the addy to use to send EW a letter
letters@ew.comthe two most recent pieces to respond to
www.ew.com/ew/report/0,61...od,00.htmlCharacter Flaws
Why are TV's ''good guys'' doing very bad things? The imperfect heroes of ''24,'' ''Buffy,'' and ''The West Wing'' have blood on their hands by Ken Tucker
Until recently, it was a given in episodic television that a show's central protagonist couldn't do something really dreadful (like commit murder) because it would kind of undercut the concept of being the ''hero'' of a show, don'tcha know. Yet during the season that recently ended:
? Kiefer Sutherland's CIA agent on ''24,'' Jack Bauer, takes a good, long look at the guy he thinks has killed his daughter (Dennis Hopper's Victor Drazen) and empties his gun into him.
? Alyson Hannigan's Willow on ''Buffy the Vampire Slayer'' captures doofus-villain Warren (Adam Busch), whom she holds responsible for the death of her lover, and flays him alive (or as Anya put it, ''She killed him, ripped him apart, and bloodied up the forest doing it'').
? Martin Sheen's President Bartlet on ''The West Wing'' signs off on the assassination of a foreign terrorist, whose demise we see in the season ender's final moments, intercut with shots of Bartlet seemingly resigned to his decision.
So, do we -- should we -- have any qualms about these protagonists, each in his or her own way the object of intense viewer loyalty? As I said, this isn't a question we'd have tussled with a decade ago. There's no way anyone on, for instance, ''L.A. Law'' would've knowingly committed murder -- with, as they say, malice aforethought -- and be permitted (by the show's producers, by the network, by the audience) to continue being an admirable/likable/identifiable-with character the next season. Yet it looks like that's just what the folks behind ''24,'' ''Buffy,'' and ''West Wing'' intend to do.
The real cliff-hanger on ''24,'' for example, is not whether Jack will be racked with guilt over offing Drazen, who wasn't a nice guy and whose sub-monster-movie accent, as delivered by Hopper, made him an exceedingly expendable character. Jack's act of revenge was no more defensible than the violence perpetrated by Charles Bronson's character 28 years ago in ''Death Wish,'' a shamelessly rabble-rousing thriller that set off a national debate about how far a figure positioned as a good-guy vigilante could go. In this age of Eminem, such a concern is irrelevant; in its place, ''24'' artfully maneuvered us to mourn the fate of Jack's wife, Teri (Leslie Hope), who herself had been shot and left cradled in her husband's arms at the fadeout. I'm guessing that Jack will express some remorse in the following season's premiere, and then we'll be on to another exhausting day in his life, without any of us being called upon to feel bad about rooting for him.
By contrast, ''Buffy'' creator Joss Whedon and this past season's guiding hand, fellow exec producer Marti Noxon, are, as a young character in their scripts might say, all about the remorse thing. ''Willow has killed a human being -- how will she be able to live with herself?'' asked Anthony Stewart Head's Giles, and indeed, that act was truly shocking for being committed so purposefully, so cavalierly, by a character many of us cherish. How Whedon and Co. convince us of Willow's redemption is a huge obstacle to overcome next season as far as I'm concerned -- it's gonna take more than a spray of counterspelling pixie dust or a well-written speech to redeem she who fans are already calling the Dark Willow.
www.ew.com/ew/report/0,61...at,00.htmlLet 'Em Eat Stake
A bloody good chat with ''Buffy'''s creator. With the second season hitting DVD, Joss Whedon offers some sound bites on vampire sex, style, and substance by Jeff Jensen