15 posts tagged “joss whedon”

FOX has released a three-minute trailer for Fringe -- also known as the show that has me almost as impatiently excited as the Lost pilot -- and you can bet that trumps any personal post from me.

I was freaking out while I watched it. The X-Files wishes it was ever this freaky.

And if that weren't enough, about 72 seconds of the Dollhouse pilot have surfaced.

I believe my exact reaction after watching both back-to-back was something along the lines of -- and I'm trying to get the exact wording and inflection -- HELLS YEAH!

(Also? Tahmoh Pinkett is HOT. I thought so all during my love affair with Battlestar Galactica and I'm just hoping we get to see him lose the suit.)

I'm really excited about Dollhouse, especially since Ausiello just revealed Angel/Alias alum Amy Acker has been cast as well.

Honestly. I'm excited.

My excitement is just not translating to the page. I can't even muster an exclamation point. Or adjectives.

E's Kristin Dos Santos talked to Joss Whedon about the series:

What's the pilot episode called?
"Echo."

What's it about?
The logline don't lie: "Echo (Eliza Dushku) is a young woman who is literally everybody's fantasy. She is one of a group of men and women who can be imprinted with personality packages, including memories, skills, language—even muscle memory—for different assignments. The assignments can be romantic, adventurous, outlandish, uplifting, sexual and/or very illegal. When not imprinted with a personality package, Echo and the others are basically mind-wiped, living like children in a futuristic dorm/lab dubbed the Dollhouse, with no memory of their assignments—or of much else. The show revolves around the childlike Echo's burgeoning self-awareness, and her desire to know who she was before, a desire that begins to seep into her various imprinted personalities and puts her in danger both in the field and in the closely monitored confines of the Dollhouse."

What's it like?
Dollhouse is like The Bourne Identity meets Stepford Wives meets boarding school meets Los Angeles neo-noir meets the Whedonverse. In short, it's rad, man.

If I was writing an eighth-grade book report about Dollhouse, what would I list as the "themes"?
Identity, self-determination, free will is both a blessing and a pain in the ass, The Next Generation's Data is a great TV character, Eliza Dushku is hot. What? Those first three at least are almost certainly themes.

Is Echo just a new name for Faith?
That's a negatory. Echo has a genius for contemplation and self-awareness that Faith couldn't begin to approach. Echo also has about 48 different faces to show the world, which gives her a good head start on Faith, who seemed to vary primarily between rage and desolation. In the first episode, we are shown that Echo is essentially like the Scarecrow from The Wizard of Oz—"If I only had a brain..."—but she's otherwise fully equipped with a soul, a rockin' bod, and a good, fearless heart.

Who's the new boss of us all?
Olivia Williams is going to rock as Adelle Dewitt, a Frigidaire administratrix whose rare brushes with human empathy and compassion are enough to make you suspect she might just be a good guy after all. 

Where's the twist?
The Dolls are programmed to mix up identity and personality with a splash of subterfuge and a dash of dementia—but they're not the only ones. Tahmoh Penikett's FBI agent Paul Ballard is obsessed with opening up the Dollhouse, but he may have more in common with—and already be closer to—the Dolls than he even knows.

Where is the love?
Echo and Paul are going to be hot like fire, no doubt, but I predict that cerebral Doll mechanic Topher (think Kevin Rankin's character in Bionic Woman, but more evil) and blank-slate Kewpie-doll Sierra (Dichen Lachman) might end up being the other pair of opposites that attract.

Who's the Xander?
If I had to guess, I'd pick Victor (Enver Gjokaj).

What does the actress who plays Dr. Claire Saunders need to bring to the table?
Visible facial scars from a razor-blade attack somewhere in her past or a cooperative, calm personality and a willingness to sit quietly in a prosthetic makeup chair for extended periods each day.

...but I am really getting excited for the release of the movie, schedule for a May 8, 2009 release.

I used to characterize myself as an avid detractor of anything sci-fi, even though I liked the Star Wars franchise. (And by Star Wars franchise, I mean the original, non-Hayden-Christiansen trilogy.) I did see the fourth Star Trek movie, the one with the humpback whales, and I can't even remember why. It doesn't sound like something I'd do.

But then I stumbled headlong into Firefly -- and subsequently, Serenity -- and fell in love. I decided maybe I wasn't being fair to the genre and, like anything, it depended on the story, the writing, and whether or not the characters were relatable. After Firefly woefully went the way of other short-lived greats like Wonderfalls (is it wrong that I'm still bitter about FOX's stupidity?), I was willing to give the reincarnation of Battlestar Galactica a shot, and I loved it.

