Once Upon a Time, there was a mildly interesting Sheriff...

... he did not live Happily Ever After.

 *This entire article is spoilers. Be forwarned if you haven't yet seen Once Upon a Time, Buffy, Angel, Lost, The Sopranos or MASH*

It's an unpopular move to kill off a character the audience likes. Or to kill anyone, really. Fans of serialized dramas get all up in arms over the effort it will take for them to invest in someone new after years (or months, in this case) of caring about the newly-deceased character. But I think it's brave. When the Lost writers dared to kill off the popular (and very pretty) Boone after only 20 episodes and Whedon sent Doyle out only 9 episodes in, they risked losing their audience. But nothing raises the stakes like an important death, and shows like Alias (which kept reviving its characters after conveniently dramatic "deaths") lose their credibility quickly when the only people who don't make it out of the life-or-death situations are extras named Goon #4. The death of Tara brought Buffy's Scooby Gang back to earth, knowing they weren't invincible; the hit on Adriana woke the audience up to the unforgivable evils of the Soprano family; the death of Col. Henry Blake on MASH remains one of the most poignant moments in sitcom history (TV history as a whole, really). It takes guts to risk your audience leaving you, but the best writers know that if the death serves the story, they'll quickly be forgiven.

I'm hoping that's the case with Once Upon a Time's recent death. I'm not loving the show (Jennifer Morrison is nowhere near likable enough to anchor her own series) and I mostly blame it for being the "success" that will mostly take the far-superior Pan Am down. But Sunday's episode raised the stakes on the unforgivably silly, unbalanced, mythological messy action. And while that act did mark the end of one of the only characters who at all had me engaged, he went out in a world-strengthening way; strengthening that was wholly overdue.

The episode explored the mythology behind Jamie Dornan's Sheriff Graham, who I'd always assumed was The Big Bad Wolf but turned out to be the wolf-raised Huntsman from Snow White's backstory. One of the only characters with any sort of complex moral struggle happening (I'm sorry Lana Parrilla, but your evil queen just isn't nearly as complicated as she should be), Graham was a small light in an otherwise muddied landscape of characters either over-idealized, under-written or just plain blegh (here's lookin' at you, detestable Emma).

His interesting backstory should easily have warranted 3 or 4 episodes of exploration, but since showrunners Edward Kitsis and Adam Horowitz seem intent on following the Lost model of one-character-story-per-week and this ain't no 2004, time was not a luxury Graham was allowed to enjoy. But he went out with a bang, the Evil Queen/Town Mayor squeezing his heart-in-a-box until it ceased to exist and his elsewhere body ceased to function. It was the first time the fairytale world had physiological ramifications in Storybrook, an interesting place for the story to go, even if it did signal the too-early end for Graham (coincidentally, the show's best eye candy, joining Boone in the "you're pretty, you should DIE" category).

I'm choosing to believe that Graham's kinda cool death is a good thing for the series. Maybe it means that Kitsis and Horowitz have a stronger handle on the rules of their mythology than they seem to. Maybe it's supposed to be a message, that they're not playing around with the stakes here- this is a show where beloved hobbit rockstars can drown while trying to save the people they love! No, wait, that's that other show we seem to be desperately trying to relive here. Even though I'll miss him, the death of Graham could be  exactly what Once Upon a Time needs to be taken seriously, but I need to know that the writers had a reason, and not just a precedent.

EXCLUSIVE INTERVIEW: Amy Acker

In the first interview of our 2009 "My TV Nominee Series", I had the amazing opportunity to speak one on one with one of My TV's favourite actresses. The lovely and talented Ms. Amy Acker (of Angel and Alias fame) was gracious enough to take a few minutes of her time to talk about her My TV nomination (best female guest star, Dollhouse), her favourite roles, reading Shakespeare, working with Whedon and how badly she wants to join the cast of Big Love.

My questions are in blue and Amy's answers in italics.

You’ve played geniuses, goddesses, a doll and even a man, what presented the greatest acting challenge? Do any of them stick out as the most fun?

[laughs] I’m too embarrassed to watch the episode where I played a man.

