buffy the Vampire Slayer, Part 2

Even with another blog post to work with, there’s so much I want to say about this show, it feels almost overwhelming. I could hem and haw about how this is going to go, but I’m just going to start writing and see where it goes. As I said in my last post, I didn’t start watching Buffy the Vampire Slayer (BtVS) until the third season. Which is good, because the first two kinda suck. I mean that in the most loving way possible. I went back and watched them after the series had ended and all I can say is that it was only the deep love I had developed for the show that made them watchable. I’m going to give a spoiler alert right here. I know, I know, the show’s been over for more than a decade, with countless reruns and pop culture references floating around the internet since then, but I exist in a culture that is hyper opposed to anything even resembling a spoiler and the last thing I want to do is ruin the show for some noob seeing Ms. Summers in all her glory for the first time. So, consider yourself warned. The rest of this post will have information about specific plot lines and episodes.

The first two seasons are important mostly to establish two long time cast members that I haven’t mentioned yet. From the very beginning, we are introduced to the vampires, Angelus or Angel and Spike. Sure, there are other characters who come back from time to time, but, really, Angel and Spike are central to the show. Hell, Angel got his own show, which I will discuss in glorious detail (or endless tedium, depending on your view point) at another time. Spike (James Marsters of Smallville and Hawaii 5-O) is easy to describe; he’s the Jonny Rotten of vampires, played as a punk Brit to his core, with very little character development beyond that, until much later in the show. Angel (David Boreanaz of Bones and SEAL Team)is a bit more complex, in that he has a duel personality. He’s the vampire with a soul. What that means is that he was originally like every other vampire on the show; cruel, violent and with an undying hunger for blood. Then, at some point, he gets cursed with a soul, and magically becomes kind and remorseful. Throughout BtVS, this device is used like an on/off switch so sometimes he’s is Buffy’s worst enemy and other times, he is her true love. Oh, yeah, did I forget to mention they’re in love? They play the starcrossed lovers trope to the hilt, which would have probably gotten real old, so I’m thankful Angel left when he got his own show.

Season 3 introduces Faith (Eliza Dushku of True Lies and Dollhouse), another vampire slayer, and Wesley (Alexis Denisof of Angel and How I Met Your Mother), her Watcher. Wesley is pretty much a one note character in BtVS, but he undergoes crazy development in the spin off Angel, to, ultimately, become one of my favorite television characters of all time. Seriously, you kinda have to watch all the other seasons of Angel to get the story, but season 5 of Angel is a fucking masterpiece in my opinion. But back to Buffy’s show. Faith is the bad girl slayer. Sexy, tough, rough around the edges; she wreaks havoc on the show in season 3. Wait, had I mentioned earlier that there could be only one slayer at a time? Yeah, the break that “rule” constantly during this show. Faith eventually does jail time on the show, resulting in Dushku getting mountains of creepy fan mail from prison inmates.

Season 4 is kind of flat. There are definitely high points, like Hush, but, on the whole, the season feels like a jumbled mix of ideas and storylines. It’s still good, it doesn’t backslide to season 1 levels, but the arc it follows seems less cohesive than season 3. There is a lot of transition in the season and most of it feels like it’s setting up season 5. Spike starts becoming one of the good guys, Willow starts becoming a gay witch, Buffy gets a new bae, as well as a sister. No, her mom doesn’t have another baby, Buffy’s teenage sister, Dawn, appears. I don’t know why, but I never got to like Dawn (Michelle Trachtenberg of Eurotrip and Gossip Girl), but I never did. Maybe it was because of her abrupt introduction, with little explanation. Maybe it was because they wrote her as the bratty, younger sister. I couldn’t tell you, but, to me, her character never really seemed to work well.