Therefore, when it was announced that there would be a new movie of the early years of Captain Kirk & Co., I didn't immediately nix the idea of seeing it.

Especially when it was revealed that JJ Abrams would be directing. He is on my list (not that list -- get your minds out of the gutter) of people I would love to meet and grill about their awesomeness, along with Damon Lindelof, Carlton Cuse, Rob Thomas (the writer, although I wouldn't mind meeting the singer, too) and Joss Whedon.

I think I have an advantage going into this experience: I'm basically unfamiliar with the Star Trek mythology. I equate it to the whole Terminator thing. I love the TV series because I could care less about the movies. I like Lena Headey so much better than what's-her-name, and the Terminator movies didn't have Cameron. So whether or not there are discrepancies from the movies -- I have no clue. To me, The Sarah Connor Chronicles is a brand-new show.

Likewise, I understand there's an uproar from the, erm, Trekkies about a lot of what JJ's doing. I'm blissfully unaware, nor do I care. (And wow, I didn't rhyme on purpose.)

His Enterprise crew casting is, in my opinion, awesome: Chris Pine (Kirk), Zachary Quinto (Spock), Anton Yelchin (Chekov), Zoe Saldana (Uhura), Karl Urban (McCoy), John Cho (Sulu), Simon Pegg (Scotty).

Plus, Jennifer Morrison, Rachel Nichols, and Eric Bana have been cast as well. As has Winona Ryder, but I haven't decided if that's a good or a bad thing.

"My goal is to make Trek REAL -- that is to say, not have it be camp, not have it be phony, not have it look like a scrap of green scrap was used anywhere. Of course, this is Star Trek. We're using every trick in the book. But WHEREVER WE CAN, we are shooting on sets -- either built on sound stages or expanding upon found locations. This is important. What this means is that the movie won't have that 'actors performing in a blue or green void then placed in front of a spaceship set' feeling that makes me insane. " -- JJ Abrams

I wish everyone would stop comparing Moonlight to the incomparable Angel. Just because both have lead characters who are vampires searching for redemption and, oh yeah, happen to be private investigators doesn't mean that CBS' new drama is the second coming of the critically acclaimed -- and cult favorite -- Joss Whedon series.

For one (obvious) thing, Moonlight lacks, well, Whedon. Its vampire mythology is dotted with Swiss cheese-like discrepancies, and some of its characters -- usually the tertiary ones -- lack dimension and are fairly predictable. The writing is nowhere near the caliber of Angel, sometimes the dialogue can be rather painful, and with the exception of Alex O'Loughlin, there's no stand-out among the cast. And believe me, as a devout Veronica Mars fan, I found that surprising because you'd think Jason Dohring would stand out. To me, he doesn't. Because I am not joking when I say that it's like Logan Echolls was turned into a vampire. The speech pattern, the quirky hand gestures, the facial expressions -- it's all identical to his performance on VM.

I am rather surprised that Moonlight was chosen as the Best New Drama at the People's Choice Awards when it was among such gems as Chuck and Pushing Daisies. PD is the best new drama hands-down. But like other extremely well-written, quirky, charming shows (Wonderfalls, anyone?) I suppose the majority of the population doesn't "get it."

That being said...I enjoy it. I prefer Women's Murder Club, which is on at the same time on ABC, but hey, a combination of the convoluted writer's strike and a TiVo that allows me to record one show while I watch another allows me to partake of both.

Moonlight is definitely not Angel -- but it's entertaining. And it has gotten better since its pilot. Alex O'Loughlin is hot, and a pretty charismatic leading man -- I just wish they'd let him use his real accent. A vampire with an Australian accent? Hot. And the story between Mick and Beth appeals to me as well.

So yeah. I plan to keep watching. On a scale from 1-10, with 10 being shows like Pushing Daisies and LOST, I'd give it a solid 6.

SIGN THE PETITION SUPPORTING THE WGA.

I, ahem, "borrowed" this from Tim, who found it on Joss Whedon's website, Whedonesque.

In case you didn't know this about me, I simply adore Joss and find him to be utterly brilliant in every way.

And in case you are among the teeny percentage who do not know who Joss is (blasphemy!), he is the creator of three of the most fraktastic shows ever: Buffy the Vampire Slayer, Angel, and Firefly. (There's also Serenity. And Buffy Season 8, the comic series. And Wonder Woman. And...that other movie he's working on. And his awesome guest stint on Veronica Mars. And his upcoming show, Dollhouse.)