That’s the great thing about working with Joss [Whedon] and on 'Alias'. I’m just so lucky, I get to do so many things, you never know what you’re going to play. The man was out of my comfort zone, and Whiskey being so sexy, that is not me at all, that was probably the one that I was most scared of.

Do you have a favourite role, series or episode you’ve worked on?

Maybe Fred. Maybe because it was my first real job and getting to do the show for so long. And just the way she started out and changed and became Illyria at the end, I would say Fred.

What would you say is the one thing you think fans would be surprised to learn about working with Joss Whedon?

Hmmm… I feel like he’s very much how he writes, funny and smart and everything you’d want him to be. He’s one of my best friends in the world, I’m just glad to have the opportunity to get to work with him. He never tries to be anything other than who he is. He’s such a nice and caring director who always wants to push everybody out of their comfort zone, so its always exciting. There’s always something you feel you can’t do and Joss has this ability to bring it out of you.

One of my favourite stories from the TV industry is the idea for Illyria coming from a Shakespeare reading at Joss’ house. I’m a Shakespeare nut myself, are these readings a regular occurrence? Who is the usual crowd who participates? And What are some of your favourite roles to read?

Joss’ wife built the most amazing house in the world, they have this amphitheatre in the backyard. The readings used to be a lot more common during Angel, like once a month. (The 'Angel' group was really into it, Alexis [Denisof], J [August Richards] and all those guys really loved doing it). We did one that I was a part of during 'Dollhouse', we did 'Hamlet'. Olivia [Williams] was amazing; it’s always so fun to see these people you associate with their characters doing the Shakespeare reading. A while ago, one of the first ones was 'Midsummer [Night’s Dream]', I was Helena, which I’ve always wanted to play. I’m not going to say there isn’t champagne and wine, its like a casual party, there just happens to be Shakespeare.

Do you have any plans to do theatre now that you’re in New York? Maybe finally get to play

Helena?

I haven’t been here long enough, but I have the spring off so I’m hoping to do some theatre. I haven’t done it since college. My husband’s in 'Rock of Ages' on Broadway right now, it’s his dream job.

Do you watch a lot of TV? What are some of your favourite series?

My favourite show right now is 'Big Love', I’d love to be on that show. I would go to Utah, I don’t care, I love that show.

Dollhouse is a confusing show even for a viewing audience. Bouncing from scene to scene and only seeing part of the picture can you, the actors, make sense of the series as you’re going along? Do you watch the show when it airs?

Yeah, kind of, I would say. It sometimes felt like if we started to figure it out too much we’d just have more questions. I think we understood what we were trying to do with our characters. I found that I really had to watch it because I wasn’t in all the episodes so if I didn’t watch I’d be really lost. But the writers do a really good job of answering any questions we have.

*SPOILER ALERT* Did you have any idea your character was a doll? Was that all in Joss’ master plan or was it like Illyria, a sudden series-changing idea?

He actually had said that if it works out he wanted to make that happen. I knew from the beginning that that was his ideal plan.

You’ve got a new series for ABC [Happy Town] coming down the pike, how’s that shaping up and how does it compare to what you’ve done before?

I think its gonna be really exciting. It has a lot of the same qualities as 'Dollhouse' and 'Alias'; a lot of interesting characters. Everybody changes a lot throughout the story. It’s set in a small town. I think its gonna be really good. Everybody keeps saying “There’s really nothing like this”, those are the fun shows to be on. It’s a real mystery, you don’t really know if there’s going to become a magical element or what. [Happy Town, which shoots in Ontario, premieres on ABC in April].

Have you and Joss ever considered teaming up to do a show with you at the center?

Anything Joss is doing I’m excited to try to work on and make him want to cast me in. He has so many ideas and things he’s always working on. But that would be so great.

and now for the goofy questions...

Who do you choose to help you fight off the zombies in the apocalypse, Buffy or Echo?

I’ll go with Echo because I know her better

Who’s smarter, Fred or Topher?

I think Fred could easily take Topher.

Who would you rather meet in a dark alley, Alpha or the Wolfram & Hart senior partners?

I think I’d go with the Wolfram & Hart guys.

If you could co-star with anyone in the world who would it be?

Ginnifer Goodwin, so I could be on 'Big Love'.

How about someone you’ve already worked with? Anyone you’d love to work with again?

