In an age when geek chic has come to define mainstream pop culture, few writers and producers inspire more admiration and response than Joss Whedon. From Buffy the Vampire Slayer to Much Ado about Nothing, from Dr. Horrible's Sing-Along Blog to The Avengers, the works of Whedon have been the focus of increasing academic attention. This collection of articles represents some of the best work covering a wide array of topics that clarify Whedon's importance, including considerations of narrative and visual techniques, myth construction, symbolism, gender, heroism, and the business side of television. The editors argue that Whedon's work is of both social and aesthetic significance; that he creates ""canonical television."" He is a master of his artistic medium and has managed this success on broadcast networks rather than on cable. From the focus on a single episode to the exploration of an entire season, from the discussion of a particular narrative technique to a recounting of the history of Whedon studies, this collection will both entertain and educate those exploring Whedon scholarship for the first time and those planning to teach a course on his works.

The Sopranos is recognized as the most successful cable series in the history of television. The Washington Post has called the popular series, winner of twenty-one Emmys and five Golden Globes, "the television landmark that leaves other landmarks in the dust." In every aspect -- narrative structure, visual artistry, writing, intertextuality, ensemble acting, controversial themes, dark humor, and unflinching examinations of American life -- The Sopranos has had few equals.

Offering a definitive final assessment of the series, The Essential Sopranos Reader aims to comprehensively examine the show's themes and enduring cultural significance. Gender and ethnicity, the role of dreams, the rebirth of HBO, the series' controversial finale, and other topics come under scrutiny in this highly accessible, engaging collection. The book concludes with an interview with Dominic Chianese, who played Uncle Junior in all six seasons of the show.

For every television series, the original vision grows within a press of forces-both social and artistic expectations, conventions of the business, as well as conventions of the art. Bad television-predictable, commercial, exploitative-simply yields to the forces. Good television, like the character of Buffy the Vampire Slayer, fights them. Fighting the Forces explores the struggle to create meaning in an impressive example of popular culture, the television series phenomenon Buffy the Vampire Slayer. In the essays collected here, contributors examine the series using a variety of techniques and viewpoints. They analyze the social and cultural issues implicit in the series and place it in its literary context, not only by examining its literary influences (from German liebestod to Huckleberry Finn) but also by exploring the series' purposeful literary allusions. Furthermore, the book explores the extratextual, such as fanfiction and online discussion groups. The book is additionally supplemented by an online journal Slayage (www.slayage.tv), created by the book editors in acknowledgement of the ongoing nature of television art. Rhonda V. Wilcox and David Lavery have written and edited several books and articles exploring the social, literary, and artistic merit of quality television. In addition to Buffy the Vampire Slayer, their work has covered a variety of programs including Twin Peaks, Northern Exposure, The X-Files, and The Sopranos.

After a slow and inauspicious beginning, Seinfeld broke through to become one of the most commercially successful sitcoms in the history of television. It was named by TV Guide as "The Greatest Show of All Time," and has become an entrenched part of American popular culture - its language, jokes, characters, and situations part of the water cooler vocabulary of two, even three, generations. This fascinating book includes classic articles on the show by Geoffrey O'Brien and Bill Wyman (first published in the "New York Review of Books" and Salon.com respectively), and a selection of new and revised essays by some of the top television scholars in the US - looking at issues as wide-ranging as Seinfeld's Jewishness, alleged nihilism, food obsession, and long-running syndication. The book also includes a comprehensive episode guide, and Betty Lee's lexicon of Seinfeld language.

In an age when geek chic has come to define mainstream pop culture, few writers and producers inspire more admiration and response than Joss Whedon. From Buffy the Vampire Slayer to Much Ado about Nothing, from Dr. Horrible's Sing-Along Blog to The Avengers, the works of Whedon have been the focus of increasing academic attention. This collection of articles represents some of the best work covering a wide array of topics that clarify Whedon's importance, including considerations of narrative and visual techniques, myth construction, symbolism, gender, heroism, and the business side of television. The editors argue that Whedon's work is of both social and aesthetic significance; that he creates ""canonical television."" He is a master of his artistic medium and has managed this success on broadcast networks rather than on cable. From the focus on a single episode to the exploration of an entire season, from the discussion of a particular narrative technique to a recounting of the history of Whedon studies, this collection will both entertain and educate those exploring Whedon scholarship for the first time and those planning to teach a course on his works.

Exploring the history of comic books adapted for the screen, the authors explain how the US TV show 'Heroes' has been affected by the decades of comic book superheroes before it. Also analysed are the archetypal characters of the show, its huge fan base and the link to other series such as 'Lost'.

