Over the years, Buffy the Vampire Slayer has become the litmus test for feminist drama. But creator Joss Whedon didn't just turn gender roles on their head with his spunky vampire slayer. He flipped, remixed and defied all television conventions, preferring to play with the medium in novel and unexpected ways. While the Season 6 musical episode "Once More with Feeling" might be the most talked-about example of this, "Hush" is arguably the most eloquent.
Sandwiched in the middle of Season 4, "Hush," which aired Dec. 14, 1999, took away the thing that Buffy had become most famous for — the snappy, witty dialogue — forcing the episode to rely solely on musical cues and pantomime to tell the story of yet another murderous monster rampage in Sunnydale.
In Hollywood, familiarity breeds content. That's been especially true in recent weeks as TV writers and executives raid film libraries, looking to adapt movies into primetime series.
Among projects now in development: CBS' take on the Jackie Chan/Chris Tucker buddy-cop comedy Rush Hour (this time from Cougar Town's Bill Lawrence) and a comedy based on Paul Weitz's 2004 feature In Good Company. NBC is rebooting two comedies, Real Genius and Problem Child, as well as creating a sequel to Marley & Me.
Sometimes partnerships just don't work out.
Janeane Garofalo, who was slated to star in Bravo's upcomingGirlfriends' Guide to Divorce, will exit the show midway through its first season, TVLine reports.
Though the vampire and zombie trends might be on their last legs, it's likely only a matter of time before the next supernatural fad hits the airwaves. But no matter what type of otherworldly being is in the spotlight, is it possible for a supernatural show to be too supernatural? Does a series need that grounding humanity to keep it from spiraling into the absurd? Or is it the "anything goes," free-for-all attitude that makes us love these shows in the first place?
Can Arrow's consummate hero have it all?
The third season of The CW series will dare to answer that question when Oliver Queen (Stephen Amell) attempts to have his cake and eat it too — in this case, that means being a superhero that the residents of Starling City actually respect while also trying to have a personal life. It's harder than it sounds — something that Ollie will learn fairly quickly into the season.
Exclusive: Arrow taps Peter Stormare as new Count Vertigo