I would say Alexis [Denisof]. He’s such a great actor to work with, I miss doing scenes with him.

If you could be imprinted, doll-style with anyone at all, who would you choose and why?

I don’t know! [frets for a good long while over this one].

Settle one of my favourite TV love triangles of all time: Wes or Gunn?

Ohhh, Wes. It was ultimately supposed to be Wes.

Is there anything you’d like to add?

I don’t think so. Thanks for talking to me and thanks so much for the nomination!

Thanks a lot Amy! My TV Award Winners will be announced in March.

Oh, and because I jokingly promised her I'd add this:

Dear Big Love Showrunners,

CAST AMY ACKER

Love, The My TV Team

A Thoroughly Entertaining Read

One of Entertainment Weekly's newest photo galleries is a run down of what they consider to be the 25 greatest episodes in the Whedonverse. And while I don't agree with every choice (how are "Waiting in the Wings", "Tabula Rasa" and "Spin the Bottle" not on this list?), they get it almost exactly right.

So, in honour of Dollhouse's 2nd season premiere this week, click here to read all about the best of Buffy the Vampire Slayer, Angel, Firefly, Dr. Horrible's Sing-a-long Blog and Dollhouse, you'll be amazed at the fact that you let yourself forget just how much of a genius the man really is.

Dollhouse Event: Needs

Last night's Dollhouse was advertised by FOX as an "Event" and Whedon himself hyped it by saying that 6 and 8 were the real pinnacle of the beginning of the Season. I have to say though, I was a little... dare I say it?... disappointed.

It's not that "Needs" wasn't a good episode, rife with metaphoric and character awesomeness, but if you're expecting the type of show changing insanity of Episode 6 (or even the type of show changing insanity seemingly promised by a preview that featured the line, "Echo?" "Not anymore."), you'll be disappointed.

Let's start with what I did like: The beginning Ballard fantasy sequence, which was basically en excuse for Eliza and Tahmoh to make out, and to feature more naked Ballard scenes. But it also served to fully articulate how far down the Echo-rabbit-hole he's falling.

The basic plot of tonight's episode (which is inherently spoileriffic to discuss, since the episode was a twisty mind frack of an episode that played upon our lack of knowledge, so please don't read this until you've seen the episode) was that Dewitt, seeing the way that the glitches and the mistakes keep growing and growing inside the Dollhouse, decides they need to turn to radical measures to fix up their house. Throughout the episode, they play with our understanding of exactly what is going on. Then all our main dolls wake up, suddenly their normal selves (Caroline, etc.). This provides us with an excellent opportunity to get to know their real selves, and unlike the time spent with Caroline last week, it was pretty great. Non-doll Victor was all sorts of awesome love (in fact, Victor is quickly becoming one of the hidden strengths of this show. He's the only actor who does everything from blank state to comedic love slave to russian informant with equal aplomb), and australian-accented Sierra was great. Their love story, before now only seen through man-reactions in doll state, was really brought to the foreferont, and it was all the adorable, chemistry beautifulness that I've come to expect from Whedon-love. Caroline was much less annoying, and, although I still think she's a dummy for going back into The Dollhouse once she had the opportunity to escape, it's starting to feel more like a character choice and less like a failing. Mellie's storyline was sad, and all, but god was that dress they put her in awkwardly fitting.

The doll-awakening is played intentionally ambiguous for awhile, and this works well. Are we meant to think Alpha or the inside man are finally making their big move? That's the closest we got to a theory, until this.

Dominic: Four actives are attempting to escape.
Dewitt: Right on Schedule.

BAM WOW! Cut to commercial break.

So, it peels out, that Dewitt in fact not only knows of the brewing would-be mutiny, but she's using it to test her security systems. Just when we think we've got a handle on it, when Echo triumphantly leads Dewitt and all the other dolls out at gunpoint and we're left to think "WHAT THE FRACK?" She collapses to the ground. Everything you thought you knew and saw is completely different.