Season 5 really outdoes itself. The Slayer ups her game by facing off against an evil, gender-shifting goddess. She kicks Dracula’s ass. We are introduced to the Nerd Trio (if there’s an actual nickname for these guys, I don’t know about it) and the Buffy Bot. And we get episodes like The Body. In the episode before The Body, I Was Made to Love You, the show ends with Buffy walking into her house to find her mother, dead, on the couch. The camera freezes on the scene and the episode ends. The Body picks up at that exact same shot. There is no intro, no theme music, it just starts with Joyce Summers, the maternal unit that we’ve grown accustomed to on the show, now a motionless corpse. I had mentioned the emotional swings on this show and there has been death and loss in other episodes, but this one is like a punch to the gut. It is stark and tedious and sad. I believe there’s actually one vampire fight, but, for the most part, this episode is an exercise in grief. I never thought that the cast, as much as I love them, were great actors, but they do a stellar job in this episode.

Season 6 builds on the grief of season 5 and then ramps it up to 11 and breaks the knob off. The season starts off with Buffy dead and the Scoobies bring her back to life. Unfortunately, she had happened to be in heaven, so now, every day, normal life is hell to her and she spends most of the season in a self-destructive depression. Talk about giving the audience something relatable! This season is pretty rapey, too. Spike tries to rape Buffy, which was a brutal and unsettling episode. The Trio loom large this season and whether they’re making devices to mind-control women or sex-bots that look like Buffy, these guys turn the creep factor WAY up. Willow gets addicted to magic, like junkie on the streets addicted. The writers build up the romance between her and Tara, just to have Tara murdered right before her eyes. She goes off the deep end and becomes the Big Bad for the season finale. Evil Willow is pretty awesome, particularly when she rips some guy’s skin off and sends him to hell. Good times.

I consider season 7 to be the last season of Buffy, even though this isn’t exactly true. Technically, seasons 8, 9 and 10 were put out in comic book form and while these were pretty good, they’re just not the same. 7 isn’t a bad season, but it takes a little while to get going. Buff and the Scoobs gets their asses handed to them for most of it. Xander gets his eye gouged out by the always great, Nathan Fillion, playing an evil, supernaturally strong priest, Caleb. I know a writer needs to bring the protagonist down before the inevitable turning of the proverbial tables, but for a good chunk of season 7 it’s just one loss after another and that gets a little old after a while. The turn around is pretty good though, and I felt like it was a worthy ending for the show.

Speaking of writers, I’ve always put forth BtVS being a Joss Whedon creation, but I would be remiss if I didn’t mention Marti Noxon and David Greenwalt. I’m sure there were a host of great writers for this show, but Noxon and Greenwalt are the one’s I remember. Noxon joined the BtVS writing staff during season 2 and wrote or co-wrote 22 episodes. She was promoted to co-producer in season 4. In addition to her work on Buffy, she has also worked on Angel, Grey’s Anatomy, Mad Men, Glee and Sharp Objects. Greenwalt, in addition to his work on Buffy, wrote for Angel and Grimm, which is near and dear to my heart because it’s set in Portland, OR. I think I’ve dedicated enough ink to BtVS, but I’m glad I got to write about something I loved. And, maybe, just enough time has passed to rewatch the show and fall in love all over again. Happy viewing!

Buffy the Vampire Slayer – Part 1

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I’m reluctant to even write this post. Buffy looms so large in the history of television, particularly for the sci-fi, fantasy nerd set which is me, that I feel inadequate to do it justice. Even so, it’s been such a love of mine, and the metric by which I judge so many other shows, that I feel compelled to try and pray my humble words are worthy. If you’ve been living under a rock, Buffy the Vampire Slayer (BtVS) is a Joss Whedon creation, based on the movie of the same name, and claimed by some to be the greatest television show ever. The movie was so abysmally disappointing that I didn’t even watch the television show until season three, and even then, grudgingly. Soon after, Tuesday nights became Buffy nights and few things would keep me away from my TV at the appointed hour. I don’t usually get emotionally attached to television shows, or, hell, most people for that matter, but I’m unashamed to say that I did with this one. It had a worthy ending, but I was sad to see it go and miss it to this very day.

The show was so fresh and stood out in a sea of TV banality. It was the origin of so many terms that I use, such as “Big Bad” and “Scoobies” and, as I will talk about ad nauseum, gave birth to many, many imitators. Like many works of art, I can’t quite pinpoint what, exactly, made the show so amazing. I can only guess that the combination of Whedon’s vision and the cast’s chemistry and the crazy number of talented people that worked with them created some magic television alchemy that countless others have tried to repeat.

