Joss Whedon

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Angel, “Smile Time” (Feb. 18, 2004)

Angel, often the black sheep of Joss Whedon’s TV universe, spent most of its run in danger of cancellation for one reason or another, which meant the constant wheel of retooling essentially made Angel into a new series every season. All five of those series were compelling to varying degrees, but what it became in its final season—a workplace drama about the employees at a demonic law firm—proved the most durable. This episode, wherein the hero investigates an evil children’s show and is transformed into a puppet, is both screamingly funny and surprisingly sophisticated in its examination of adult sadness.

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Dollhouse, “Epitaph One” (July 28, 2009)

Dollhouse, “Epitaph One” (July 28, 2009)Another sign of the times: Some of the best episodes of the decade showed up only on DVD, including this one, wherein Joss Whedon’s latest, most troubled series lays all its cards on the table and shows that it knows where it’s heading after all. Shot on the cheap with handheld DV cameras, “Epitaph One” creates a beautiful, believable post-apocalyptic future, fills in the gaps between that future and the show’s present-day timeline, and deepens and darkens all the series’ themes about the nature of identity and the problems that arise when we trust corporations with potentially world-altering technology. The final moments—as a trio of survivors make their way into an uncertain future—are surprisingly powerful.

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