It turns out that all the dolls, "broken" as articulated by Boyd two weeks ago, are haunted by the lives they once lived and the experiences they had. You can wipe a mind, but you can't erase the past no matter how much you try. In an attempt to help characters who no longer live the lives they need to fix get over the issues that led them into the Dollhouse's grasp in the first place, Saunders came up with a plan to revert them to their original programming, sans memories, and allow them to find the closure more often than not denied to them. It's a beautifully structured metaphor that plays out dramatically.

The overall structure of this week's episode is classic Joss Whedon. He sets us up to believe we're watching one type of episode, and then in the last ten minutes completely flips the setup by returning to a scene we thought we had already experienced. (See also: Angel "Power Play" and Buffy "Enemies") It works well, and also is symbolic of how much this show wants to play with what we think we know.

This episode also gave us a lot of opportunity to explore the confines of the show's more ambiguous characters. Topher truly believes he's doing good in the world (and it went a long way towards making me love him that rather than being pissed or scared when Echo breaks into his lab and cuts the power, he's impressed). Dewitt has her own, strict rules and beliefs in regard to the Dollhouse. Saunders is as damaged morally as any other person in that hellish place. For the third episode in a row, Boyd got to play the least ambiguously good guy, but I'm starting to wonder, how long can a good man take part in bad things without becoming weak (or worse yet, bad himself)?

There's also hints of further backstory, such as Dewitt telling Caroline, "you couldn't live with the consequences of your actions." It's got to be more than just a boyfriend getting hit in accidental fire during a misguided animal rights campaign. The Sierra into Doll storyline is still playing with the rape themes, and I'm hoping she gets to play more than sexual victim in the future (albeit a badass, australian, sexual victim).

On top of that, we also got a pretty big fleshing out of the way the contract works, or at least the way that Topher thinks it works. And we get to see the scope of our individual dollhouse franchise, which helps to repress any qualms we might have with the idea that none of the missions we see seem to go off without a hitch (there's actually a lot of dolls we know nothing about, doing their jobs effectively and without needing major saving a la Echo).

I found myself annoyed through a lot of this episode by what I was perceiving as obvious plot holes. Then, as if he could hear my brain, Whedon fixed it. Why would Echo and one gun be able to completely dismantle the Dollhouse? Oh wait, she couldn't (they're playing her). Why would only the dolls we care about be affected by the awakening? Totally intentional. Why would Dewitt risk all these dolls just to test her security and not even program in some sort of failsafe? She wouldn't. Why would I watch a whole episode (a whole, hugely hyped episode) just to have it all hit the reset button at the end? We wouldn't.

The only true forward momentum in this episode happened in the last four minutes. After all the Echo, Dewitt, Mellie, Sierra and Victor shenanigans, we cut back to Ballard, whose been back in fact finding mode all episode (since his early on steaminess with Eliza). Just when I was ready to write the whole episode off, he gets a phone call from a pre-mind-wipe Caroline, dropping tantalizing hints and propelling him forward into the next episode.

In contrast to last week's review, I feel like this one is almost too positive. Oh well. Great Whedon episodes are like rich novels.

Random Fun:

Dominic (explaining the dolls): If you're child starts to talk, you're proud. If you're dog starts to talk, you freak the hell out.

Caroline: definitely feeling kind of lab ratty.
(super Buffy-esque)

They don't remember who they are, but Victor remembers the New York starting lineup from 1996? (and hehe, he's a Mets fan, aka the good kind of New Yorker)

Mike (the last doll) was the classic Red Shirt from Star Trek. And if you don't get that reference,y ou're probably a lot cooler than me.

Kickin' girl fight between the handler and Caroline.
Topher: I am BTW. Afraid of the dark."

Caroline: (re: Dewitt) then you are one sick bitch.

Caroline (also re: Dewitt) Your unbearable truth lady? You're not as important as you think you are.

Saunders: (explaining her whole scenario for this episode) Just the priority cases. Let the tide come in. It's the only way to wash it back out.

NEXT FRIDAY?! WE have a spy inside the dollhouse.
I feel like Dewitt says at least once every episode "I should have seen this coming."

Happier News in the Buffyverse

My favourite famous couple had a baby!

Alyson Hannigan and Alexis Denisof (Willow and Wesley in Buffy/Angel)'s first child, a daughter named Satyana Denisof, was born on March 24th, her mother's birthday, in LA.

