Angel

Angel

http://www.nd-warez.info/

http://www.nd-warez.info/

http://www.nd-warez.info/ © 2009 by Wayne State University Press, Detroit, Michigan 48201 All rights reserved. No part of this book may be reproduced without formal permission Manufactured In the United States of America 13 12 11 10 09

5 4 3 2 1

Library of Congress Cataloging-in-Publication Data Abbott, Stacey Angel/Stacey Abbott. p cm Includes bibliographical references and index ISBN 978-0-8143-3319-8 (pbk

alk paper)

1.

1999-2004) I Title

Angel (Television program

PN1992 77 A527A33 2009 791 45'72-dc22 2008052058

= The paper used In this publication meets the minimum requirements of the American National Standard for Information SCiences-Permanence 01 for Printed Library Materials, ANSI Z39 48-1984

For Simon-my partner in life and love

http://www.nd-warez.info/

http://www.nd-warez.info/ CONTENTS

ACKNOWLEDGMENTS

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ix

Introduction: "A Seminal Show Canceled by the Idiot Networks"

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1. "Grrr Aaargh!" The Collective Vision of Mutant Enemy

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

27

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

44

4. "Cavemen vs. Astronauts-Weapons to Be Determined": Angel, Masculinity, and Male Friendship

63

5. "It's a Little Outside the Box": How Angel Breaks the Rules 83 NOTES

105

WORKS CITED INDEX

117

109

ACKNOWLEDGMENTS

irst and foremost I would like to thank J oss Whedon,

F David Boreanaz, and the team o f creators who brought their vision for Angel to the screen between 1999 and 2004. Thank you for the entertainment and the inspiration over the years . I would like to thank Wayne State University Press for supporting this proj ec t and recognizing tha t Angel is a tru e milestone i n television history. Thanks i n particular to Annie Martin for all of her assistance throughout this process and to the readers of the manuscript for their insight and gUidance. I am indebted to Roehampton University and the Arts and Humanities Research Council for funding my sabbatical to write this book as well as a research trip to the N ew York Library o f the Performing Arts . The year 2006 was truly unforgettable . A special thanks goes to the film team at Roe­ hamp ton who had to carry a heavy workload while I was on leave. l owe a further debt to my o ffice and conference buddy, D eborah J ermyn , for her endless support, not to mention for tellmg me about the TV Milestones series in the first place . You are a true fnend and scholar. Special thanks to the staff at the Billy Rose Theatre Collection at the N ew York

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Library of the Pcrformmg Arts for all thelr help-in particu­ lar for the endless phoLocopying. The sLaff of the Britlsh Film Instnute's NaLional Library deserves parncular acknowledg­ menL for all of their hard work over the years in making all of my research easy and pleasurable. I would like to thank Rhonda V Wilcox and David Lavery for inviting me to be the keynote speaker at the Slayage Conference at Gordon Col­ lege in Barnesville , Georgia , m 200 6 . This was a great oppor­ tunity to discuss some o f the ideas explored in this book, and the feedback I recelved was very helpfu l . T hanks to everyone at the conference for sharing their ideas about Buffy and Angel, and especially for my Mr. P o inty. l owe a special Lhanks to Rhonda and David for their encouragement over the years . Thank you Lo all who attended the Buffy Her eafter conference in Istanbul and provided incredibly useful feed­ back to my work . I would also like to thank Denzell Richards for his help preparing clips for both of these conferences, as well as his shared enthuslasm for Angel . To Bronwen Calvert and Lorna J owett , fellow Angel scholars and fans , I extend my thanks for sharing and exchanging so many exciting ideas abou t Angel. Our regular chats abo u t the show are incredibly stimulating. As always , lowe a debt to my family for their love , espeClally to my husband , Simon , who has been an inspira tlon and a support throughout this project. You are my partner 111 everythmg and so I t is to you tha t I dedicate this boo k .

Introduction II

A Se m i n a l Sho vv C a n c e l e d by the I d i o t Ne tvvorks "

Denver: A vampire wanting to slay a demon in order to help some grubby humans? I just don't get it. Angel: To be honest-I'm not sure I do either. "Are You Now or Have You Ever Been"

(22) t is apparent tha t 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 , tha t D enver was not alone in his confusion. Some of the crit­ ics didn't "get it" either. Marvin Kitman suggested that the s eries' creators , Joss Whedon and David Greenwalt , "have had a bad case of tired blood, brought on by watching too many reruns of Forever Knight, " claiming that the new series is just " an excuse to suck the blood out o f Buffy" (1999). Steve Parks complained that Angel, the title character, " is too dour to crack j okes" (1999), a concern shared by Diane Werts who , while reviewing the show's o pening episode fa­ vorably, argued tha t " to really take a bite out of the prime­ time ra tings" Angel needed to loosen up and " go at life with

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gusto" and not j ust guilt ( 1 999). O ther critics , however, did "get i t . " Matt Roush described Angel as " sleek and sexy in its G o thic gloom" ( 1 999) ; Michele Greppi no ted that "if Buffy the Vampire Slayer is about high school as hell , Angel is gomg to be a pos t-graduate course on coming to grips with life not as you dreamed it but as It unfolds" ( 1 9 9 9); and Joyce Mill­ man pointed to the irony in the fac t that "some of TV's most moving and astute meditations on what it is to be human come from a show abou t a guy who's undead" ( 2 00 1 , 30) . More impo rtant, the fans "go t it. " While never com­ manding the audience figures of its p a rent show, Angel devel­ oped a loyal following-so loyal that when the series was canceled in 2004 they launched a highly public campaign to save it. Beanng the slogan "Looking for a F ew (Million) Good Viewers ? We'll Follow Angel to Hell . . . or Ano ther N e twork , " this crusade took the forms o f online petitlOns , telephone and postcard campaigns to the networks and ad­ vertisers , ads i n Variety and Hol lywood Reportel; a live rally in Los Angeles in conJunctlOn wi t h a worldwide online rally, and th e ll1famous Angelmobile-a mobile billboard lJ1 L . A I n ord er to truly convey t h e fans' comm i tment to the show, t h e campaign also d em o nstra t ed a complete engagem e n t vvi t h the t h e m e s of th e senes b y ralSlJ1g funds for the Red C ross, runmng blood drives (yes , blood ) , and donating money to the Los Angeles Regi onal Food Bank. While 111 the end the a ttemp t to save the show was unsuccessfu l , the fans had demon strated their loyalty to the ethos o f the series by cho osing to mirror Angel's miSSlOn and "help the help l ess ." Angel from Conception to Cancellation

