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Post by PokerKitten on Sept 21, 2003 11:09:48 GMT
The spoiler whores know that Joss has a wacky letter up at the WB site but it was a tad spoilery so was only posted in that thread. However, there is also a letter form Angel *snerk* I couldn't figure out how to pinch it without transcribing, so didn't bring you this earlier. But here it is now, with Angel sounding like a spoilt petulant brat, not the head of the most evilest wickedness firm on the planet, LMAO! Wolfram and Hart Attorneys at Law
Dear Editor,
I'd like to invite you to preview the first two episodes of the fifth season of "Angel". Much has changed since the last time you saw us an things have never been more...strange.
I'm now at the helm of the Los Angeles offices of, Wolfram & Hart, a multi-dimensional law firm. While I have reservations about running this formerly pernicious entity: I'm optimistic we'll be able to impact greater evils from within the belly of the beast.
An unfortunate complication to my task is the unexpected appearance of Sunnydale's post-apocalyptic flotsam, Spike. We're using all available resources to find a quick resolution to this regrettable situation. In the meantime, I'd like to remind you who had the soul first....and who's running things around here.
Its obvious the firms senior partners have an agenda in handing over the keys to their kingdom, but what remains uncertain is who will ultimately have the upper hand in ongoing conflict of good versus evil.
The new season premieres Wednesday, October, 1st, 2003 on the WB. Please join me.
Sincerely,
Angel CEO Wolfram & Hart
"post-apocalyptic flotsam" - Harmony must have a spellchecker.... www.comicscontinuum.com/stories/0309/20/letter.htm
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Post by PokerKitten on Sept 23, 2003 16:56:55 GMT
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Post by PokerKitten on Sept 23, 2003 22:11:37 GMT
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Post by PokerKitten on Sept 27, 2003 11:56:12 GMT
www.fanboyplanet.com/ontv/angel/cr-angelseason5overview.php
Angel A Look Ahead At The Fifth Season
The end of last season ushered in a major change: Angel and crew had taken over the LA office of neer-do-well law firm Wolfram and Hart. Why the so-called (and never seen) Senior Partners wanted such a change is the one of the key question of the upcoming seasons. And why The Fang Gang would want the job is another.
The former may have to do with the simple yet tried-and-true adage that "power corrupts." The latter may involve that Corleone pearl of wisdom of "keep your friends close, but your enemies closer."
Whatever the reasons, the new season is a welcome change from the tired (almost from scene one!) Connor-Cordy centric story line. Many fans are also anticipating --- or dreading --- the changes resulting from the crossover of Spike, Harmony, and other possible Buffy characters (no whining about spoilers: any fan still unaware of these two additions should trade their sub-rock dwelling for something less remote). A dose of Buffy may have saved Angel in the short term from the ratings ax (so go the rumors), but the move risks inducing some of the same problems that weakened BTVS overall during the last few seasons.
The first of these problems is "cast-itis" --- inflammation of the cast, or even more simply put, too many characters. Afterr Riley departed, the Sunnydale ranks swelled to the point that character development slowed or stopped in an unsatisfying way. The writers are off to a bad start. In addition to Spike and Harmony, there is also least one special W&H staffer per Fang Ganger.
Even with the departure of Connor and Cordelia, that's a whopping six new characters. Fortunately the Angel writers have been a little more willing to remove characters than their Buffy counterparts.
Two exceptions to the stalled character development were, of course, Buffy and Spike. Unfortunately that growth was a symptom of the second problem that threatens Angel: "It's the Spike Show. Starring Spike! Co-Starring...Spike! This week's special guest star...Spike! Featuring the Spike 7 All-Star Band!"
Granted, a lot of fans (and reviewers) like the character. Moreover, the banter between rivals Spike and Angel has been entertaining in the past (will it still work without the evil though?).