After meeting on the set of Buffy the Vampire Slayer in 1999, the couple was married in 2003 and serve as godparents to Joss Whedon (the creator of Buffy/Angel)'s son Arden.

Alyson is currently starring in the CBS sitcom How I Met Your Mother (where they have been hilariously trying to hide her and her costar Cobie Smulders' baby bumps for months).

Congratulations Alyson and Alexis!

Mourning Lorne

It's a week of sadness for TV fans as we lose yet another beloved symbol of TV greatness. 

Andy Hallett, who played the singing demon Lorne on Angel died on Sunday. Hallett, who has been suffering from a heart condition for 5 years now, was only 33. 

Though he was relatively unknown as an actor (he was principally a singer), Hallett's iconic role will always be remembered by TV fans*.

*(Lorne was #20 on My TV's List of the 20 Best Buffyverse Characters). 

Shonda Picks Up Joss' Leftovers Once Again

With the recent guest appearance of Amber Benson on Private Practice, the total number of Buffyverse supporting players to appear on a Shonda Rhimes show has been pushed to 6 (that I can think of). 

Between Grey's Anatomy and it's spinoff Private Practice, Shonda fans have been treated to the best of the supporting casts of Buffy the Vampire Slayer and it's spinoff Angel, including Amy Acker, Alexis Denisof, Seth Green, Emma Caulfield and D.B. Woodside.

The connection is most likely due to the influence of Marti Noxon, a former writer and executive producer on both Whedon shows who now lives in Shondaland (in addition to working on a million other shows at once, not the least of which is Mad Men, which stars multiple Firefly alum). 

Here's how they fared on my ever-so-scientific ranking system:

1. Seth Green (lovable Oz was funny and charming as usual as a guy who could die at any minute who then sprayed blood all over an annoying Lexi in a 2 part Grey's episode last season)

2. D.B. Woodside (as Bailey's high school crush on Grey's Anatomy, Principal Wood was perfect casting)

3. Amy Acker (nobody else could inspire pathos towards a morally questionable mother on Private Practice the way the woman behind Fred/Illyria did)

4. Amber Benson (the PP writers gave Benson an emotional role with none of the subtlety that the Buffy writers gave Tara, but she did the best she could with what she had)

5. Emma Caulfield (though she gave life to one of the Buffyverse's most dynamic characters, Anya, her role on PP was far from memorable)

6. Alexis Denisof (with the worst role of the lot, my favourite actor on this list somehow manages to come in last. His thankless role as an un-BigLove-like polygamist on PP would have made my beloved Wesley cringe)

Post in the comments section which Whedon actor you'd like to see next in Shondaland. I'm thinking Nicholas Brendon. 

Valentines

It's that time of year again. Flower prices are skyrocketing, restaurant reservations are hard to come by, jewelry stores are bustling and all around North America people are wishing that life were as romantic as their TV. 

So in honour of this most auspicious holiday, that of St. Valentine, I thought I'd revisit the issue of TV's greatest couples. In the months since my last list of this kind, circumstances have changed for some of the list toppers (I'm talking about you Mr. Grubstick, how dare you become annoying) but some remain eternally perfect for each other. So, without further ado, here are my favourite television valentines (and some of their sappiest lines) in no particular order:

Marshall Erikson and Lily Aldrin (How I Met Your Mother): "I love you because, one, you made me a sack lunch, and two, you laugh every time you say the word 'sack'"- Marshall Erikson. 

Jim and Pam (The Office): "When you're a kid, you assume your parents are soulmates. My kids are going to be right about that"- Pam Beasley.

Tammi and Erik Taylor (Friday Night Lights): "I bring this up because as usual my wife is always right"- Erik Taylor. 

Paul and Jamie Buchman (Mad About You): "Do you know how long I waited for you? My mother used to say I was too picky, or afraid of commitment, and that's why I was still unmarried by the age of almost 30. But the truth is, I was just looking for you"- Jamie Buchman. 

Monica Geller and Chandler Bing (FRIENDS): "I thought that it mattered what I said or where I said it. Then I realized the only thing that matters is that you. You make me happier than I ever thought I could be; and if you'll let me, I will spend the rest of my life trying to make you feel the same way" -Chandler Bing (proposing)

Cory Matthews and Topanga Lawrence (Boy Meets World): "Ever since I was young I never understood anything about the world, and I never understood anything that happened in my life. The only thing that ever made sense to me was you" -Cory Matthews (his wedding vows). 