Angel was produced by Twenneth Century Fox and broadcast on the WB (Warner Brothers) from 1 99 9 to 2004. D esigned as a spin - o ff of Buffy, the seri es was the brainchild o f Buffy

creator and executive producer J oss Whedon and producer D avid Greenwalt. Following the success o f Angel's unex­ pected turn to evil in season two of Buffy, Whedon realized that there was untapped scope to this character-and the act­ ing ability of D avid Boreanaz-that might best be explored through his own series (Malcolm 2004, 22) . When ap­ proached to run the show, Greenwalt leaped a t the opportu­ nity and immediately suggested that the o ften-comic charac­ ter o f wealthy, superficia l , and acerbic Cordelia Chase ( Charisma Carpenter) j oin the new series as a brighter bal­ ance to Angel's darkness ( Nazzaro 200 2 , 156) . With this de­ cision the fundamental premise o f the series was established. The show would follow the departure o f Angel ( David Bore­ anaz) , Buffy's soulful vampire-lover, from Sunnydale at the end of Buffy season three as he arrives in Los Angeles and, along with the now impoverished Cordelia , sets up his own demon-fighting operation. The choice o f L.A. provided the broad metaphor for the s eries , which was that "LA [is ] a place that people come to in order to start over" (Greenwalt, cited in N azzaro 200 2. , 1 5 7 ) .

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To aid Angel on his missi o n , a team of demon-hunters, presented as the more grown u p and damaged version o f Buffy's team o f teenage vampire hunters , were gradually built up over the series' five-year run . Each member of this team carries the burden o f his or her own past, insecunties, per­ sonal failings , and transgressions and is, like Angel , looking for some form of redemption . The team of Angel Investiga­ tio ns (AI) is made up of FranCls D oyl e (Glenn Quinn) , Wes­ ley Wyndam-Pryce (AlexIs Demsof ) , C harles Gunn (j. Au­ gust Richards) , Winifred " Fred" Burkle (Amy Acker) , Lome (Andy Hallett) , and Spike (james Mars ters) . Angel's life on the WE network was , however, o ften as fraught as his life on the streets of L.A While the basic prem­ ise of the show was established early o n , the series underwent a few reboots before the wnters settled on the series' main concerns , narra tive approach , and broad themes , satisfymg their own ambnions for th e show as well as the deSIres of the n e twork. Early drafts of the fi rst few epIsodes presented Angel as a " dark, gritty urban show" featuring undercover p olice , drugs , and prostitu tion, causmg th e more family-fteen-ori­ ented network to back off the proj ect ( G reenwalt, cited m N azzaro 2.002., 1 57) . Whedon and Greenwal t agreed to change their conception of the s eries and transformed this more " realisnc" approach into a more fantastical exploration o f darkness and evil. L.A. remained central but less as a real place and more as a noirish urban conurbation in which the lonely and vulnerable are preyed upon by mons ters , both human and demonic (see Jacob 2.00 5 ) . The second reb o o t came during the first season. The show w a s o riginally sup­ posed to be an episodic series with the detective agency at the center and Angel working for a n ew client and facing a differ­ ent demon every week. Even the evil law firm of Wolfram &. Hart, conceived from the start as a corporate opposition to Angel in keeping with the show's big-city setting, was sup­ posed to introduce a different lawyer every episode , reinforc-

ing i ts position as a faceless form of evil. This approach did make the series very different from its p arent show, Buffy the Vampire Slayer, well-known at this point for its seasonal arc narratives. Halfway through the first season, however, this changed and the series b ecame increasingly focused on Angel's character and the narrative conflic t between Angel and Wolfram &: Hart, now regularly represented by recurring characters Lindsey McDonald ( Christian Kane), Lilah M or­ gan ( Stephanie Romonov) , and Holland Manners (Sam An­ derson) . Whedon resolu tely argues that the change came natu­ rally to them as he and Greenwalt became less interested in the episodic cases and increasingly drawn to Angel's s tory (Malcolm 2004 , 24) . The fact, however, that ratings for the first season were dramatically lower than those for Buffy had been may have also contribu ted to the decision to reorient the series to a more familiar and successful narrative s truc­ ture . Clearly the choice to program Angel directly after Buffy was made with an aim to carry the audience over from one series to the o ther, as were s trategic crossover episodes such as "I Will Remember You " 0 : 8) and "Five by Five" ( 1 : 1 8 ) that linked the two narratives together, cleverly programmed for sweeps weeks to maximize the ratings. While this s erved to consolidate the ratings enough to ensure a second season and an increase in budget and production values (most visi­ ble through the move from the small and claustrophobic Al offices in season one to the grand and stately Hyperion Hotel in season two ) , ratings continued to be a major issue for the show. According to Phil Colvin, these s trategies did enable the series to maintain consistent audience figures by devel­ oping a loyal fandom nationally and internationally; but in the long term Angel failed to gain the necessary upside to these figures that guarantee a show's success ( 200 5 , 1 7-30) . This uncertainty abo u t the show's future was further hampered when it lost i ts s trong lead-in in 200 1 following

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Buffy's acrimonious departure from the WB . The impact o f this event on Angel was twofold First, Angel's fu ture at the 'vVB was unclear. Much conjecture in the industry press ques­ tioned whether the network would cancel Angel m retaliation for i ts loss of Buffy, i and the sh ow's connection to the more established senes was perceIved to be responsible fo r Its steady audience figu res 111 its first two seasons . Second , no l o n ger part o f a solid l 1l1eup, th e show was repea tedly moved around, sometimes broadcast opposite very popular series like The B a c h e l o r or in tandem with seemin gly incompatible series like the "goody-goody drama" 7lh Heaven (WB, 1 9 96-2007) ( Millman 200 1 , 2 1 ). This turbulent rela tionship with th e WB cont1l1ued up until the end of season four when , after much speculation and anticipation, the network con­ firmed it would be renewing the series [or a fifth season. I t had agreed t o this , however, with a few provisos: wi th the fi­ nale of Buffy the Vampire Slayer (now broadcast on U P N ) hav­ ing Just alred , the WB announced tha t the phenomenally popular character Spike Games Mars ters) would J oin Angel the following season; the budget for season five was effec­ tively cu t;' and after a climanc fourth season that had taken narrative arcs to its ultimate extreme , the writers agreed to re­ turn the show to a more episodiclcase-of- the-week formula , a strategy that seemed to be more inviting to the uninitiated audience member (Gross 2003a) . D espite these conditions , however, tensions with the WB finally came to a head in sea­ son five when questions abou t the series' fu ture were finally answered on F ebruary 1 3 , 2004, with the announcement that the show was canceled. Angel as TV Milestone

