Angel

Cover

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CONTENTS

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pp. vii-

ACKNOWLEDGMENTS

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pp. ix-x

Introduction: “A Seminal Show Canceled by the Idiot Networks”

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pp. 1-8

It is apparent that following the broadcast of the first episode of Angel, the spin-off to the successful teen series Buffy the Vampire Slayer (1997–2003), on October 5, 1999, that Denver was not alone in his confusion. Some of the critics didn’t “get it” either. ...

1. “Grrr Aaargh!” The Collective Vision of Mutant Enemy

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pp. 9-26

Joss Whedon, creator of Buffy the Vampire Slayer, Angel, Firefly (2002), and Dollhouse (2009) is one of the leading names within a new generation of television writer-producers who, according to Roberta Pearson, had “control over the day-to-day running of the show” but with “relative freedom...

2. “Creeped out and Comforted at the Same Time”: The Generic Hybridity of Angel

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pp. 27-43

Angel was conceived as a hybrid text constructed through the creative contribution of a collection of writers and designed to walk the line between the episodic structure of a TV series and the continual narrative of the serial. ...

3. “Does Giant Tentacle Spew Come out with Dry Cleaning?” Angel and TV Horror

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pp. 44-62

In the previous chapter I discussed the episode “Billy” (3:6) as an example of the horror genre. Many fans and horror academics would argue, however, that horror and television are contradictory terms. As Mark Jancovich and Nathan Hunt have pointed out, “[C]ertain sections of horror fan-...

4. “Cavemen vs. Astronauts—Weapons to Be Determined”: Angel, Masculinity, and Male Friendship

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pp. 63-82

In developing Angel as a stand-alone series, David Greenwalt comments that in many ways it was a tougher show to create than Buffy “because the metaphor isn’t so simple; but ultimately, we’ve finally figured out that Buffy is about how hard it is to be a woman and Angel is about how hard...

5. “It’s a Little Outside the Box”: How Angel Breaks the Rules

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pp. 83-103

As the previous chapters have demonstrated, Angel exists as a distinct example of contemporary genre television, offering complex and ambitious narrative arcs and an exciting interplay of genre conventions, but it also stands as a site of unusual experimentation with the televisual form. ...

NOTES

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pp. 105-108

WORKS CITED

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pp. 109-115

INDEX [Includes Back Cover]

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pp. 117-121