Seth Cohen and Summer Roberts (The OC): "for me it's always been you Summer, it's always been you. I've tried to fight it and I've tried to deny it and I can't. You're undeniable" - Seth Cohen.

Scotty Wandell and Kevin Walker (Brothers & Sisters): "I am completely, completely in love with you. I even love the things about you that I hate. Because you make me feel like I don't have to be anyone other than who I am, and to me that feels like family"- Kevin Walker. 

Wesley Wyndam-Pryce and Winifred Burkle (Angel): "You are my sunshine, my only sunshine. You make me happy when skies are grey"- Fred Burkle. 

Chuck Bass and Blair Waldorf (Gossip Girl): "I am me. And you are you. We're Chuck and Blair. Blair and Chuck. The worst thing you've ever done—the darkest thought you've ever had—I will stand by you through anything" - Blair Waldorf. 

Meghan Rotundi and Sean Blumberg (Felicity): "I love Sean. I love guys. I wish I didn't, they're such idiots" - Meghan Rotundi. 

CJ Craig and Danny Kincannon (The West Wing): "So, if I'm gonna jump off the cliff, and you're gonna get pushed off the cliff, why don't we hold hands on the way down?"- Danny Kincannon

Geoffrey Tennant and Ellen Fanshaw (Slings & Arrows): "We're both big fat losers"- Geoffrey Tennant; "you're my only friend, isn't that pathetic?" -Ellen Fanshaw. (pictured at top of post)

I Figured It Out

I'm watching Mad Men season 1 on DVD and Pete is bothering me even more than his slimy character is supposed to.  Now I've finally figured out why. 

Pete Campbell is played by Vincent Kartheiser, the actor behind the worst character ever written by Joss Whedon (Connor on Angel). Connor was whiny, rash and violent as well as responsible for spearheading some of the worst plotting in history (season 4 end of the world anyone?).

No wonder Mad Men's face of youthful ambition bothers me so much, he's a grown up version of the face of the Apocalypse. 

Special Buffy/Angel Podcast

Check out the newest episode of the MY TV Podcast and hear Kelly and guest host Rachael debate the ins and outs of the Buffy/Angel-verse. 

and for more from Rachael check out her film review website "I watch movies then talk about them" by clicking the link below. 

http://livejournal.com/users/rn4_8_7

The Top 20 Characters of the Buffy/Angel-verse

  I've just finished watching the entire series of Angel on DVD. Now that my consumption of the Buffy cannon is complete I feel a little analysis is necessary. The best way I can think to do this is to analyse by character (my favourite aspect of the two spectacular shows). And thus I give you my run down of the 20 best characters in Joss Whedon's fantasy universe of vampires and slayers:

1) Wesley Wyndam Pryce (Alexis Denisof)

In every incarnation (the goofy failure of a watcher we meet in Buffy's third season, the wounded loner of Angel's fourth season or the romantic martyr in Angel's series finale), Wesley is the most engaging and multi-faceted character in the Buffy/Angel-verse. Played perfectly by the incomparable Alexis Denisof, Wesley's journey was that of brave defiance, tragic heartbreak, incredible longing, fierce loyalty and unparallelled growth. His flaws only make him stronger, more sympathetic and human. 

2) Anya/Anyanka (Emma Caulfield)

Like many brilliant characters, Anyanka was supposed to be a small part, but when Joss realized how very interesting the vengeance demon now trapped in a teenage life was she transitioned into a permanent member of Buffy's scoobie gang. In fact, she become the most entertaining and interesting character in the lot. Unused to being human, the newly re-named Anya's adjustment to mortal life was at times bumpy but always intriguing and poignant. Everything from her hilariously literal interpretations of things to her lack of understanding of customs to her beautifully innocent love for Xander to her resolution to fight alongside her friends and her eventual death make Anya, the former demon, one of the most human characters there is. 