Throughout I ts turbulent life on the WB, Angel, aimed at the older demographic of twenty-five- to thirty-five-year-olds, was envisaged by its creators , J oss Whedon , David Green­ walt, and the wnting team o f Mu tant Enemy, as a darker med-

itation on how to be human in a corrupt and violent world. While a spin-o ff to the successful Buffy the Vampire Slayer, the creators' appro ach to the show was more in keeping with such notable and unique spm-offs as Rhoda ( CB S , 1 9 74-78) and Lou Grant ( CBS, 1 9 7 7-82), rather than the repetition o f formula that characterizes more recent series like CSI: Miami ( CBS, 2002-) and CSI: New York ( CBS, 2004-) , and the nu­ merous spin-offs of Law and Order (NBC, 1 99 0-)3 While drawing on the success of parent series the Mary Tyler Moore Show ( 1 9 7 0-7 7 ) , Rhoda, and Lou Grant were unique shows with their own style, comedy, and narrative approaches dic­ tated by the series' title characters . Similarly, the approach to Angel was to create a distinct s eries with i ts own clear iden­ tity rather than simply repeat the formula of Buffy. While Buffy the Vampire Slayer used the monster as metaphor to ex­ plore the horrors of growing u p , Angel addressed the horrors o f adulthood. While Buffy chronicled the times in young adult lives when strength can b e found in family and friends , Angel explored the rifts and tensions that develop between family and friends . While Buffy looked to the future, Angel re­ flected on the past and its o ften painful impact on the p res­ ent. As Tim Minear, a writer and eventual executive producer for the series , explains, "a show called Angel, about a guy who a te his parents and is a vampire and killed a bunch o f people, you know it's gonna have its dark side. And if you can't do that dark side, you don't have a show" (qtd. in Brat­ ton 2000) . That darkness was manifested in the series' no irish urban location as well as through the representation o f corporate corruption in the form of the evil law firm Wol­ fram &. Hart. More important, it is present in Angel himself as he constantly nego tiates the moral ambiguities of his own existence as a vampire cursed with the return of his soul and now haunted by the a trocities he has committed in his 250 years as a vampire. Furthermore , he is a vampire who mus t live with the dark side that i s a n integral part o f himself and from which he gains much of his s trength. While on Buffy,

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Angel, primarily wntLen as a l ove i11lerest for the series' main character, was a cipher for Bu[fy's teenage insecuritJes , de­ sires , and awakemng passIOns. In hIs own serie s , however, he became a com plex character able to explore the nuances of his good and evil vvays. A s Davld Boreanaz explamed, i t is " the abIlity to mtegrate the good and bad sides" that a ttracted him to the character of Angel: "[ tl hat is what I want to bring to the seri es , a character that could go both ways , that can play bo th kinds o f faces" Cqtd. in Persons 1 9 9 9 , 1 1 ) . Wha t stands out about Angel IS its commltment to ex­ ploring dark and morally ambiguous themes , enhanced by the show's irreveren t humor, the flou tmg of generic conven­ tIOns , and an emphasis on a cinematic visual s tyle. Chapter 1 wIll explore how Angel has made its mark in television by first addressing the collaborative authorship of the writing team at Mutant Enemy as a means of challenging the single au teurist framework tha t has marked much of the work o n Buffy t h e Vampire S l ayer and Angel . This will b e followed by a discussion in chapter 2 of the series' experimentation with genre hybridity, conveyed through the show's near cinematic visual styl e , while chapter 3 will position the show as an ex­ ample of TV horror at a time when the a ttitudes toward hor­ ror o n television are in a state of flux . Chapter 4 will address the sIgnificant role that masculinity plays within the narrative ma trix of Angel with a particular focus on the representation of male fnendship . I n chapter 5 I will conclude my discus­ sion o f th e series with case studies of three individual episodes that demonstrate how Angel experimented with the c o nvenllons of televi s I O n , aesth e tically, narra tlvely, and generically. Through these discussIOns I will demonstrate that to truly "get" Angel you have to be open to i ts unique in­ terplay, both visually and narratively, between light and dark, com edy and horror, in whIch the boundaries between good and evil , man and monster, l i fe and death, are repeatedly blurred , for Angel-the vampire with a soul-embodies it all .

Chapter 1

"Grrr Aaargh!

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Th e Co l l e ct: i v e V i s i o n o f M ut:a n t: E n emy

You look at any television show that is at all memorable and anything that's really good, like The X-Files or Buffy, you'll see that they are created by writers, Chris Carter or Joss Whedon, David Kelly. These guys have a vision and the people that produce television are the writers. Whenever you see "executive producer," it generally means the top writer on a TV show. And we do more than just write the shows, we cast them, we work with the production people, we produce the shows. All the way through the post-production, from editing, to the mix, to the sound effects, to the music, all that stuff. We're there every step of the way. ... In movies, it ain't like that. Tim Minear (qtd. in Bratton 2000)

OSS Whedon, creator o f Buffy the Vampire Slayer, Angel, J Firefly ( 2002) , and Dollhouse ( 2009) is one o f the leading names within a new generation of television writer-produc­ ers who , according to Roberta Pearson, had "control over the day-to-day running of the show" but with "relative freedom from the demands of studios and networks" ( 2005 , 17, 1 8) .

