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‘Beauty is only skin deep, it’s what’s inside a person that counts,’ very nice sentiments, but does anyone actually believe these little pearls of wisdom? Joss Hinchcliff was at a disadvantage from the moment he was born. You could not disguise the fact that he was a very ugly child, but he did not deserve the treatment that was dished out to him. From birth, Joss had been a figure of fun; his friends teased him mercilessly and made unkind remarks about his affliction. For years he had endured this bad behaviour because he was lonely and wanted to be part of the community, but they were only his friends because of what they could get from him. Then one day he found an abandoned vintage car which he re-built. As he was to discover, this was no ordinary car. Whilst out on a road test one day, it whisked him away to a mysterious place which would change his life forever. Book reviews online: PublishedBestsellers website.
Sixteen-year-old Jocelyn Nye is quick, glib, and little. As a member of the incoming freshman class at a womens college, Joss is domiciled on campus at Harmon House with a gaggle of other girls who have never been away from home before. It is not long before Joss is immersed in not just the abundance of social activities that surround Harmon House, but also the academic expectations of the university. As she eagerly looks forward to her first writing class, Joss sets a goal to create literature worthy of publication. While making friends amid costume parties, sing-alongs, and long conversations and exploring all that accompanies her venture into womanhood, Joss focuses on enlightening the world with her writing. Mocked by some, encouraged by others, and mentored by a supportive writing professor, she rents a summer cottage with an interesting history and eventually produces a novel. Now only time will tell if she can overcome criticism and achieve the resounding literary success she has always dreamed of. In this compelling historical novel, a witty teenager embarks on a unique coming-of-age journey where she learns about friendship, love, and whether she has the gumption to become a published author.
From the 4 million US viewers who watched Buffy, the Vampire Slayer to a worldwide box office of $1.5 billion for The Avengers is quite a leap. Yet the creator of them both, Josh Whedon, told as personal a tale with six superheroes and over-the-top explosions as he did with a girl trying to make her way through high school. Whedon has always been determined to follow his own path. This definitive biography shows how his years at an elite English public school led to his early successes, which often turned into frustration in both television (Roseanne) and film (Buffy the Vampire Slayer; Alien: Resurrection). But when Whedon resurrected his girl hero on a young network, the results enabled him to produce three more television series, several movies, and Marvel comic books, culminating in the blockbuster The Avengers. Then Much Ado About Nothing, a personal project shot in his home and cast with friends, allowed him to step out of Marvel's shadow. Amy Pascale has based this revealing biography on extensive original interviews with Whedon's family, friends, collaborators, and stars—as well as with the man himself. They've shared candid, behind-the-scenes accounts of his work with Pixar, his filmmaking adventures, and the making of his groundbreaking series Buffy, Angel, Firefly, Dollhouse, and Agents of S.H.I.E.L.D. Amy Pascale is a director at MTV. She co-founded and edits the offbeat Web magazine PopGurls.com. She lives in New York. Nathan Fillion starred in the Josh Whedon vehicles Firefly, Serenity, Dr. Horrible's Sing-Along Blog, and Much Ado About Nothing. He plays Richard Castle on the ABC series Castle.
Although it lasted barely more than a season, Dollhouse continues to intrigue viewers as one of Joss Whedon’s most provocative forays into television. The program centered on men and women who have their memories and personalities repeatedly wiped and replaced with new ones by a shadowy corporation dedicated to “fulfilling the whims of the rich.” This chilling scenario was used to tell stories about big issues—power and resistance, freedom and servitude, class and gender—while always returning to its central themes of identity and individuality. In Joss Whedon’s Dollhouse: Confounding Purpose, Confusing Identity, Sherry Ginn, Alyson R. Buckman, and Heather M. Porter bring together fourteen diverse essays that showcase the series’ complex vision of the future. Contributors probe deeply into the fictional universe of the show by considering the motives of the wealthy clients and asking what love means when personalities are continually remade. Other essays consider the show’s relations to politics, philosophy, and psychology and its representations of race and gender. Several essays explore the show’s complex relationship to transhumanism: considering the dark potential for dehumanization and abuse that lurks beneath the promise of turning bodies into temporary vessels for immortal, downloadable personalities. Though a short-lived series, Dollhouse has been hailed as one of television’s most thoughtful explorations of classic science fiction themes. As the first serious treatment of this landmark show, this collection will interest science-fiction scholars and Whedon fans alike.