3) Spike (James Marsters)    

Like Anya, Spike was simply a villain, brought in to cause some havoc in Sunnydale then scuttle out of the way like any other big bad. Thank God that's not what happened because without Spike, Buffy (and later Angel) would not have been the same series. This British bad ass not only gave us some amazing fight scenes and a good deal of the best one liners in TV history, he also had possibly the most pronounced character arc ever. His transition from rebellious villain to neutered love-lorn puppy to soulful and selfless hero is pure writing and performance genius and makes Spike one of the most popular television characters ever, and most rightly so. 

4) Cordelia Chase (Charisma Carpenter)

When executive producer David Greenwalt insisted on bringing the sunny and superficial Cordelia over to Angel after her graduation from Sunnydale High he couldn't have been making a better decision. On Angel Cordelia blossomed from the sometimes sweet and always funny spoiled princess into the moral centre of a group of true heroes. When the true Cordelia made her exit at the end of Angel's third season (later to appear only as a divine manifestation or possessed by an evil spirit) she was a completely different girl than the one she'd been 6 years earlier on Buffy. She was smart, independent, caring, strong, loyal, down to earth and heroic. Cordy kept Angel inspired, Gunn in line, Wesley sane and Fred brave and in doing so saved the world, even after she had left it far behind. 

5) Winifred 'Fred' Burkle (Amy Acker)

Everything from crazy in a cave to the elegant object of multiple men's desire to the tough and ingenious head of Wolfram & Hart's science division, Fred transformed on a daily basis, never losing the innocent sweetness that made her so unique in the first place. The brilliance that is the beautiful Amy Acker's superb talent can't be challenged once you see her play all these parts rolled into one superbly lovely character AND the intense other worldly goddess who takes over Fred's body in Angel's final season. With a unique turn of phrase and an incomparable capacity for empathy, Fred is such a wonderful character that when she's in danger all Angel has to say to rally the troupes to save her is "Winifred Burkle". 

6) Willow Rosenberg (Alyson Hannigan)

Buffy's best friend and saviour of the world many timesover, Willow is a fan favourite in the Buffyverse. Her independent spirit, sunny outlook, innocent and trusting nature and fierce intelligence and 

magical ability make Willow one of the most endearing and coolest characters out there. Too cool, in fact, for the cool kids. Oh, and did I mention she turned evil when the love of her life was killed? If we're talking intense emotion Willow's got it. And if we're talking meaningful relationships with other characters, Xander saved the world with his love for Willow so clearly she's got the meaningful connection thing down as well. 

7) Darla (Julie Benz)

The meanest vamp on the block, Darla defined the sexy villainess, sending Angel reeling with her very presence. After her premature death on Buffy, Darla's reappearance at the end of a somewhat dreary first season of Angel infused the show with an intense energy that she carried with her until her triumphant self-sacrificing death in season 3. In fact, Darla'sdeath to save her unborn child from her own soul-less self was perhaps the most meaningful death on the show. 

8) Faith (Eliza Dushku)

In the grand tradition of Whedon characters who spend time being ultimate heroes AND ultimate villains, Faith is pretty close to the top of the list of the best of both worlds. Her descent into villainy with the Mayor in season 3 of Buffy, her redemption in season 4 of Buffy and season 1 of Angel and her reappearance to save the world twice over in the space of a couple weeks in season 4 of Angel and 7 of Buffy make for some of the most memorable episodes of both shows. This bad ass slayer is one of the verse's coolest characters, walking the line between good and 

evil and seeking redemption for her sins. 

9) Oz (Seth Green)

Joss Whedon says that when he wrote the character of Oz he wanted to write a character who was "so cool he could see how cool Willow was" and he did. Oz may have turned into a gigantic fanged beast every full moon but the rest of the time he was the definition of cool; the kind of cool that is so cool it can make anything cool and has no need to be cool. 

10) Charles Gunn (J. August Richards)

and speaking of cool. Gunn is cool, even when he's singing "three little maids from school". With a big brain and an even bigger heart, the "muscle" of Angel's crew proved that he was more than he seemed. Who wouldn'tswoon over how far he would go for his love for Fred? and when Gunn screwed uphe wouldn't rest until he'd atoned for his actions; his sense of justice was incomparable. 