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As such th e creative vIsion for these senes IS gen erally attrib­ uted to \Vhedo n . David Lavery argu es tha t unlike many o ther televislOn series , "Jl is n o t at all difficult . . . to locate the author of BuJJy the Vampire Slayer . As its creator, execu­ Dve producer, writer/co-writer . . . J oss Whedon i s , beyond question, the 'mad genius' . . . of BuJJy" (200 2 , 2 5 2 ) . Lavery argu es tha t it IS Whedon's dommant inp u t into the s eries' cre­ ation as a producer, writer, and director that makes him the primary au thor of the show. Similarly, in interviews cast and crew of b o th Buffy and Angel regularly credit Whedon with being the creative force behind each of these series . For in­ stance, D avid Greenwalt, co-creator of Angel , clearly p oints out that " a ny s to ry that you see on BuJJy or Angel has b e en broken substantially by Mr. Whedon , if not entirely" (qtd. in N azzaro 2 0 0 2 , 1 54) ,1 while in ano ther interview Greenwalt argues that Whedon's hard work and talent serve as an inspi­ ration to the team for "[e ] very year he sets some huge new challenge for himself and i t raises the bar for all o f us. I t's helpful to see the guy at the top working tha t hard and stre tching tha t far and tha t's what makes a well-rounded pro­ duction" (qtd. in Bratton 2002) Rhonda V Wilco x , however, speCifically attributes Whedon's " gemus " to his ability " to work with a cast and crew of high quality ... [ and] bring out the best m those he works with" ( 2 005, 6) . While Wilcox is speaking o f everyone involved m the creation of BuJJy, her com ment qulte aptly applies to the writing team at Mutant Enemy who worked alongside Whedon in the development of each teleVIsion senes . As Whedon himself explains , " I've spent five years culling the most extraordinary staff, which I trus t to share my vision and my experienc e . So if somebody gets it right , I leave it alone" (qtd. in N azzaro 2002 , 2 2 7 ) . I t is therefore t o this team of writers specifi cally working o n Angel that I turn m y attentlon. In fil m production, the director IS usually perceived to be the creative force behind a film despite the fact that film is a

collaborative medium. This is based on the understanding that it is usually the responsibility of the director to oversee the contributions of writers , cinematographers , sound tech­ nicians , composers , actors , and editors and pull together this range of creative input into one coherent vision. In American television, the structure is very different for, as indicated by Tim Minear in the passage that opens this chapter, a writer is usually at the helm of a TV series and is respo nsible for its overall conception.2 More to the point, a team of writers work together to create the show. Minear may credit top writers like Whedon, Carter, and Kelly for their vision, but the "we" in his statement applies to the contribution made by the en­ tire team. While it is the responsibility o f executive pro­ ducer-writers like Whedon and Greenwalt to establish the vi­ sion for the series , the team of writers turn that vision into televisual reality. Under the supervision o f the "showrunner, " the most senior writer/producer on the series who oversees the writing and production o f each episode, the writing team maps out the traj ec tory for each season, establishes pivotal narrative and character points , and pitches and breaks each individual episode with consideration for how it contributes to the overall narrative arc while ensuring that it works within its own four-act struc ture . In addition, the more established writers on the team, promoted to the various levels of producer, take responsibil­ ity for more than writing. They are responsible for rewrites as well as making story-line decisions and commissioning scrip ts . They are also often involved in casting, editing, or the filming of their script (Nazzaro 2002, 8) . This is a partic­ ularly significant part of the Mutant Enemy practice o f men­ toring its writers and promoting from within; as Steven DeKnight explains , writers at all levels , not j us t the senior staff, were given the opportunity to take a more significant creative role in the series: "On Buffy and Angel, even at the lower level, you get invited in to work on the bigger creative

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pIcture . The writers are often sent down to the s e ts to watch vItal scenes-they are sent into the editing suite to help fix problems-we are o ften asked into casting-you don't get tha t on o ther shows where the writers are kept much more msular" ( qtd . in Kaveney 2004b , 1 20 ) . Furthermore , the vi­ sion fo r the series evolved through the collective contribu­ Oon of the wnters from year to year. A film may b e a collec­ tive projec t supervised b y o n e director, b u t a television series is an ever-changing entity and as such the vision evolves along wIth its writing team. While Whedon was the primary creative force behind the conception o f Buffy the Vampire Slayer, a role he main­ tained throughou t the series' seven seasons , his relationship to Angel was quite different. The character of Angel was born out of Buffy and the series does exist within Whedon's vision for his Ul1lverse, but the show's initial concep tion grew out of hIS creative collaboration wi th David Greenwalt. Whedon lOo k on the position of execu tive producer on Angel and made a sIgnificant contribu tion to the series , but Greenwalt to o k on the role o f showrunner, a pOSItlOn handed over to Jeffrey Bell for seasons four and five following G reenwalt's departure . As such , the creative responsibility for the show was already split between the two senior writer-producers as Whedon explains David IS working mostly on Angel, I' m working mostly on B uffy and we' re sort of supporting each o ther. We' re constantly going back to each o ther's o ffices and s tuff. I' m around the production of B uffy more and David is around the production o f Angel. But in terms o f break­ ing of stories , editing and all that stuff-that's happen­ ing toge ther. The s taff from b o th shows know each o ther and so there's a lot o f cross currents , and we j u s t sort o f , y o u know, keep it as one b i g concept instead o f two separate ones. (qtd. in Mauc eri 2 0 0 0 , 1 0)

Furthermore, as Whedon began to develop a third television series to be produced by Mutant Enemy, Firefly, his hands-on involvement within Angel b ecame somewhat more distant. Steven DeKnight explains that this gave the writing team of Angel a great deal of " flexibility because Joss , despite loving the show, has priorities elsewhere . He gives us the broad gen­ eral idea or sometimes we pitch him the general idea and then he'll approve the final product in stages . . . . We do most o f the stuff ourselves" (qtd. in DiLullo 2003 ) . In this manner Angel stands as an informative case stu dy for the collabora­ tive nature o f television , for it was born out o f the relation­ ships, previously established on Buffy the Vampire Slayer, be­ tween Whedon and Greenwalt as well as senior Buffy writers Marti Noxon, David Fury, Doug Petrie, and Jane Espenson, all of whom contribu ted to the early episodes o f the series. Subsequently the show also developed its own collaborative team of writers who spearheaded the show's traj ectory over its five-year run, including Tim Minear, Jeffrey Bell, Jim Kouf, Mere Smith, Elisabeth Craft, Sarah Fain, Steven DeKnight, and Drew Goddard . As such, rather than simply give credit exclusively to Whedon for the series' strengths and innova­ tions , I intend to explore the collective creativity o f the team of writers , drawn together in Whedon's production company Mu tant Enemy, who serve at the helm of Angel. As discussed in the introduction, the original intention was for Angel to be a gritty and episodic series in which Angel , acting as guardian for Los Angeles, fights different demons and monsters every week. However, the producers quickly realized tha t the primary point of interest for both the writers and the audience was its characters (Malcolm 2004, 24) . As such, partway through the first season the nar­ rative structure shifts from the monster o f the week to episodes more focused on Angel's attempts to atone for his past as the evil vampire Angelus and his struggle to find re­ demption. This increasing focus on Angel's character arc led