That being said, there is such a thing as too much of a good thing. Plus one has to wonder what else the writers can do with the character. Fans have already seen Evil Spike, Funny Spike, Victimized Spike, Love Spike, Protector Spike, and Redemption Spike (all that's needed is G.I. Spike with the Kung-Fu grip). James Marsters has done amazing work so far, so at least fans know that given some good writing, he can deliver the goods.
The Spike-Buffy romance exemplified the third threat to Angel: "Soap Opera-fication."
In the later seasons, BTVS became too much about personal relationships (often really just who was sleeping with whom) and not enough about fighting evil. Part of the problem is the Scoobies never really grew up despite departing high school.
In contrast, the Fang Gang members have always been much more adult in behavior. The Angel writers have done a good job limiting the soap opera elements, e.g., the Gunn-Wes-Fred triangle. Hopefully the cast additions and new love interests among the Wolfram & Hart staff won't upset that balance.
So assuming the writers avoid these pitfalls, here's what one reviewer would like to see this season (and without the benefit of all those spoilers floating around the net).
Overall: More standalone episodes like the early seasons. Spare the fans an X-Files like "arc-morass."
Angel: Once upon a time he was a man with a mission, i.e., to help people threatened by evil. It would be refreshing to see him return to that mission instead of focusing so much of his attention on, well, himself and those he wants in his life. With Conner and Cordelia gone, that should be possible.
Wes: Keeping the best of both Prissy Wes and Stubble Wes, he needs to continue the restoration of his bond with Angel. It will be up to Wes, and not Angel, to figure out what W&H is really up to with their gracious "offer." Both Wes and Angel have learned a lot in the last few seasons. It would be a lot of fun to see them pull off a few tricks or even cons on the bad guys. Maybe even few episodes like that old show "Switch." Robert Wagner could guest star!
Gunn: It's all going to be about temptation --- power, women, suits --- and Gunn will likely stumble towards a tragic ending involving his sacrificial death. The writers cleverly left open the possibility that the professor killed by Gunn wasn't really the bad guy. Such a twist could contribute to his moral slide. The love affair with Fred will likely and thankfully cool off until a final dying words proclamation.
Fred: Once "the appendix" of the Fang Gang, Fred has demonstrated her value to the team. And although she will increase that value through her new resource-rich environment, Fred will eventually reach the conclusion that fighting evil isn't the lifestyle she wants (especially if Gunn dies). Expect her to depart for a university by the end of the season.
Lorne: This green skinned crooner needs something to do other than play wet nurse and valet. It would be nice for him to open a new club. Bars are a convenient way to introduce interesting new characters and plots. Maybe NBC would sell the Cheers set cheap...
Spike: Give the guy a break. Let him use his wit and smarts with minimum encumbrance for a change. Let him enjoy being a good guy.
Harmony: Assuming she's still a vampire (and without an Initiative chip), not much character development is possible. Which is probably just fine. Harmony is like a spice. A little can perk up a dish, but too much can ruin it.
Gwen: Hopefully she's be back for a few episodes. Just a hunch, but as an outsider, she might be the one to open Angel or Wes' eyes to what W&H is really up to.
Connor and Cordelia: RIP.
Guest Stars and Crossovers:
- Madonna as a creepy shape shifting author-singer who steals souls through leather wear and children's' books. Oh, never mind.
- The Aqua Teen Hunger Force teams up with The Fang Gang on a tough case. Sparks fly between Meatwad and Fred. Frylock and Wes trade notes on facial hair grooming.
- The cast of Will & Grace as a clan of demons that bore their enemies into submission with countless, predictable variations of the same jokes over and over and over...
And finally...
The Senior Partners: Three disembodied brain energies that are betting 200 quatloos on the new season.
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Post by PokerKitten on Sept 27, 2003 11:59:46 GMT
ROFL! You know, if BtVS DID become All.About.Spike it is because of the lack of series direction and decline in writing standards overall, introducing a myriad of pointlkess and unlikeable characters etc. And the only one to come out oof the whole sorry S7 experience IMO was James and his skill at making whatever he was given WORK. But good to see this author acknowledging that prowess. And I feel a new Prattle title coming on....