I probably don’t need to tell anyone what BtVS is about, but for completeness sake, and to stay with the form of the blog, here it goes. The show follows the titular character, Buffy Summers (Sarah Michelle Geller of Ringer and Scooby-Doo), who happens to be imbued with special powers to fight evil, also known as a Vampire Slayer. They have existed since prehistoric times, are always women and only one exists at a time, another being chosen when one dies. The Slayer has heightened strength and agility and instinctive fighting skills. The Slayer is assisted in her duties by a group of individuals known as Watchers, who act as repositories of knowledge of the creatures she finds herself fighting against. They also serve as the straight man to the flippant, high school girl that is Buffy. In this case, that man is Rupert Giles ( Anthony Stewart Head of Merlin, Dominion and The Stranger), who is specifically responsible for the support and training of Buffy. Also helping her fight against evil are her friends, or scoobies, as they came to be called, Willow Rosenberg (Alyson Hannigan of How I Met Your Mother and American Pie), Xander Harris (Nicholas Brendon of Criminal Minds and Coherence), Cordelia Chase (Charisma Carpenter of Angel and Charmed) and Daniel “Oz” Osbourne (Seth Green of Austin Powers and That 70’s Show). They all exist in the fictional, idyllic, California town of Sunnydale.

The show followed the Monster of the Week format, with larger story arcs layered over that, some spanning multiple seasons. True to her name, vampires were Buffy’s primary enemies, but over 7 seasons, she fought mummies, demons, cyborgs and even a god or two. The tone of the show skillfully mixed a gothy angst feeling with humor and witty banter. It is this back and forth play of emotions that sinks those barbs of pathos deep into your heart strings and gets you right in the feels. The victories make you want to cheer, but they are companions to devastating losses. Relationships loom large in BtVS and you can be sure that any happy couples are going to, at some point, become painfully heartbroken. It’s not uncommon for an episode to have you laughing in one scene and have you close to tears in another.

Even with this this level of emotionality injected into a well written, supernatural action drama, the show trailblazed in so many other ways. In season 4, the episode, Hush, gained recognition for having only 17 minutes of dialog in its entire 44 minute run time. Whedon had heard a claim that the only reason the show was as sucessful as it was was because of the back and forth banter between the characters. He took this as a challenge and wrote an episode in which the Big Bad were a group of creatures known as The Gentlemen that steal everyone’s voices. In season 6, Whedon wrote a musical episode called, Once More With Feeling. In this episode, a demon arrives in Sunnydale and compels everyone to break into song at random moments. With a run time of 50 minutes, roughly 8 minutes more than a standard episode, the cast sings a variety of song that were collected into a soundtrack with over 20 separate tracks. Called the “greatest television soundtrack of all time” it rose to 49 in the US Billboard 200. Once More with Feeling is still considered one of the most popular episodes of the entire series and has been shown in theaters to sing-a-long audiences.

There’s a lot to talk about, when talking about this show. In addition to the soundtrack I mentioned above, there have been several books, a role-playing game, video games, a collectible card game and a few podcasts dedicated to BtVS. After the television show ended, Buffy’s stories lived on as a comic book, writers churning out three more seasons. There’s been one spin-off, Angel, two others proposed, but never developed (Buffy: The Animated Series and Ripper), and a potential re-boot (but don’t call it a re-boot) currently in the works. Even this might not be surprising for a popular television show, but if we want to fully comprehend the cultural significance of BtVS, we need only to look at academia. Since 2001, there has been a quarterly publication called Slayage: The Online Journal of Buffy Studies. There are multiple colleges that offer classes based off of BtVS, touching on topics from media to gender studies. Meet-Up groups, Buffy focused conventions and other references to the show continue to this day. Buffy remains a force to be reckoned with and there is more to be said, but I’m going to wait for another day. I knew this subject would be too much for one post, so I’ll continue this next week. Until then, stay 5 by 5.