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to the creation o f a complex web of story lines , spanning from the late eighteenth to the early twenty-first centu ry, that involved dramatic and o ften violent confrontations b e tween friends and enemi es from Angel's past and present . As Min­ ear explains , the power of Angel was in I ts near operatic nar­ rative s tructure that grew fro m season to season ( cited in Gross 2003a, 5 6 ) . The complexIty of the show is made all the more chal­ lenging by the fact that it was aired on a commerClal ne t­ work, running twen ty- two episodes a year] To produce this level o [ matenal involves a complex process o f creativity within the highly s tructured mdus trial process that is Amer­ Ican network televisio n . The production schedule o f any tel­ eVIsion series I S ll1tens e . This was particularly the case on Angel, where , m addition to the dramatic interactI O ns o f i ts regular cast, each epIsode contained numerous locations , pe­ riod costumes and sets, s tunts , new demon/monster designs , musical performances , and special makeup and digital e ffe c ts and took anywhere from four to six weeks to produce. While the writers were given six weeks prior to the s tart o f overall production to begll1 writll1g the season's episodes , o ften al­ lowing them up to two weeks to write an individual episode , by Chnstmas the writers had at best four to five days per scrip t ( Greenwalt 2003 ; Kaveney 2004b , 1 06) . Furthermore , at any point in the seas o n , various episodes would simulta­ neously b e at different s tages o f the production process , writ­ ing, pre-production , filming, and editing, all o f which would require the creative contribu tions of the writing team .+ The process o f actually writing the scrip ts for Angel in­ volved an intensively collabora tive system . Each episode would gen erally begin as an Idea pitched by the writers to Joss Whedon and David Greenwalt, who assisted in finessmg it so tha t it fi t withm the overarchmg plans [or the series and/or the specIfic seas o n . Once an idea got the green ligh t, the team would break the story as a group i n the writers'

room with the plan for the script broken down on a white board, act by act and scene by scene. In this process, the team worked out where the story was going, wha t role each char­ acter would play within the episode, where the key moments would be, and how to break up the episode into acts and then subsequently into scenes . Once this was done and then approved by Greenwalt and Whedon, a writer would be as­ signed to write an outline, followed by a first draft o f the scrip t. In most cases each script would go through a natural series of rewrites generally by the assigned writer, having re­ ceived notes from Whedon and/or Greenwalt. O ften, how­ ever, the showrunner or o ther senior writers would under­ take rewrites where necessary and Greenwalt and Whedon would have final approval of the script. David Greenwalt ex­ plained, "[1] f we're lucky this [the script] will come in good. If we're not, it comes in not good. Then we all have to write and write and write and make it good" ( Greenwalt 2003) . Through these writing processes , as well as the fact that some scripts were deliberately cowritten because of time con­ straints or the need for specialist knowledge, any given episode, even where credited to one writer, could be the product o f numerous creative voices and yet each episode had to uphold a unified vision and contribu te to the series' overarching narrative . Adding to the pressure o f writing for Angel, each episode had to maintain narrative and character continuity not only with the o ther episodes in the series but also with the three preceding years of Buffy the Vampire Slayer as well as the nar­ rative crossovers with Buffy in such episodes as "In the Dark" 0 : 3 ) , "I Will Remember You " 0:8), " Five by Five" ( 1: 1 8 ) , "Sanctuary" 0 : 1 9 ) , and " Darla" ( 2:7) . Even when Buffy had moved to a different network, certain narrative continuities needed to be maintained between the two shows , including Angel's reaction and recovery from Buffy's death in "Heart­ throb" ( 3 : 1 ) , the revelation that she was in fact alive in

" C arpe N o c tum" (3:4) , Willow's arrival to help restore Angel's soul in "Orpheus" ( 4 : 1 5) , and faith's escape from j ail and re turn to slayer duty in " Release" (4· 1 4) , which presages her re turn to Sunnydale in Baffy s eason seven . This narrative overl ap requires a high level of c o o rdination among scrip twriters, as well as the separate wnting teams o f Buffy and Angel, and accumulated knowledge of both shows . Tim M inear, who did not begin on B ufty like fellow writers David Greenwalt, S teven DeKnight, David fury, and Drew Goddard, particularly credits the entire crew at Mutant Enemy for maintaining Buffy!Angelverse continuity as he explains , "We're pretty much making it up on the sly except there are c ontinuity issues and luckily there are enough people a t Mu­ tant Enemy that have corporate memory so I don't have to know every episode backward and forward-they can tell me i f I'm o ff" (Bratton 2000). This form o f knowle dge, however, applies to characterization as well as plot info rmation. The writers not only maintained and developed the series' regu­ lars from week to week in a coherent and believable fashion, they also ensured that crossover characters from B uffy were wntten in such a way as to be consistent with their earlier representations . A particularly interesting case s tu dy that illustrates the complexity of the senes' writing is the character faith (Eliza Dushku), the murderous rogue slayer from Sunnydale who , having awakened from her coma in " This Year's Girl" (B4: 1 5 ) and tormented Bu ffy i n "Who Are You?" (B4:16) , arrives Il1 Los Angeles in " Five by five" and IS hired by Wolfram &: Hart to kill Angel. In the firs t instance , this required Angel­ wri ter Jim Kouf to wri te dialogue for a favorite character es­ tablished on Buffy and maintain the rhythms and speech mann erisms that have come to be associated with this char­ acter. For lllstance, Faith's familiar use of false affectIOn, es­ tablished on Buffy through h er l oving references to Buffy as "B " or "H ey, gIrl friend," are used m Angel to remind the au-

dience of Faith and Angel's past together and to deliberately call to mind Faith's treacherous nature. Her opening line as she confronts Angel in his office and challenges him to "get in the game," "Hey, b aby . . . come give us a hug," is deliber­ ately reminiscent of her words to Buffy before the two slay­ ers begin their fight to the death in " Graduation Day Part 1" (B3:21): "Ready to cut lose?" Faith asks Buffy. "Okay then­ give us a kiss." Furthermore , in "Five by Five" Faith maintains her use o f sexualized language to convey her p ower and menace when she challenges Angel . Faith to Angel: What if you kill me and you experience your one true moment o f pleasure-Oops. I'd get off on that. Go ahead-do me. Let's take that hellride together. Come on, Angel, I'm all yours . I'm giving you an open invitation. ]eez , you're pathetic. You and your little tor­ tured soul. Gotta think everything through. Think fast, lover. If you don't do me, you know I'm going to do you . While this episode upholds Faith's persona as the evil thrill seeker, the script also transforms that p ersona to suit the tone and atmosphere of Angel by presenting her as a darker and edgier version of Buffy's Faith . Faith may have been a murderer on Buffy and was often described by the characters on that show as psychotic, but her turn to evil was a choice influenced by her anger at and envy of Buffy. The crimes she committed In Sunnydale, with the excep tion of the murder of the Mayor's assistant, which was an accident, were executed at the request of the season's Big Bad, the Mayor, or driven by revenge. While she clearly enj oyed her work, she never mur­ dered for fun. When she arrives in Los Angeles , however, she is no longer looking for revenge nor is she working for any­ one, at least not until she is hired by Wolfram &: Hart and both revenge and monetary gain serve as incentives to kill