FROM THE FRONT LINES!

Sick as a dog but proud as a noble and much healthier dog, I made my way to the picket lines outside of Fox studios today. I’m really glad I did. In addition to carrying the banner, it was a chance to talk with other writers, get more perspectives and more information about what’s happening, and to see a surprising number of old friends. David Fury and Mere Smith were there, as well as many non-mutant enemies that I know. We were all caught in that giddy first burst of solidarity and fear. Nobody thinks this is going to be easy. But everybody there knows that, as things stand, it has to be.

A particularly gratifying and unexpected sight was that of Aly and Alexis, along with Cobie Smulders, marching shoulder to shoulder with the HIMYM scribes. Aly and Alexis even brought boxes of candy bars to hand out to the flagging marchers (actually, I was the only one who appeared to be flagging – even the pregnant writer outlasted me). Mere told me young Boreanaz had also been there earlier that day. I was really touched, but my actor-friends were very matter-of-fact about the whole thing. They understand that the issues at hand affect the future of the entire creative community here, and that the writers, by virtue of being first, will set a precedent that affects all the guilds. That is why we writers have to be firm, intractable and absolute in our dedication to getting a fair deal. And that’s all we’re talking about: a fair deal. For us, and for generations of artists to come.

Sounds pretty damn pompous, no? “Generations to come…”? Yeesh. But it’s true. Our culture, our government, our corporate structures have all gotten pretty used to taking care of ourselves at the expense of our children and their children. Part of this is simple greed, part is immediate practicality trumping long-view perspective, and part is perfectly understandable fear. It’s easier to take what you’e given, not protest, not make a fuss. A lot of people will suffer grievously if this strike isn’t quickly resolved, and the men and women who voted for it know that. But like so many things – our eco-system being the most obvious – if we don’t make it work now, what’s to come will be much worse.

Let me be clear on one point: I know I have it easy. I’ve done well, and I’m grateful that I can weather a long winter. Compared to what the studios have made off me my share is tiny and cute, but I’m in no position to complain. But take that differential, apply it to someone who’s just getting by when they deserve better. Now take it and… well, just take it, ‘cause when it comes to the internet and the emerging media there’s nothing there for the artists. There’s no precedent; these media didn’t exist the last time a contract was negotiated. We’re not just talking about an unfair deal, we’re talking about no deal at all. Four cents from the sale of a DVD (the standing WGA deal) sounds exactly as paltry as it is, but in a decade DVD may have gone the way of the eight-track. We have to protect the rights of the people who tell the stories, however they’re told. I’m never gonna be as articulate as Shawn or Brian (both of whom have been linked here, I believe), but I am just as committed. And a lot phlegmier.

I don’t think of the studio heads as a bunch of grinning tycoons sitting in a smoke-filled club and drumming their fingers like Montgomery Burns. I know some of those guys. I think they’re worried about the future as much as anyone. But they are beholden to their corporations, and that inevitably causes entrenchment and shortsightedness. They can’t afford that. This is an era of change, and for the giant conglomo-tainment empires, it will either be the Renaissance or the Ice Age. Because we will not stand down. Writers can be replaced, as we are constantly reminded. But so can companies. Power is on the move, and though in this town it’s been hoarded by very few, there are other companies with newer ideas about how to make money off of – or possibly, wonderfully, with – the story-tellers. Personally, I like things almost the way they are. I truly hope the executives negotiating for the AMPTP make the few simple concessions that will allow us to work with them again. I want to work. I have this idea, for a show about a girl… I even have the actress for it. And if we strike effectively, maybe she won’t have to.

I honestly started this post because of Aly and Alexis and their candy bars. But… well… there’s a lot going on. Huge props to the pizza people. Your support during this strike means more than I can express. (Note to self: picket near Jane.) I hope it won’t be long. I watched my Father strike, back in ’88. It was hard. But I was proud. I’m proud now.

Sincerely, -joss.

Well, crap. There has been talk about this for a while now, but I haven't posted about it, simply because I just hoped it wouldn't happen, that the Alliance of Motion Picture and Television Producers would pull its collective head out of its ass and reach an agreement with the Writers' Guild of America.

No such luck.

As of this evening, the WGA will begin striking. It could last as short as five days or as long as five months, which is how long the strike in '88 lasted.

What does that mean for us, the viewers? Well, come January, the scripts will run out and will be replaced by reality and news programming.