11) Rupert Giles (Anthony Stewart Head)

Buffy's father figure was more than just the exposition man. He was the group's guide post and source of strength. Giles' own tumultuous past informed every decision he made from murdering human Ben in order to rid the world of evil Glory to cautioning Willow against relying too heavily on magic to leaving Buffy so that she could learn to stand on her own. 

12) Xander Harris (Nicholas Brendon)

The sidekick, the third wheel, the moral support, Xander may have been the only scoobie with nothing supernatural to offer the group but his incredibly relatable character gave viewers a way into the 

show. He was the 'everyman' in extraordinary circumstances but his love for the people around him was in itself so noteworthy that his otherwise unimpressive character became somewhat remarkable.  

13) Angel (David Boreanaz)

Less remarkable for his own somewhat tedious mythology and more notable for what he meant to other characters, the presence of Angel in both shows was central to the development of almost everyone. His relationships with Cordelia and Wesley were some of the most meaningful in the verse and Buffy's sacrificing her own happiness with him and killing him in order to save the world revealed more about the nature of sacrifice and her destiny as the slayer than even her sacrificial suicide in season 5. 

14) Buffy Summers (Sarah Michelle Gellar)

She had to make the list somewhere. Even though I find the supporting characters far more engaging than either Buffy or Angel, it must be acknowledged that they are the centre of their shows and without their stories there would be nothing to tell. Buffy kicked butt. She inspired others, and saved the world even when wallowing in self 

pity, and she did it in high fashion while spouting clever comments. 

15) Andrew Wells (Tom Lenk)

Hahahahaha. Thatis all that needs to be said about Andrew. In a season (Buffy season 6) filled with misery and brooding, Andrew and his cohorts lifted the series back into the realm of lighthearted with their turn as the season's "big bads". Returning as one of the "good guys" in season 7, Andrew provided the expected comic relief and came through with the occasional incredibly touching moment such as his scene in the hospital with Anya and his recounting her death to a heartbroken Xander. 

16) Lilah Morgan (Stephanie Romanov)

This femme fatale of Wolfram & Hart may have been tedious at first but through her relationship that wasn't a relationship with Wesley she grew into a complicated and fascinating villain and queen of the "grey area". Even after her death, Lilah's commanding presence was intriguing and her relationship with Wesley when she was alive added unexpected layers to both of their characters, no one ever truly knowing what they really meant to one another. 

17) Harmony Kendall (Mercedes McNab)

It wasn't until she was killed at her high school graduation that Harmony was finally released from her constraining role as Cordelia's sidekick and allowed to become the hilarious character she was. As a vampire, Harmony returned on Buffy and Angel as the most comically clueless vampire there ever was, a bizarre love interest for Spike and a surprisingly good (if somewhat untrustworthy) assistant to Angel. Promoted to regular cast 

member for the final season of Angel, Harmony added some much needed girly spunk to the mix in the absence of Cordelia. 

18) Tara Maclay (Amber Benson)

Love lesbian Willow or hate her, the Willow and Tara relationship was beautiful. Tara brought out a brilliant strength in Willow and Willow's presence in Tara's life gave her the sense of self to stop hiding in the shadows. 

19) Drusilla (Juliet Landau)

This crazy vampire's relationship with Spike solidified within the verse's mythology that soulless vampires can, in fact, feel love. She played a crucial role in the dynamic of the core four vampires and their familial hierarchy (Darla sired Angel who sired Dru who sired Spike), and her insane amounts of crazy not only made Dru interesting, they also made her intensely scary as the unhinged villainess loose on Sunnydale and LA throughout both series. 

20) Lorne (Andy Hallett)

and last but not least, the host of the infamous karaoke bar on Ange lost some of his pizazz when he became an everyday player, but Lorne's special sparkle still deserves to make the list. His unique ability to read people when they open their hearts to sing was a fascinating plot and character device while the addition of details of his family life in Pylea added depth to the character. Lorne was always quick with the one liners and could always be counted on for a fun (if slightly condescending) nickname for Angel, making him a great addition to the show. 

For more Buffy/Angel goodness be sure to download the upcoming Buffy/Angel special on the My TV podcast. The podcast is available on iTunes, the link is on the right hand side of this page.