Angel . As such most of the crimes she commits, such as beat­ ing and robbing the pImp who tnes to pick her up at the bus statio n , are commHted to satisfy her own innate needs . She does them because she can and because it's fun. This is par­ ticularly evident 111 the nightclub scene where she starts a fight by seductively dancing with a man and then hitting his girlfriend in the fac e when she protests . The intention of this scene in its portrayal of Fai th is evident in the episode's s crip t . "And now fists and feet fly. With Faith in the middle of it. E nj oying the carefree moment of violence , grabbing one guy, pu nching the hell out o f him , then slamming an elbow into someone els e . This is a maj or free - for-all . Faith is out o f control . Unleashing herself o n everybo dy. And ROCKIN' TO THE MUSIC (Kou[ 200 1 ) .

Fa i t h groovi n g t o t h e m u sic I n " Five b y F i v e "

The fight scene integrates Faith's fighting blows with her dance moves in a highly eroticized fashion that takes Faith's conflation of sexuality and violence further than ever por­ trayed on Buffy.s In this scene, there is no purpose to her ac­ tions ; she is clearly positioned as out o f control and acting on impulse . Having slightly rewritten the character to suit the tone o f Angel , the Angel-writers continued t o develop Faith's charac­ terization on the show as events within the Angelverse im­ pact o n her, making her unique among the characters from Buffy who crossed over to Angel. Oz, Willow, and Buffy may have visited Angel in LA. but they returned to Sunnydale unchanged. In the case of Faith, however, her character un­ derwent a maj o r transformation. As Phil Colvin has argued, Faith's violence and sexuality on BujJy originally represented the dark potential of being a slayer, while on Angel she comes to represent the monster Angel once was (2005, 22) . By the beginning o f her second episode, therefore , Faith has recog­ nized the monster she has become and has gone through an emotional breakdown that sets her on the same path to re­ demption as Angel ( "Sanctuary" ) . As such Tim Minear and cowriter J oss Whedon found themselves in the position of having to write for a very different Faith than seen in earlier episodes , building on her character as previously written and taking her in a new direction. As Minear explains , " [ I] n '5 by 5' JIm [ Kouf] got to write wise cracking, evil Faith. By the llme I got her she had the crap kicked out of her and I had to try to build her from a psychopath to somebody who wanted to change" (Bratton 2000) . The impact of this change to Faith's character is that there are fewer wise-cracking quips and she loses the confi­ dent, sexualized behavior and language that is here revealed to have been a mask for her self-loathing and insecurity. In fact, she says very little in the first half o f the episode, de­ scribed in the scrip t as "unreadable , " "blank , " and "zombie-

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1 F o r fu rther discussion o f the links b e tween Angel and aesthetic ex­ perimenta t i o n , see Kinsey 2005 , which l o o ks a t how the transi­ tIOn sequences and psychic visions displayed in the series draw on traditions o f experimental cinema .

2 . N u merous o ther m oments in the episode further emphasize these themes o f paranoi a , prej u d i c e , and fear, such as the H ollyw o o d actor who , fearing discovery by t h e studi o , u s e s the hotel as the clandestine site for his homosexual encounters , the prostitute who uses the hotel for her own professio n a l a c tivities , and the A frican American family who are refused a room i n the h o tel and are told that " th e sign was wrong. There are n o vacancies . "

Muppets Tonight ( AB C , Its a Very Merry Muppet Christmas Movie (Kirk R . Tha tcher, 2 0 0 2 ) , Crank Yankers ( Comedy Cen tral , 2003 ) , and Eminems Making the Ass ( M TY, 200 5 ) .

3 . Massey has worked a s a puppeteer o n 1 99 6-98) ,

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T j ardes , Sue 2003 " I f You're N o t EnJ oymg I t , You're D o mg Something

Wrong" : Textual and Viewer Constructions of Faith , the Vampire Slayer In Athena's Daughters: Television's New Women Warriors , ed. Frances Early and Kathleen Kennedy, 66-77 . Syracuse: Syracuse Umversity Press Tudor, Andrew ] 99 5 Unruly Bodies, Unquiet Minds

Body and Society

no I (March) 25-4 1 . Turner, Graeme 200 ] Genre , Hybridity and Mu tation. I n

Th e Televi­ sion Genre Boo h , ed Glen Creeber, 6-7. London' B F 1 . Waller, Gregory A 1 9 87a Introduction to American Horrors Essays on the Modem American Horror Film, ed. Gregory A Waller, 1 - 1 3 .. Urbana ' Universl ty of Illinois Press . . 1 9 8 7 b . Made-for-Television Horror Films . In American Hor­ rors. Essays on the Modem American Horror Film, ed. Gregory A .

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Waller, 1 45-6 1 . Urbana ' University o f Illinois P ress Werts , Diane. 1 9 9 9 .

Angel Sinks Fangs in

WB.

Newsday, October 5 :

B3 1 . Wheatley, Helen. 2006 .

Gothic Television. Manchester: Manchester

University Press . Whedon , Joss. 200 1 . City O f. Commentary.

"Angel " Season One DVD Collection, Region 2 , Twentieth C entury Fox. --- . 2005a. Creative Screenwriting Presents: Joss Whedon: The Mas­ ter at Play. CS Publications . DVD , Region 1 . --- . 2005b. A Hole i n the World. Commentary. 'fl.nge l " Season Five DVD Collection, Region 2 , Twentieth Century Fox. Wilcox, Rhonda Y 200 5 . Why Buffy Matters: The Art of "Buffy the Vam­ pire Slayer. " London: 1 . B . Tauris. Wilcox, Rhonda Y , and D avid Lavery. 200 5 . Afterword: The Depths o f

Angel a n d t h e Birth of Angel Studies. In Reading 'fl.ngel": The T V Spin-Off w i t h a Soul, ed. Stacey Abbott, 22 1-29 . London: 1 . B . Tau­ ris. Woo d , Robin. 1 98 6 .