At this point, LOST could be the only show sitting pretty -- it's been stockpiling scripts since June, and currently there are approximately 17 in reserve. Heroes also may not fare as badly, since Tim Kring & Co. have decided to divide the series into volumes this season and the first volume will end in December. They will probably hold the second volume until after the strike ends.

It especially sucks for guys like Joss Whedon, whose brand-spanking-new show Dollhouse, which had been catapulting forward with lightning speed and could've seen the light of day as early as January, will come to a screeching halt, and Josh Schwartz, whose Chuck and Gossip Girl have been rapidly gaining momentum. GG lost an Entertainment Weekly cover because when the issue hits stands, it might not be on the air, and Chuck won't hear about a full-season pickup until after the strike ends.

Both guys fully support the writers, though, as do I -- the writers do all the work and get the short end of the stick every time. They are the most under-appreciated in the business and they don't see any of the profits from DVD sales or internet sales such as online viewing or sales through iTunes, where there are no upfront costs.

Without the writers, the actors have nothing to act, the directors have nothing to direct, the producers have nothing to produce, etc. It affects the boom guys, the camera guys, hair and makeup, assistant peons, janitors at studios, craft service, and the families of all the above.

Here's hoping the producers put a kibosh on their greed soon and realize that nobody wants to see Farmer Wants a Wife and My Dad is Better Than Your Dad, which, sadly, are two of a whole crap pile of what's planned for strike air time.

Faith

I usually don't post, what, 45 minutes after my last post, but this was way too awesome not to pass on.

Joss Whedon is coming back to television, thanks to Eliza Dushku, and he's bringing the masterful Tim Minear with him. Can I get a frak yeah?

I loved Faith. I saw right through that tough-as-nails exterior and her two-episode arc in Season 4 of Buffy and then her handful of episodes in Seasons 1 and 4 of Angel and Season 7 of Buffy were amazing. I always thought Faith and Angel had way more in common than Buffy and Angel.

I loved Tru Calling, too; well, I did until Jason Priestley came and ruined everything. Are you telling me it's a coincidence FOX pulled the plug shortly after he arrived on set? Hmmm?

From Michael Ausiello:
Short of a Buffy the Vampire Slayer reunion movie, this is just about the best news you could ask for: Eliza Dushku and Joss Whedon are reteaming for a new series! (Told ya it would be worth tearing yourself away from the candy corn to drop by The Ausiello Report.) Here are the five things you have to know about the show, and I mean now:

1. It's a one-hour drama produced by 20th Century Fox to air on Fox. The first of the seven episodes to which the network has committed could premiere as early as spring.

2. It's called Dollhouse because that's the nickname of the high-tech lab where a group of human chalkboards are kept between assignments.

3. Human chalkboards?! Yes! What else would you call characters like Dushku's Echo who can be given new memories, skills and even personalities, then stripped of them just as quickly, leaving them virtual children.

4. Whedon is the creator, head writer and executive producer, and perhaps in part because Dushku convinced him to do the show, she's getting a producer credit. (Fellow Buffyverse alum Tim Minear is also on board.)

5. I just got off the phone with both of them!

Joss

First things first: How in the hellmouth did Dushku get her Buffy and Angel boss to do it? In a word, food. Shortly after she signed a development deal with Fox in August, "I called the one man that I knew I wanted to do [a series] with and had to have to have the best show possible" and invited him to lunch, she says. "And he was seduced!"

Actually, hypnotized, Whedon counters. "Eliza was wearing a hat with a big spiraling wheel on it, and she kept saying, 'Look into the wheel. You want to make television. You want it to be about me… ' It sounds hokey, but it really worked."

And how. Not only did Dushku get Whedon to agree to work on the project, but what she calls their "contagious, freaky, awesome energy" at that very get-together inspired him to create it. "I came up with [the concept] at lunch completely spontaneously, based on my conversation with Eliza," he insists. "It wasn't [an idea] that I was nurturing or that I tailored or I tried to retro-fit to her."

So what is the concept, exactly? Explains Whedon: "Dollhouse is a suspense drama about a girl who can have any personality except her own." So it's part Alias and part Quantum Leap, "because Echo is literally changing who she is," he continues. "She gets into people's lives a little bit."

Even Dushku's. "I relate so much to this character," she marvels. "Echo is essentially the story of my life. I've lived a crazy life the past 16 years, traveling around the world and then tripping and falling into this business. Everyone wants you to transform and be a different person every week."

