Nowadays, everybody knows Joss Whedon as the director of The Avengers movies but a couple of years ago he was just the freak who created one of the coolest TV’s heroines: Buffy Summers, the vampire slayer. Some (few but passionate) others will remember him as the man behind the cult hit Firefly. But who remembers him for Dollhouse? Who has even seen Dollhouse? Now, it is the moment to reclaim it.
Daniel Zelman and the brothers Glenn and Todd Kessler carry the main responsibility for projecting one of the nuances of our contemporary zeitgeist into television: the experiencing of multiple temporalities simultaneously conveying a new way of exploring serial narratives.
Netflix’s Daredevil is finally here and yes, it was an entertaining and well-done TV show that makes other superhero series look like crap. Daredevil represent an evolution within the genre, but it still drags some of its biggest problems.
How good is The Prisoner for a TV show from the 60s? Surprisingly good. How good is The Prisoner compared with all the later series made for almost 50 years? An immediate cult classic. We, and many other authors, have discussed some recurring issues that contemporary serial fiction seem to emphasize, such as identity, social paranoia, conspiracies, fragmentation or otherness. The Prisoner is basically composed by all of these ingredients and it takes them as far, or even further, than any other fiction has since then.