Joss Whedon: The Genius Behind Buffy is a biography of Joss Whedon, the wunderkind creator of television shows Buffy the Vampire Slayer, Angel and Firefly. From Booklist: Writers, actors, and fans often call Joss Whedon a genius. It's easy to see why. Whedon, who got his start writing for Roseanne, dreamed of writing movie screenplays. He got his shot when he sold his script for Buffy the Vampire Slayer, but the movie fell far short of his hopes for it. After a few years of working as a script doctor, Whedon got the chance to doBuffy again, this time as a TV show. Few expected it to succeed, but Whedon's humor and intelligence shone through in the scripts, and viewers quickly became attached to the engaging, witty characters. Buffy kept getting better: each season of the show featured a complex story arc possessed of a real sense of danger and further developed the characters. The last few years have brought the Buffy spin-off Angel, the lamentably canceled Firefly (a space western), and the comic book Fray. Engaging and filled with fun quotes, this is a must-read for Whedon's many fans.
J.J. Abrams and Joss Whedon are two of the most imaginative and accomplished men in Hollywood. As writers, directors, producers, and series creators, their credits have straddled the mediums of television and film and range across several genres, from science fiction and horror to action and drama. In addition to spearheading original projects like Lost and Buffy the Vampire Slayer, each has also made his mark on some of the most successful franchises in popular culture—from Mission Impossible, Star Trek, and Star Wars (Abrams) to Alien and the Avengers (Whedon). Their output—both oddly similar and yet also wildly different—stand at the heart of twenty-first century film and television. In J.J. Abrams vs. Joss Whedon, Wendy Sterba compares the parallel careers in film and television of these creative masterminds—pitting one against the other in a light-hearted competition. With in-depth discussions of their works, the author seeks to determine who is the Spielberg (or perhaps the Lucas) of the twenty-first century. The author looks back upon the beginnings of both men’s careers—to Whedon’s stint as a writer on Roseanne to Abrams’ early scripts for films like Regarding Henry—and forward to their most recent blockbusters, Avengers: Age of Ultron and Star Wars: The Force Awakens. This books also looks at non-fantasy successes (Abrams series Felicity; Whedon’s adaptation of Much Ado about Nothing), as well as commercial failures. At the heart of this study, however, is a tour of their genre-defining hits: Alias and Buffy, Lost and Angel, Super 8 and Serenity along with Whedon’s Avengers films, and Abrams’ rebooted Star Trek adventures. Filled with sharp-eyed analysis, illuminating anecdotes, and unexpected connections, J.J. Abrams vs.Joss Whedon will appeal to fans of either (or both!) of its subjects, and to any fan of well-told tales of the fantastic, on screens large or small.
Joss Whedon's works, across all media including television, film, musicals, and comic books, are known for their commitment to gender and sexual equality. They have always encouraged their audiences to love whomever, and however, they wish. This book is a history of the sexualities represented in the works of Joss Whedon and it covers all of Whedon's genres, including fantasy, horror, science fiction, westerns, superhero stories, and Shakespearean comedy. Unique for its consideration of the entire arc of Whedon's two-decade career, from the beginning of Buffy the Vampire Slayer's first season in 1997 through the conclusion of its twelfth (comic book) season in 2018, this book examines in detail both better-known queer sexualities of the LGBTQ+ spectrum, and lesser-known non-normative sexualities. The book includes chapters on Whedon's sexually dominant women and submissive men, sexual pluralism on Firefly, disabled sexualities in Whedon's superhero narratives, zoophilia in Buffy, queer and heteronormative sexualities in Dr. Horrible's Sing-Along Blog, the subversion of the sexual tropes of slasher films in The Cabin in Woods, and dominance and submission in Whedon's Much Ado About Nothing.
This book assesses Joss Whedon’s contribution to US television and popular culture. Examining everything from his earliest work to his most recent tweets and activist videos, it explores his complex and contradictory roles as both cult outsider and blockbuster filmmaker. Crucially, the book insists on the wider industrial, technological, political and economic contexts that have both influenced and been influenced by Whedon, rejecting the notion of Whedon as isolated television auteur. Using key source material, with exclusive access to drafts of many of the episodes across Whedon’s career, as well as unique correspondence with Whedon collaborator Jane Espenson, this book offers unparalleled access to the creative process that helped produce the series Buffy the Vampire Slayer, Angel, Dollhouse and Firefly. Energetic, engaging and informed by detailed scholarship and theoretical rigour, the book is not just an essential addition to the study of Whedon, but a timely and important re-invigoration of television studies in general.
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.