Great chemistry and intriguing premise notwithstanding, you'd think that after Fox snuffed Whedon's Firefly and hung up on Dushku's Tru Calling, one or both of them would have been more than a little hesitant to get back into bed with the network. "Honestly? Walking back into that building was pretty damn strange," Whedon admits. But "I always had a good relationship with [20th Century Fox], and on the network end, it's a completely new bunch of people, and from what I’ve seen, a fairly impressive bunch."

Dushku seconds that emotion. "I really get the sense that they're committed to [this show]… It feels right."

Besides, as Whedon notes, "I told them I was interested in writing a pilot, and they gave me seven episodes. They’ve already shown more support for it than I have."

Now it's your turn to show the comeback kids some love. And, like Dushku, I don't think you'll let them down. "We have the best fans in the business [in the] the Buffy and Whedon universe," she says. "It’s going to be pandemonium when this [news] hits."

And it's only just begun.

Zach yvonne

When all else fails and you can't think of an appropriate post title, just use a random-yet-fun line from a Good Charlotte song...

So, I haven't posted here very regularly lately. Originally I was going to wait till next weekend so anyone who wanted to could post scavenger hunt items, but I suppose I've gotten all that I'm going to get. Maybe I'll just shuffle around my filters and post the pictures for only those who commented with suggestions to see.

Anyway, I'm just checking in with some awesome TV tidbits before it's off to watch tonight's delicious episode of Chuck sans commercial interruption. I fraktastically adore this show. It is beyond amazing and Zachary Levi just makes me feel all warm and tingly inside.

1) Gossip Girl has moved to #1 on my TiVo list. Seriously. It might not actually be the best show on TV, but it is the one I absolutely without fail must watch every week and usually watch more than once. Following GG are Pushing Daisies and Chuck. Grey's has dropped to fourth, followed by, in order, Heroes, The Office, House, Bones, Friday Night Lights, Scrubs and Criminal Intent. Everything else I was watching has been punted because it either sucked (Private Practice), didn't hold my attention past the first episode (Journeyman, Women's Murder Club), or I really like but have no time for and will thus catch up on over the summer (How I Met Your Mother, Samantha Who, Dirty Sexy Money).

2) Looks like the Heroes PTB love Kristen Bell as much as those of us with intelligence do -- word on the street is that they are all working to make her a regular instead of giving her just a 13-episode arc.

3) Woohoo! Kal Penn and especially Olivia Wilde are indeed sticking around as two of House's newest ducklings. The third is that balding plastic surgeon guy. I kind of wish it was the Mormon dude House calls Big Love, 'cause I like him. I'm just happy that Cutthroat Bitch (House's nickname, not mine) was canned.

4) This week's Office episode introduces the Dunder Mifflin Utica branch, Karen's back (I loooovvve Rashida Jones), and Joss Whedon directs.

5) Kristin Chenoweth and Ellen Greene singing "Birdhouse in Your Soul" in last week's Pushing Daisies was simply divine. I love this show more and more every week.

6) Matt Roush published my email to him. (Scroll to the bottom -- it's the last one. If you haven't yet caught up on Season 2 of Friday Night Lights and plan to, don't read the included comment from another viewer because not only is she smoking crack and has no idea what good TV is, but it will also spoil you.)

(Yes, Mr. Kivus, I was going to talk about that bit of news. But I had just posted the Vox Hunt so I figured I could wait a while. :) )

I'm sure you all -- well, those of you who care, anyway -- have heard that Kristen frakking Bell might be on LOST next season.

Um, excuse me while I go scrape myself off the ceiling.

Okay, I'm back. I was just messing around when I suggested she'd be awesome in the role of the Other they're casting (description: smart, loquacious, and funny...a very successful academic who also knows how to handle herself in the real world) for Season 4.

It's now been confirmed that she's been suggested for the role. And um, hello, how much are we thinking "coincidence" that she and the masterful Mr. Lindelof were in the same place a couple weekends ago? Hmmm? He's already talked about how much he adores her on the record. It seems only natural he'd bring her aboard.

I'm trying not to be too excited, because a lot could happen. I mean, Kristen's already attached to Gossip Girl, and I mean, she might prefer a minor narration role on a CW pilot to a role on the seasoned (and non-high-school-targeted) cult hit LOST, that's guaranteed three more seasons. I mean, she might.

How fraktastic would that be, though? Veronica Mars on LOST Island. I bet she could give Jack a run for his money.

Kate and Juliet who?