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Post by PokerKitten on Sept 28, 2003 10:47:46 GMT
.zap2it.com/tveditorial/tve_main/1" rel="nofollow" target="_blank">.zap2it.com/tveditorial/tve_main/1,1002,274|83717|1|,00.html 'Angel' Is Back from the Dead
By Kate O'Hare With director (and series co-creator and executive producer) Joss Whedon hunched over a small monitor in a cramped corner of the set, the cast and crew of The WB Network's "Angel" begin work on what Whedon's script calls "a big-ass Steadicam shot," which opens the show's fifth season on Wednesday, Oct. 1.
For Angel (David Boreanaz), a vampire with a soul, and his motley crew of do-gooding crusaders, it's their first step into a larger world.
Taking full advantage of the newly built set, an expansive suite of offices in downtown Los Angeles - as evidenced by the fictitious Spring Street address on an envelope at the beginning of the scene - the camera follows disoriented science-geek Fred (Amy Acker) out of the elevator, where she meets scholarly demon fighter Wesley (Alexis Denisof). They're joined by Fred's new assistant, Knox (Jonathan M. Woodward), who whisks her off upstairs, while Wesley grabs a basketball tossed by vampire hunter Gunn (J. August Richards).
They tour their offices, then return to the lobby, where they're passed by flamboyant demon Lorne (Andy Hallett), nattering away on his cell phone. Angel appears from the same elevator as Fred, meets up with Gunn and Wesley, then heads into his huge, minimalist office.
"I won the bet on that one," Acker says. "I guessed 27 takes, and I got the closest without going over. It was 28. We finished it before lunch, so it only took like five hours."
"Was it 28?" Boreanaz asks. "I thought it was going to be at least 42. It's where we're at, as far as the show is concerned and where our new environment is at. It was a cool shot."
The shot is indeed cool and sleek and unlike anything seen on "Angel" before, as befits a show with a fresh concept and a new lease on life. Teetering on the brink of cancellation last spring, the "Buffy the Vampire Slayer" spinoff managed to earn a fall berth and officially outlive the show that spawned it.
After keeping busy with "Buffy" and Fox's short lived "Firefly" last year, Whedon is now helping to fill a void left by the departures of co-creator David Greenwalt (now doing UPN's "Jake 2.0," "Angel's" time-slot competition) and executive producer Tim Minear, who wrote the "Angel" season finale, then signed onto FOX's midseason drama "Wonderfalls."
Coming over from "Buffy" is writer David Fury, who is co-executive producer with Jeff Bell, who stepped up last year when Greenwalt left and Minear was pulled away on "Firefly."
"Life was full last year," Bell says. "Now we have a little more help, and life is beautiful."
Many factors contributed to the renewal of "Angel," including cost, the end of "Buffy," and the possible addition of "Buffy" cast members.
James Marsters, who played the vampire Spike on "Buffy," joined "Angel" for the full season, bringing much plot baggage. Angel turned Spike into a vampire, both now have souls, and both have had love affairs with Buffy (Sarah Michelle Gellar), whom producers hope will guest-star in February or May 2004.
"Buffy" star Alyson Hannigan has already guest-starred on "Angel," and as she's engaged to Denisof, expect to see witch Willow drop by. Signed for 17 of 22 episodes is Mercedes McNab, reprising her "Buffy" and "Angel" role of spoiled vamp Harmony, Angel's new secretary (and Spike's ex).
"She's a single, undead girl trying to make it in the big city," McNab says.
New to the cast in a recurring role is Sarah Thompson ("Boston Public") as the enigmatic Eve.
"The WB has always liked our show critically," Bell says. "Our audience numbers are always rock-solid. We've been everywhere on the schedule, and our fans always show up. But we're not a cheap show. It's not easy to be pretty. It costs money.