Hollywoodfrom Vietnam to Reagan. N ew York: Co­

lumbia University Press.

I NDEX

Page numbers in italics refer to images.

7th Heaven 6, 29 24 6 1

Acker, Amy. "Fred"

See Burkle, Winifred

American Gothic 45 Angel ( the character) 3, 4 , 1 2 , 2 1 , 2 2-24 , 28, 3 6-3 8 , 3 9 , 40, 4 8 , 5 9 , 60-62, 84-90 , 9 6 , 1 0 3 ; and Doyle 66-72, and Faith ( the character) 1 6- 1 7 ; and masculinity 64-82 , 1 00- 1 0 2 , 1 0 7 ; and moral ambigu­ ity 7-8 , 29-3 0 , 3 3 , 1 0 2 ; and re­ demption 4, 1 3 , 24, 68, and Spike 72-8 2 ; and vampirism 7-8 , 2 3 , 2 8 , 3 5 , 60, 6 1-62, a n d Wolfram and Hart 5; as hero 4 1 -43 , 80-8 2 , 9 7 , 1 00- 1 0 1 , 1 0 2 , a s Liam 2 2 , 23 , 78-79 , 9 1

Angel ( the series) , episodes " Are You Now or Have you Ever Been" 1 , 3 1 , 6 1 , 8 3 , 84-9 0 , 9 5 , 1 0 2-3 , "Bachelor Party" 6 9 ; "Belonging" 2 9 , 9 8 , "Billy" 3 1 , 3 2-3 5 , 44; "Birthday" 54, 6 1 , 98-9 9 , "Blind D a te" 29 , 3 0 , 3 1 ; " Carpe Noctum" 1 6 , 6 1 , " City 0[" 3 , 4 1 , 6 7 , 1 0 7 ;

" Co nviction" 5 7 , 73, 8 3 ; " Damage" 79-8 0 ; " Darla" 1 5 ; " Deep Down" 1 0 3 ; " Destiny" 6 1 , 78-7 9 ; " Epiphany" 5 2 , "Eternity" 9 8 ; " Ex­ pecting" 1 0 7 ; "Five by Five" 5, 1 5 , 1 6 , 1 7 , 1 8, 1 9 , 2 1 , 24, 6 1 , 8 6 ; "The Girl in Question" 5 9-60 , 74-7 5 ; " Ground State" 6 1 ; " Guise Will be Guise" 3 1 ; " Habeas Corpses" 4 8 ; "Heartthrob" 1 5 ; "Hell Bound" 3 1 , 5 4 , 6 3 ; "Hero" 69-70 , 71 ; " A Hole

in the World" 74, 75-77, 80-82 ; "The House Always Wins" 3 1 , 9 2 ; "I Fall t o Pieces" 5 2 , 7 2 ; " I've G o t You Under M y Skin" 3 1 , 44, 48, 6 1 , 7 0 , 107; " I Will Remember You " 5, 1 5 , 6 1 , 6 7 , 69; "In the Dark" 1 5 , 4 2 , 6 1 , 68, 7 2 ; " Inside Out" 26; "Ju dgment" 6 1 , "Just Re­

wards" 74; " Lonely Hearts" 4 1 , 5 1-5 2 , 68; " Lullaby" 24, 3 1 , 3 5-38 ; " A N ew World" 6 1 ; " N o t

F a d e Away" 6 0 , 8 2 ; "Origin" 5 7-58 ; " Orpheus" 1 6 , 1 9 ; " Over

the Rainbow" 3 1 ; "Parting Gifts" 5 2 , 5 6 , 70; " P eace Out" 26; " P ower Play" 60, 7 9 , "The Prodigal" 2 2 ,

Burkl e , Wi n i fred " F red" 4 , 2 6 .

A n g e l ( th e series) , epi sodes

( ( o n t i n u cd)

3 2-3 5 , 5 5 , 5 7 , 8 0 , 8 2 . 9 1 , 9 7 , 1 0 0 ,

23, 2 4 , 8 6 , " Q U I ck e n i n g " 2 4 , 49 ,

1 0 1 , and G u n n 94-9 5 , and J IIyria

5 3 , " Re l ease" 1 6 , 1 9 , 2 1 , " Repnse"

5 8-60 , a n d Wes l ey 3 2-3 5 . 6 4 ,

6 1 , " T h e Ring" 6 l . 7 6 , " Rm wla Vu " 4 8 , 6 9 , 1 0 7 , " S alvage" 2 1 , " S a n c t u ­

a ry" 1 5 , 1 9 , 2 1 , 2 4 , " S h e " 4 2 , 5 3 ,

9 4-95

B u t c h Cas s i dy a n d t h e Sundance Kid 73

"Shells" 59, "Shiny Happy People" 6 1 , " T h e Shro u d o f Ra h m o n "

Calvert, Bro nwen 5 9

3 8-40 , 6 0 , " S l o u ching toward

Candyman 3 8

B e t h l e h e m " 26, 56; "Smile Time "

Caritos 3 5 , 3 6 , 3 7 , 9 2

3 1 , 6 1 , 8 3 , 9 5- 1 03 , " Somnambu­

Carro l l , N o e l 5 0

list" 2 2 , 6 1 , 8 6 , 1 0 7 , " S o u l Pur­

Carpen ter, C harisma S e e Cordelia

p o s e " 2 9 , 6 1 , "Spin the Boule" 3 1 , 8 3 , 90-9 5 , 9 � 1 0 2-3 , " T h a t Old

Chase Chase, Cordelia 3, 2 5 - 2 6 , 3 2 , 42, 4 4 ,

Gang o f Mine" 3 9 , 5 1 , "That Visi o n

5 5 , 9 1 , 9 8-9 9 , 1 0 7 , a n d A n g e l 6 7 ;

Thing" 5 6 , "There's N o P l a c e Like

anc! b o d y h o rror 5 2 - 5 3 , 5 4 , 5 5 ,

Plnz G l r b " 3 1 , " Through t h e Look­

5 6-5 7 , a n d Doyle 6 8 , 6 9 , 7 0 , 7 1 ,

ing G l as s " 3 1 , "To Shanshu i n LA"

7 2 , and Wesley 7 6 , 8 4 , 8 6 ,

5 6 , " To m o rrow" 36, 6 1 , "The Tri a l "

C h i cago Hope 4 7

6 1 , " U n d ernea t h " 5 3 , " U n l eashed"

