Tagged: Buffy the Vampire Slayer




June 5th, 2012 – Mount Laurel, NJ – Join Tom Sniegoski and Dennis Calero for a very special Shadow story in The Shadow Annual #1 featuring a cover by Alex Ross.  In The Shadow Annual #1, The Shadow is tormented by visions of New York City plagued by living fire-fire in the shape of a Chinese dragon-fire with the potential to spread hungrily to the world.  But what do these visions mean?  The Shadow will peel back the layers of mystery, leading to a confrontation that could very well shake the pillars of Heaven. Who are the waifs of Li-Lung, and what are their connections to Brother Pritchard’s Orphanage for Wayward Children, and to crime boss on the rise, Vincent Ruzzo? Soon, the Shadow will know.

“When I found out that Dynamite had The Shadow license I was ecstatic . . . and when they asked me if I was interested in writing the first annual I just about had a seizure,” says writer Tom Sniegoski.  “First of all, anybody who knows me knows how much I love the pulp characters, and the Shadow is number one on my list of favorites.  I cut my teeth on the whole pulp hero thing in 2009 with my novel, Lobster Johnson: The Satan Factory, which won the Best Pulp Novel of 2009 from The Pulp Factory Awards.  Looking back, I feel like that book was a warm up to the main attraction, now I was going to get the chance to write the character that almost all other pulp characters were trying to emulate, now I was going to get the chance to write The Shadow.  To say that I was a little nervous was an understatement.  First I had to come up with an idea for a story with the same kind of punch that the original pulps had, and was as powerful and exciting as Garth Ennis, and Aarron Campbell’s current run.  After some serious thought (and a few tumblers of scotch) I came up with a story idea that everybody seemed to love.  It’s got everything that I’d be looking for in a Shadow story: mysterious locales, organized crime, dreams of an apocalyptic future, blazing Colt 45’s and Thompson Machine Guns, and creepy kids with psychic powers . . . what’s not to love?”

“Tom and I have known each other since he was the main writer on Vampirella back in the ‘90’s,” adds Dynamite Entertainment President and Publisher Nick Barrucci.  “With his success in prose, it was hard for him to make time for comics work.  We’re very happy that he was able to work on our first The Shadow Annual.  It’s an awesome tale, and Dennis’ art compliments the story incredibly well.”

Tom Sniegoski has worked for all the big guys in the comic book industry, Marvel, DC, Image, Dark Horse, Cartoon Books, and now Dynamite! Some of the characters Tom has written include Batman, The Punisher, Hellboy, Wolverine, Devil Dinosaur, Buffy the Vampire Slayer, Angel, and he even wrote the prequel to Jeff Smith’s award winning series Bone, which was called Stupid, Stupid Rat Tails: The Adventures of Big Johnson Bone. His most recent comic book work (written with frequent partner, Christopher Golden) is The Sisterhood, published by Archaia Studios Press. This dynamic duo also worked on the mini-series Talent from Boom Studios which was optioned by Universal Pictures.

Dennis Calero’s work includes Acclaim Comics’ licensed-product titles Sliders and Magic: The Gathering; Moonstone Books’ TV tie-in titles Cisco Kid and Kolchak: The Night Stalker, Platinum Comics’ Cowboys & Aliens; IDW Publishing’s Masters of Horror: Dreams in the Witch House; and Marvel Comics’ X-Factor, during his tenure on which the title was nominated for the Harvey Award for Best New Series (2006). In 2006, IDW announced that Calero will be one of the cover artists on its six-issue Star Trek: The Next Generation TV tie-in miniseries The Space Between, scheduled for 2007.  Calero drew an arc of Legion of Super-Heroes for DC Comics and his new Marvel series, X-Men: Noir, was released by Marvel in December 2008. X-Men Noir: Mark of Cain was released in 2010. That same year, he drew the Dark Horse Comics relaunch of the former Gold Key and Valiant character, Doctor Solar, Man of the Atom, which was written by Jim Shooter.

Be sure to get The Shadow Annual #1 in September!

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Grimm Season One DVD Details Released

The dust has barely settled on the 2011-2012 television season, but the studios are already gearing up the season box sets in anticipation of the fall premieres. Among them is Grimm, which was a major ratings surprise for NBC when the mid-season series debuted. It takes an entirely different look at fairy tales, compared with ABC’s ratings success with Once Upon a Time proving once more that it all comes down to execution.