"It's all about the numbers. Ultimately, they felt we were a good gamble."
While some have suggested that signing Marsters was the deciding factor, Bell says, "I don't think so. It's just a piece. If you look at him as representing a chit played to bring 'Buffy' people over, it's great. But Joe Blow in the street, who's going to be tuning in for the first time, doesn't know James Marsters vs. Angel vs. Anybody. It was an attempt to cash in on the 'Buffy' audience, and it was a smart one.
"The hope is, between being the only Joss show on the air, and bringing people over from time to time from 'Buffy' would help grow our audience."
Also a big factor was the finale, which upended the show's premise. After four seasons of battling evil on a budget, Angel and his team got the keys to the kingdom when their longtime rivals, the evil law firm of Wolfram & Hart, ceded them its L.A. office (but not without strings).
The team now must find a way to do good in an environment suffused with evil - not to mention the temptations of wealth and luxury.
"I get to wear Marc Jacobs," Acker says.
"We're going to show them what this new world is like," Bell says of the premiere. "We have this fabulous new office space. You're going to see what each of our people's little private kingdom is within it. You're going to see the lay of the land. It has Joss humor in it.
"It really is introducing characters to people who've never seen the show before. The big mystery this year is, 'Why are we at Wolfram & Hart? Why did they invite us in here? Can we do good?'
"There are lots of big, shiny, glittery things out there and how badly do you want them? What price are you willing to pay?"
Fine, apart from the Angel creating Spike thing.
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Post by PokerKitten on Sept 28, 2003 12:04:15 GMT
Anyone see this in Entertainment Weekly? Talking about the "Angel" premiere, Dalton Ross says: Weasel?! And Harmony was actually last seen on "Angel" (Disharmony). Unpleasant choice of words, don't you think?! Or am I just hormonal? ;D
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Post by PokerKitten on Sept 30, 2003 12:27:22 GMT
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Post by PokerKitten on Oct 1, 2003 10:13:01 GMT
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Post by PokerKitten on Oct 1, 2003 10:21:45 GMT
This isn't really spoilery, even though it is an overview review of eps 1 and 2. Very few details are given, so you may go read in comparative safety ;D www.scifi.com/sfw/current/screen2.html
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Post by PokerKitten on Oct 1, 2003 10:31:41 GMT
the new Guide has a big ol' ad for episode 2 and apparently feature nice pics of the Dynamic Duo... haven't seen it yet. if anyone has a copy and would care to scan it....?!
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Post by PokerKitten on Oct 1, 2003 17:32:42 GMT
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Post by PokerKitten on Oct 2, 2003 15:59:44 GMT
For your delectation and delight, WireImage pics from the Angel Premiere PartyAnd there are more HERE, plus a wee vid with DB thanking loyal fans...
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Post by PokerKitten on Oct 3, 2003 9:04:48 GMT
The November issue of SFX plopped through my door this morning and it is covered in Brood Boy ;D A big ol' article on "Angel", with the mag talking to Joss, Tim Minear, and Jeffrey Bell, with a bit from DB too. And the DB pics are taken by the wonderful Mark Robert Halper who manages to make even.... no, I'll stop there. That's unkind! ;D I shall bring any newsworthy quotes or snippets over later.
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Post by PokerKitten on Oct 5, 2003 17:08:01 GMT
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Post by PokerKitten on Oct 6, 2003 11:58:00 GMT
Not too spoilery I don't think.... but I don't have much judgement in these things, to be fair, being such a spoiler ho! ;D www.denverpost.com/Stories/0,1413,36~78~1677661,00.html Article Published: Monday, October 06, 2003 'Angel' rises Creative uplift resurrects near-dead series By Joanne Ostrow Denver Post /Radio Critic Blondy Bear is back, and so is Joss. This week Spike (James Marsters), the droll blond vampire, shakes off his meltdown at the Hellmouth that ended "Buffy the Vampire Slayer" and settles in for the season on the WB's "Angel."