CIIinotown 85

48: " U n to u c h e d " 6 1 , "Wai ting i n

Colvin, P h i l 5 , 1 9

t h e Wings" 3 1 , 6 1 . "Warz o n e " 6 1 ,

c o m edy 8 , 3 1 , 3 8 , 40-43 , 9 1 -9 2 Connor 2 5 , 26, 3 5 , 64, 94, 1 0 3

"Why We F I g h t " 79-80

Craft , Elisabeth 1 3 , 2 1

Angelus 1 3 . 2 1 . 2 3 , 2 4 , 2 6

Cre e cl , Barbara 5 0 , 5 5

a u t h o rs h i p 8 , 9- 1 2

C S I Crime Scene I n v e s l iga tions 4 7 , Bac II e l O l ; The 6

4 8 , 5 7 , 6 1 , C S I M i a m i 7 ; CSI

B e l l , J e ffre y 1 2 , 1 3 . 2 2 , 2 4 , 2 5 , 3 2

Ncw Yo r h 7 ,

B l ade 6 1 -6 2

B o reana z , DavId 3 , 8 , 2 7 , 7 6 . 9 7 See buddy genre 38. 39, 6 4 , 73-8 2 3 4 , 4 1 , 4 8 , 63 , 6 8 , 7 3 , 7 7 , 9 1 , 1 03 ,

a n d Angel crossovers 1 5- 1 7 , a n d B uJJy the Vampi re S l ayeJ; episodes'

I"

2 2 , 2 3 - 2 4 , " B e n eath You " 1 0 6 ,

" Ch o s e n " 7 5 , " G raduation Day

I"

D e a d oj Nigl1t 4 6

D e nisof, A l e x i s 4 , 3 2 , 34 See a l s o Wes l e y Wyndam- Pryce D eKnigh t , Steven 1 1 - 1 2 , 1 3 , 1 6 , 2 1 ,

flashbacks 2 1 -24

Part

1 7 , "Once More Wi th Feel­

2 5 , 26

Detour 29 Dexte r 4 6 D i e Hard 7 3 D i s c l osure 6 4

ing" 96-9 7 , " Tabula Rasa" 9 1 ,

DOA 3 9

" This Year's G i r l " 1 6 , "Who Are

D o l l house 9

You " 1 6 Brophy, Philip 4 9 , 56

3 1 , 45

79

B uffy t h e Vampi re S l ayer 1 -9 , 1 9 , 2 5 ,

"Amends" 22, " B e c o ming Part

O w Ie S lwciows

D a d a 2 2 , 2 3 , 2 5 , 2 5 , 2 6 , 3 5 , 3 6-3 8 ,

a l s o A n g e l ( t h e c h aracter)

Doyle 4 , 6 4 , 6 6-7 2 , 7 5 , 80 Drawla ( 1 9 3 1 ) 48

Dracula ( 1 9 7 3 ) 45

4 7 , 49-6 2 ; TV horror 46-4 9 , 54-5 5 , 6 2 Hostel 4 9 , 1 0 7

Drusilla 22, 78, 79

Easy Rider 73 Edlund, Ben 9 5-96

Electric Company, The 96 Elsaesser, Thomas 36

ER 47, 48

H U A C (House Un-American Activities Committee) 8 6 , 8 7 , 89 Hudson, J e nnifer A. 6 0 H u n t , Nathan 4 4 Hyperion Hotel 5 , 84-88

Espenson, Jane 1 3 , 26 Fain , Sarah 1 3 , 2 1 Faith 1 6-2 1 , 24, 26, 1 0 6 Falling Down 6 4 Father Knows Best 6 5 Feuer, J ane 28 Fight Club 64 film noir 4 , 7 , 28-3 0 , 3 1 , 33-3 5 , 3 8 , 39, 85 Firefly 9 , 1 3 , 2 5 flashbacks 2 1 -24, 3 6 , 7 3 , 84-88 Fly, The ( 1 986) 59 Forever Knight 1, 3 1 Fraggle Rock 9 6 Frank, Micheline Klangsrun 74, 77-78 , 80 Friday the 1 3 th The Series 45 Fuchs, Cynthia 74 Fury, David 1 3 , 16, 2 1 , 2 5 , 99 genre 8 , 2 7-43 , 8 3 , 1 0 3 , 1 0 6 G o ddard, Drew 1 3 , 1 6 Greenwalt, David 1 , 1 6 , 2 2 , 24, 2 5 , 2 9 , 6 3 , 83 , and conceiving Angel 3-6, and writing Angel 9- 1 5 Gunn, Charles 4 , 38-3 9 , 5 5 , 64, 9 1 , 9 7 , 1 0 0 ; and body horror 5 7-58, and Fred 94-9 5 , and Wesley 2 6 , 93, 95, 107

Imitation of Life 8 5-86 Invasion of the Body Snatchers ( 1 9 78) 59 Illyria 5 8-6 0 , 7 9 . S e e a l s o Burkle, Winifred " Fred"

Jacob, Benj amin 287 J acobs , Jason 47 J ancovich, Mark 44 J effords , Susan 6 6 Jekyll 46 J ermyn , Deborah J ohnson, Catherine 46 Jowett, Lorna 63, 1 0 7 Kaveney, Roz 7 5 , 1 0 1 Kiss M e Deadly 2 9

Kindred: The Embraced 3 1 Kinsey, Tammy 1 0 8 Kouf, J im 1 3 , 1 6 , 1 8 , 2 2 , 24 Kristeva, Julia 5 0 Krutnik, Frank 40 Lavery, D avid 1 0 , 29

Law and Order 7 Leave It to Beaver 6 5 Lethal Weapon 7 3

Haunting, The 46

Lockley, K a t e 2 3 , 2 4 L o m e 4 , 2 9 , 5 5 , 5 6 , 6 4 , 9 2-9 5 , 102 Los Angeles 2-4 , 1 3 , 2 8 , 3 6 , 6 7 , 85 Lou Grant 7

Hills, Matt 4 5 , 5 0-5 1 , 54, 60 Holtz 22, 23, 24, 36, 3 7 , 78 Honeymooners, The 6 5 horror 8 , 3 1 , 3 2-3 5 , 3 8 , 3 9-40 , 44-62 , 9 6 , 1 0 3 ; body horror 46,

Magnum P.I. 6 5 Mars ters , James 4 , 6 , 7 3 , 1 0 5 . See also Spike Mary Tyler Moore Show, The 7, 99

Hallet , Andy 4 , 9 2 .

S e e also Lome

X