Bada bing! What drama. "The most important work of American popular culture in fifty years" is how the "New York Times" describes "The Sopranos". Critically-acclaimed, award-winning, and the most watched show on HBO, the mobster drama swirls around the middle-aged Mafioso, Tony Soprano (James Gandolfini). Having to negotiate two families, both at home and at work, is it any wonder he is suffering an epic midlife crisis involving Prozac and visits to a therapist? The series quickly became compulsory watching when it first screened back in 1999 and has since gone on to become an international hit and subject of intense discussion. Coinciding with the sixth and penultimate series, "Reading The Sopranos" offers a timely response to one of the most talked about shows on television. This book explores how "The Sopranos" has rewritten the rules of television drama and changed attitudes about television itself. Contributors present fresh perspectives on psychotherapy and dreams; racism and the Italian-American community; Carmela and post-feminism; "The Sopranos" as an HBO brand; racism; the full cast of 'gangsters Italianate' that people Sopranos' New Jersey; and much more. Reading "The Sopranos" also features a timeline, character list and complete episode guide, as well as editor David Lavery's up to date 'Intertextual Moments and Allusions on The Sopranos'.

Bringing together seventeen original essays by scholars from around the world, Screwball Television offers a variety of international perspectives on Gilmore Girls (WB/CW, 2000-2007). Adored by fans and celebrated by critics for its sophisticated wordplay and compelling portrayal of a mother-daughter relationship, this contemporary American TV program finally gets its due as a cultural production unlike any other - one that is beholden to Hollywood's screwball comedies of the 1930s, sleeped in intertextual references, and framed as a 'kinder, gentler kind of cult television series' in this lightly focused yet wide-ranging collection. This volume makes a significant contribution to television studies, genre studies, and women's studies, taking Gilmore Girls as its focus while adopting a panoramic critical approach sensitive to such topics as serialized fiction, elite education; addiction as a social construct; food consumption and the disciplining of bodies; post-feminism and female desire: depictions of journalism in popular culture; the changing face of masculinity in contemporary U.S. society; liturgical and ritualistic structures in televisual narrative; Orientalism and Asian representations on American TV: Internet fan discourses; and new genre theories attuned to the landscape of twenty-first-century media convergence. Screwball Television seeks to bring Gilmore Girls more fully into academic discourse not only as a topic worthy of critical scrutiny but also as an infinitely rewarding text capable of stimulating the imagination of students beyond the classroom.

No recent television creator has generated more critical, scholarly, and popular discussion or acquired as devoted a cult following as Joss Whedon (b. 1964). No fewer than thirty books concerned with his work have now been published (a forthcoming volume even offers a book-length bibliography), and ten international conferences on his work have convened in the U.K., the United States, Australia, and Turkey. Fitting then that this first volume in the University Press of Mississippi's "Television Conversations" series is devoted to the writer, director, and showrunner who has delivered "Buffy the Vampire Slayer" (The WB, 1997-2001; UPN, 2001-3), "Angel" (The WB, 1999-2004), "Firefly" (2002), "Dr. Horrible's Sing-Along Blog" (Webcast, 2008), and "Dollhouse" (FOX, 2009-10).

If Whedon has shown himself to be a virtuoso screenwriter/script-doctor, director, comic book author, and librettist, he is as well a masterful conversationalist. As a DVD commentator, for example, the consistently hilarious, reliably insightful, frequently moving Whedon has few rivals. In his many interviews he likewise shines. Whether answering a hundred rapid-fire, mostly silly questions from fans on the Internet, fielding serious inquiries about his craft and career from television colleagues, or assessing his disappointments, Whedon seldom fails to provoke laughter and reflection.

The Essential Cult TV Reader is a collection of insightful essays that examine television shows that amass engaged, active fan bases by employing an imaginative approach to programming. Once defined by limited viewership, cult TV has developed its own identity, with some shows gaining large, mainstream audiences. By exploring the defining characteristics of cult TV, The Essential Cult TV Reader traces the development of this once obscure form and explains how cult TV achieved its current status as legitimate television.

The essays explore a wide range of cult programs, from early shows such as Star Trek, The Avengers, Dark Shadows, and The Twilight Zone to popular contemporary shows such as Lost, Dexter, and 24, addressing the cultural context that allowed the development of the phenomenon. The contributors investigate the obligations of cult series to their fans, the relationship of camp and cult, the effects of DVD releases and the Internet, and the globalization of cult TV. The Essential Cult TV Reader answers many of the questions surrounding the form while revealing emerging debates on its future.

Dear Angela includes fourteen critical essays that examine the brief-lived but landmark television series, My So-Called Life (1994-1995). Though certainly not the first young woman to be the center of a television series, Angela Chase and the show about her life were doing something new on television and influenced many of the shows about young people that followed. Michele Byers and David Lavery bring together enthusiastic and engaging voices that bear on a series that continues to be hailed as a breakthrough moment in television, even though more than a decade has passed since its cancellation. Tackling a broad range of topics-from identity politics, to music, to infidelity, and death-each essay builds upon a belief that My So-Called Life is a particularly rich text worth studying for the clues it offers about a particular moment in cultural and television history. Dear Angela offers a sophisticated analysis of the show's legacy and cultural relevance that will appeal to media studies scholars and fans alike.