Wednesday's hour, at 8 p.m. on KWGN-Channel 2, cements the hunch that "Angel" is not to be overlooked this year.
Thank goodness we're in for a fresh hell at the lavish downtown Los Angeles law offices of Wolfram & Hart where Angel (David Boreanaz) is the recently installed boss. His plan is to fight the forces of evil from inside the belly of the beast, even though he doesn't yet know the identities of the bad-to-the- bone senior partners.
No matter if you've missed the intricate mythology surrounding "Angel" up to this point - I admit to drifting away from the too-brooding crusader. As the series makes a fresh, funny start, it's time to buy in again. The humor is bolder, the tone lighter and the satire richer, thanks to the presence of Joss Whedon.
Judging by the first two episodes, "Angel" is undergoing a creative resurgence, thanks not only to Spike but to his maker. Co-creator and executive producer Whedon is back at the helm devoting full time to the series. He directed the two-part season premiere and it shows.
"Angel" won a renewal from the WB after barely escaping cancellation last spring. Now the "Buffy" spinoff is not only back from the near-dead, it has officially outlived the series that begat it.
While "Buffy" specialized in adolescent angst, "Angel" moves on to corporate and bureaucratic infighting with lawyer jokes, L.A. jokes and the usual anguish over fighting for good or evil. Each can feel like a drag if that's all you do 24/7.
Whedon was preoccupied with bringing "Buffy" to a satisfying close last year, as well as overseeing his -fated space Western, "Firefly." Now he's focused on "Angel," bringing along writer-producers from "Buffy," who also were sidetracked by "Firefly," and filling the void left by "Angel" writers who departed for UPN's "Jake 2.0" and Fox's midseason drama "Wonderfalls."
A central dilemma as the series shifts gears is whether Angel and his band of do-gooders will be corrupted by the ritzy surroundings, the wealth, the fleet of muscle cars and the very bad, very upscale clients. In wide shots of the fancy firm, a mix of demons, humans, vamps and others of uncertain lineage go about their business in a stunning new environment. The flamboyant Lorne (Andy Hallett), the demon with horns on his green head, has found a new purpose as an entertainment lawyer, deliciously babbling on about pitches and package deals.
Those represented by Wolfram & Hart, a "multi-dimensional law firm," are said to be the worst forms of evil in the universe. Now that Angel's in charge, he hopes to change the client list. One of his first acts is to shut down the "internment acquisitions division," getting W&H out of the grave-robbing business.
That's not going to sit well with a longstanding client, a necromancer named Hainsley (Victor Raider-Wexler).
Meanwhile, antagonist Spike, long ago turned into a vamp by Angel, is now also in possession of a soul. Not only is Spike back among the living, he's a ghost. He spends much of the first hour walking through furniture and complaining about his bad incorporeal self. Angel refers to Spike as "Casper," Spike refers to Angel as "Captain Forehead," and on it goes.
Both Spike and Angel miss Buffy, with whom they were romantically involved. The Slayer is far, far away ("Europe, last I heard from her," Angel says), but Sarah Michelle Gellar is tentatively slated to guest star during the February or May 2004 sweeps.
The hilarious Harmony (Mercedes McNab) is on board for more than half the season's episodes as Angel's new secretary (she's also Spike's ex). For now, Spike's more intrigued by the ditzy Fred (Amy Acker), the science queen. Demon fighter Wesley (Alexis Denisof) is Angel's confidante as they figure out how to deal with the devious Spike. Denisof's real-life fiancee Alyson Hannigan, who played the bewitching Willow on "Buffy," is expected to drop in for further guest appearances on "Angel."
Even before Marsters utters his first line it's clear this fifth season of "Angel" is veering in welcome new directions. The feel is more upbeat. For now, the writers are more concerned with knocking big business and big money than with depicting personal torment and unfulfilled romantic entanglements.