In other FRAK YES-related news straight from Comic-Con, courtesy of my friend, Roger:

There's going to be Veronica Mars, Season 4. In comics. Rob Thomas is writing the first five issues, and the rest will be written by the VM staff of writers. Word is, KB herself is being wooed to try her hand at writing. Who better to climb into Veronica's head than Veronica herself?

We'll find out what happened between Jack and Kate in the first episode of Season 4. Michael and Walt are coming back, and there will be an explanation as to why Walt's aged. Lots of other stuff that constitute spoilers, because Damon and Carlton slipped up. I kind of didn't want to know about them, so I won't spoil y'all as well.

Probably everything I found out about Heroes counts as spoilage, too, so if you want to know, PM me. The entire cast was there, including Hayden Panettiere, who apparently just decided to show up. Roger was invited to a Lucas/ILM party and rode out with none other than Masi Oka, who has been signed on to do all the special effects for the next Indiana Jones movie. Yes, he still works as a CGI artist for George Lucas when not shooting Heroes.

Heroes: Origins will take place after the conclusion of Season 2 of Heroes. There will be six stand-alone episodes, each involving a new Hero, but one who is rooted in the mythology of the show. At the end of each episode, viewers will log on to a special website and vote for the new Hero they like best, and that Hero will appear in Season 3. The Heroes graphic novel will debut the week the DVD series hits stores (September 19), and several characters in the novel will appear in the new season.

Angel Season 6 (comics) will be out in January, and Joss is involved with that as well as Season 8 of Buffy. He's been approached to do the Stargate Atlantis movie; he's turned in the script for Wonder Woman but no word as to if it's been selected yet; the first script of his much-anticipated Goners has been completed and he's shopping it around. THERE'S A BUFFY THE VAMPIRE SLAYER TV MOVIE IN THE WORKS, as well as a miniseries/TV movie/something-or-other revolving around Illyria. Hey, anything that brings Amy Acker back to the small screen is good in my book. Joss is working on a new musical/drama/original story thingie and Summer Glau is attached.

Roger met Joss Whedon, who said to tell ME hi. ME. He also met JJ Abrams. And freaking JESSICA ALBA. I think I freaked out about that most. I have such a girl crush on her, and he said he just happened to look up and saw her standing right next to him so he started talking to her and apparently he made her laugh. So. Cool.  He also met Lee Pace (Wonderfalls, Pushing Daisies.)

Steve B. and/or (Fish): If I decide to go to Comic-Con next year, can I crash on your couch?

I happen to have The Chosen Collection, which is this nifty little box filled with discs containing all 144 episodes of Buffy the Vampire Slayer. Plus some extra little bonus items, including a booklet breaking down each season. At the beginning, Joss names the top episodes he didn't write/direct, and the first one if "The Pack."

There are way too many fraktacular episodes of BtVS to narrow down my favorite, but I must admit, I find "The Pack" the absolute creepiest. If you've seen it, you may know what I'm talking about.

At face value, it doesn't seem like anything too hide-under-your-covers-in-a-quivering-puddle-of-fear inducing: a group of the school's mean kids, plus Xander, duck into the off-limits hyena exhibit and the hyenas -- quarantined because they'd just been brought in from Africa -- infect them with some sort of spell thinga-ma-jiggy.

So they start acting like hyenas.

What is absolutely and completely scarily creepy is that these kids actually seem like they're hyenas. The director did a phenomenal job, is all I'm saying. The way they move -- they actually slink. And like hyenas, they only prey on the weak. They try and separate him so that he's all alone, and then they pounce.

The perfect examples occurs when the gym classes are stuck inside on a rainy day and the coach makes them take part in the age-old torture that is dodge ball. Buffy ends up being the last one on her side, and on the other side are Xander and his hyena pals and this one geek. They all look at her with this calculating look, and then in unison turn and fire the dodge balls point-blank at the poor geek (who's their own teammate) because they could sense Buffy was stronger. It was chilling.

It was like you could see it in their eyes. I'm telling you, besides "Hush," this was the episode that freaked me out the most. I seriously can't watch it at night.

You should definitely check it out. Oh, and if anyone wants to dive into Buffy without Netflixing or buying, F/X actually just ran "The Pack" this morning, so they'll pick up Season 1, Episode 7, "Angel," tomorrow. Eps run 6 a.m. CST on F/X. It'll go all the way through the series finale, so it's a cheap way to delve into the awesomeness of Joss.

Angel is almost through with its last season (five) on TNT (5 and 6 a.m., CST) so it'll start over at Season 1 pretty soon. I go back and forth as to which I like best. BtVS probably wins out narrowly, but Angel is much darker and more thematic.