Dear Angela includes fourteen critical essays that examine the brief-lived but landmark television series, My So-Called Life (1994-1995). Though certainly not the first young woman to be the center of a television series, Angela Chase and the show about her life were doing something new on television and influenced many of the shows about young people that followed. Michele Byers and David Lavery bring together enthusiastic and engaging voices that bear on a series that continues to be hailed as a breakthrough moment in television, even though more than a decade has passed since its cancellation. Tackling a broad range of topics_from identity politics, to music, to infidelity, and death_each essay builds upon a belief that My So-Called Life is a particularly rich text worth studying for the clues it offers about a particular moment in cultural and television history. Dear Angela offers a sophisticated analysis of the show's legacy and cultural relevance that will appeal to media studies scholars and fans alike.

For every television series, the original vision grows within a press of forces-both social and artistic expectations, conventions of the business, as well as conventions of the art. Bad television predictable, commercial, exploitative simply yields to the forces. Good television, like the character of Buffy the Vampire Slayer, fights them. Fighting the Forces explores the struggle to create meaning in an impressive example of popular culture, the television series phenomenon Buffy the Vampire Slayer. In the essays collected here, contributors examine the series using a variety of techniques and viewpoints. They analyze the social and cultural issues implicit in the series and place it in its literary context, not only by examining its literary influences (from German liebestod to Huckleberry Finn) but also by exploring the series' purposeful literary allusions. Furthermore, the book explores the extratextual, such as fanfiction and online discussion groups. The book is additionally supplemented by an online journal Slayage (www.slayage.tv), created by the book editors in acknowledgement of the ongoing nature of television art. Rhonda V. Wilcox and David Lavery have written and edited several books and articles exploring the social, literary, and artistic merit of quality television. In addition to Buffy the Vampire Slayer, their work has covered a variety of programs including Twin Peaks, Northern Exposure, The X-Files, and The Sopranos.

Full of Secrets is the complete source book on ""Twin Peaks"", the first foray into television for prominent film director David Lynch. Addressing a wide variety of topics, including the series' cult status, its obsession with doubling, and its silencing of women, this diverse group of essays analyses the series from feminist, deconstructionist and semiotic perspectives. The show, which earned 14 Emmy nominations in its first season, was originally tauted as capable of changing television forever. Due to its unique visual style, its resistance of stereotype - it was a hybrid of FBI drama, murder mystery, soap opera, comedy and commercial - and its controversial subject matter centred around father-daughter incest, ""Twin Peaks"" was, for a time, the most talked about show on television. Because it was at once subversive and innovative, many found it hard to believe that this moody, bizarre, intertextual, and self-referential series found an audience on network television. To help explain the phenomenon, ""Full of Secrets"" looks at ""Twin Peaks"" from a critical and interpretive standpoint. In doing so, the book not only acts as an essential guide to the series, but it also raises questions about the very nature and function of television in the 1990s. Containing virtually everything necessary for an in-depth examination of the series' importance and meaning, this book also features a director and writer list, a cast list, a ""Twin Peaks"" calendar, a complete scene breakdown for the entire series, and a comprehensive bibliography.

Apart from its brilliance as television, it's amazing what "Deadwood" gets away with. This acclaimed series from HBO, which premiered in 2004, is set in the teeming outlaw camp of 'Deadwood'. It has been described by "Variety" as 'a vulgar, gritty, at times downright nasty take on the Old West brimming with all the dark genius that series creator and sceenwriter extraordinaire David Milch has at his fingertips'. All this and more. The international cast of authoritative contributors assess "Deadwood's" many facets: its profane language, its characters, from Al Swearengen (who lives up to his name) and Calamity Jane, to B.B. Farnham and Mr. Wu, its place in the western genre, "Deadwood" and serial fiction, prostitution, the making of American civil society, "Deadwood's" Chinese, the opening credits, Reverend Smith and much more. Episode and character guides complete the book - the "Deadwood" companion for fans and students to swear by.

The release of both his horror flick "The Cabin in the Woods" and the box-office sensation, "Marvel's The Avengers" saw the return to creative and critical success of Joss Whedon.
After establishing himself as a premier cult creator, the man who gave us great television with "Buffy the Vampire Slayer," "Angel, ""Firefly," "Dollhouse" and web series "Dr Horrible's Sing-along Blog," as well as comic books including "Fray" and "Astonishing X-Men," finally became the filmmaker he'd long dreamed of being. Drawing on a wide variety of sources and making use of psychologist Howard Gruber's insights into the nature of the creative process, "Joss Whedon, A Creative Portrait" offers the first intellectual biography of Whedon, tracking his career arc from activated fan boy to film studies major, third generation television writer, successful script doctor, innovative television auteur, beloved cult icon, sought-after collaborator, and major filmmaker with Marvel's The Avengers. Film and television scholar and Whedon expert David Lavery traces Whedon's multi-faceted magic from its source - the early influences of parents and teachers, comics, books, movies, collaborators - to its artistic incarnation.