Perhaps it's another sign of "Angel's" maturity that the spinoff is able to refer to "Buffy" with increasing ease.
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Post by PokerKitten on Oct 6, 2003 15:35:39 GMT
Heroes by Natalie Nichols
Buffy the Vampire Slayer creator Joss Whedon liked to torture his audience, and I, for one, enjoyed every second of the pain. Before I became a true believer, I thought it was a dumb title for a show that had to be stupid. But then I watched Buffy (Sarah Michelle Gellar), then still in high school, destroy her true love, Angel (David Boreanaz), to save the world. Angel eventually got better, but I was hooked for life.
Ironically, now Buffy is gone, and the spinoff series Angel lives on. But more on that in a minute.
Kelley Deal of alt-rock band the Breeders once affectionately called Buffy “Friends with vampires,” riffing on the supernatural drama’s funny-to-moving way of blending smart fashion, snappy dialogue, perfect hair, demon-killing, and life crises. During her seven seasons, Buffy suffered loads of emotional trauma. Whedon and his writers told human tales through a supernatural filter, making the sundry evils she and her pals fought metaphorically equal to – and often no match for – life’s fiendishness: peers, classes, parents, romance, adulthood. Ordinary travails were never beside the point – they were the point. Dispatching vampires was easy for Buffy; hiding her true calling from her mom, passing psychology, and keeping a boyfriend were way harder.
The Buffy gang faced danger with relentless wisecracks, bantering in a unique pop-culture-driven lexicon that was readily absorbed by the show’s global following. And Buffy unflinchingly pushed the boundaries of its eight-o’clock time slot with stories involving school violence, parental death, lesbian romance, hot sex, and even some song and dance.
Sure, the show developed a mythology so complex that outsiders find it impenetrable. But I’ve seen enough newbies devour videotapes and DVDs to know that the convoluted character relationships and plot developments don’t deter viewers willing to suspend disbelief and discover the delights of what fans call the Buffyverse.
To me, the appeal was simple: the thrill of watching tiny Buffy march up to kick the ass of any given dark thing, inevitably getting slammed around in a frenzy of martial-arts moves, but never failing to hammer home her trusty stake, Mr. Pointy. Her fearless conviction that she would prevail made me feel powerful, too.
Buffy was special, and who doesn’t wanna be special? Well, she didn’t. Whedon conceived her as a sort of feminist revenge fantasy: What if the stereotypical blonde victim in countless horror flicks got to deal out the death instead? He turned this simple-yet-stunning paradigm shift into a myth of Draculaic proportions, creating the super-strong Slayer, “one girl in all the world, a Chosen One,” the creature no vampire wanted to meet in a dark alley. But Buffy was never too happy with her position behind the supernatural velvet rope.
The emphasis, however, is on “a” Chosen One. Slayers tend to die young, and suddenly. The second a Slayer expires, the ancient mystical mechanism spits out another one. Buffy was just one link in a long chain of highly divergent Slayers – from prepared since birth to utterly clueless – that would stretch into infinity.
Buffy wasn’t a warrior-in-training but a suburban teen in Sunnydale, California, conveniently positioned above a “Hellmouth,” a conduit to the netherworld that naturally attracted evil things. She also tended to attract evil things, having had not one but two vampire lovers: Angel, cursed with a soul (and thus an agonizing awareness of his own evil nature), who proved so popular he got his own series, and Spike (James Marsters), Angel’s erstwhile partner/rival in fangy crime, who started out super-evil but eventually got his own soul and became a hero himself.
In Buffy’s final season, the First Evil itself attempted to wipe out every girl who could become a Slayer, to break the chain forever. Naturally, Buffy had to save both these potential Slayers (unofficially dubbed Slayerettes) and the world. Following in Whedon’s footsteps, she turned the tables on her own myth, enlisting her powerful witch friend Willow (Alyson Hannigan) to imbue Slayer powers into every potential Slayer on earth.
The moment when Slayer essence is funneled into girls around the globe – from a preadolescent softball player to a teenager taking what you know is her last parental beating – was a startling realization of Slayer potential indeed. Now, everyone was special. The notion of legions of girls not physically intimidated by the world felt profoundly generous and beautiful. Yet, I couldn’t help thinking that the Slayerettes fought so splendidly with Buffy in the final confrontation because they’d already been trained to fight. When they got the power, they knew exactly what to do with it.
As for Buffy, she got to win. (With a little help from Spike and a mysterious amulet delivered to her by Angel.) And she also got to share the wealth, therefore feeling less alone.
Transformation was a big theme on Buffy as well as Angel, which premiered its fifth season last Wednesday (October 1). The first of a two-parter written and directed by Whedon has Angel and his L.A-based gang of evil-fighters undergoing some radical changes. Still, there’s bitter irony in knowing that, at least for now, the Buffyverse revolves around a broody white guy who runs the L.A. branch of a giant law firm.
OK, so it’s an evil interdimensional law firm. And he’s an undead broody white guy. Big deal.
Angel is now in charge of Wolfram & Hart and the diabolical attorneys he’d formerly battled. The situation creates much hilarity and moral confusion among the gang, but Angel is convinced he can use this powerful new weapon to do good. The production design reflects his change of heart: Previously set in a dark, menacing Los Angeles, Angel is now practically Melrose Place, what with the sleek, modern architecture of the firm’s vast offices, more action taking place in daylight, and Angel himself moving from his shadowy gothic hotel digs into a luminescent penthouse. Behind the firm’s “necro-tempered glass,” he can even stand in sunlight without burning up. But the light is still outside, beyond Angel’s reach. It remains to be seen whether he’ll ever actually get to it.
Especially since Spike has crossed over to Angel. In part two, airing October 8, he immediately laughs the idea of fighting evil from within the belly of the beast right off the screen. So, maybe this season will be all about these undead rivals – both with souls, both with a thing for the Slayer (who, rumor has it, will be dropping by) – scuffling over how to battle the evil of which neither is entirely free. Half the fun’s going to be watching Spike & Angel verbally (and eventually, let’s hope, physically) bitch-slap each other like some snarky, undead Starsky & Hutch.
Buffy did address the banality of evil, but the Slayer’s certainty in destroying hairy/scaly wickedness was undeniably appealing in this non-black-&-white world of ours, where evil can be hidden, or so institutionally embedded it seems more undefeatable than any bloodsucker.
Angel has always blurred the lines, making neither good nor evil so obvious. Indeed, that ambiguity has infected its original premise, which brought the souled vampire to L.A. to “help the helpless” and redeem himself for the centuries of suffering he caused. Yet, as Spike’s plight unfolds, Whedon seems to be saying that remorse is possible, changing from evil to good is possible, but absolution is not – even if you save the world, as Spike grandly declares he did. (So much for the big feminist-hero moment.) It’s unsettling, the thought that one can never be redeemed. But it’s entirely Joss to upset us and make us beg for more. www.lacitybeat.com/article.php?id=276&IssueNum=17
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Post by PokerKitten on Oct 7, 2003 9:34:16 GMT
For those who can't/don't get the US Guide, Matt Roush has been singing Spike/James' praises again, the sweetheart, and showing general "Angel" lurve. Here be the scan of his piece about THE LADS
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Post by PokerKitten on Oct 7, 2003 20:05:16 GMT
And here is the ad I was talking about earlier in the thread...
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Post by PokerKitten on Oct 8, 2003 10:49:14 GMT
Very short vid clip of James talking about Spike on AtS.... I try hard to stay positive about the character I have seen change and grow and mature, but James does tend to ruin it! He describes him as being an "insensitive jerk" www.thewb.com/Popups/Video/0,8204,132757,00.html
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