Universal Home Entertainment will be releasing the first season of Grimm on August 7 and if you haven’t sampled the series yet, it’s worth a look. Here are the details:

OVERVIEW: Classic Grimm’s fairy tales come to life like never before in the “dark and imaginative” (Mike Ayers, CNN.com) supernatural series Grimm, from the producers of Buffy the Vampire Slayer and Angel.  Homicide detective Nick Burkhardt (David Giuntoli, Privileged, Grey’s Anatomy) discovers he is descended from a long line of criminal profilers known as “Grimms,” protectors who are charged with keeping the balance between humanity and the creatures of myth.  With newly awoken abilities to detect the evil lurking among us, Nick struggles to keep his old life separate and safe as he becomes ever more entrenched in the ancient rivalries of the Grimm world.  Available on Blu-ray™ and DVD on August 7, 2012, Grimm Season One allows fans to experience all 22 chilling episodes back-to-back and uninterrupted. (more…)

REVIEW: Teen Wolf Season One

The challenge in producing a teen-centric horror television show is that it will inevitably be compared to Buffy the Vampire Slayer. Joss Whedon was note perfect with the casting and theme of high school is a horror movie. It takes a brave showrunner to come up with a variation that avoids duplication and can withstand the comparison. MTV, once the home for teen centric music videos, has gone from reality television to scripted series so it made sense that sooner or later they’d dip a claw into the horror genre. What few expected was how successful they would be.

The 1985 Michal J. Fox comedy Teen Wolf was a largely entertaining film capitalizing on the actor’s immense popularity from NBC’s Family Ties and certainly had a theme worthy of adaptation into weekly television. In both the film and the series, a teen encounters a werewolf and becomes one. The world knows they exist thanks to countless movies so his presence isn’t necessarily as shocking as one would expect. The transformation also allows the lead character to explore his true nature as he suddenly goes from lacrosse-playing social outcast to exceptional guy. Still, he keeps his hairy alter ego a dark secret.

The series focuses on Scott McCall (Tyler Posey), a Beacon Hills High School student who becomes a werewolf and keeps it a secret with the exception of sharing the news with his best friend “Stiles” Stilinski (Dylan O’Brien). Together, they spend the first six episodes dealing with what this means and trying to find a cure, leading them to the poorly named Dr. Lycos. Meantime, they learn there is another werewolf lurking on the outskirts of town, Derek Hale (Tyler Hoechlin), with secrets of his own. The second story arc involves a threat from the beast known as the Alpha which explores the werewolf pack mentality which is a fresh take. (more…)

Martha Thomases: Whedon and Women

Summer’s here and the time is right for geeking in the street. In a triumph of nerd culture, The Avengers may be the most successful movie of all time. Certainly, with the second week box office results breaking all kinds of records, there is more going on here than people who read comic books going opening day. There aren’t enough people who read superhero comics to make a movie that successful.

There are, however, enough shared values among comic book creators and movie creators to make a hit. In the case of The Avengers, a lot of the credit must go to Joss Whedon. Whedon earned his cred not only by writing awesome comics, but by producing Buffy the Vampire Slayer, Firefly, and Dollhouse.

Those shows had loyal fan bases (which didn’t overlap enough, or we’d still have the latter two on the air). They also shared a marvelous, matter-of-fact feminist sensibility.

The critical response? Not so much.

Most of the critical reviews single out Scarlett Johansson, saying she can’t act, or she’s only there to look pretty. One comment called her a female Keanu Reeves, which irked me for multiple reasons. I enjoy Keanu Reeves. I thought he was brilliant in My Own Private Idaho. And I really like Johansson in The Avengers. I believe she, like her character, has a brain in her head.

What I mostly enjoy about her character is the fact that her motivations are similar to those of her teammates. She wants to rescue her colleague, Hawkeye. Being on the team is part of her job, which she takes seriously.

The Black Widow is not on the team because she’s somebody’s girlfriend or sister. She’s not there to provide a love interest for a more important male character. She’s not there to be taken hostage by the bad guy (a role played, too some extent, by Hawkeye). She is not murdered and stuffed in a refrigerator. She doesn’t wear a costume that is more revealing than anyone else’s, or that defies the laws of physics to keep the film’s PG-13 rating. That’s reserved for the Hulk’s pants, which seem to grow when he does during the New York City battle.

Of course, she must be vilified.

In our popular culture, we’re very threatened by women who consider themselves to be just as able and just as interesting and just as important as men consider themselves to be. If women find meaning in their own lives, a huge market in cosmetics, plastic surgery, fashion and hair color dries up. If women think they can find meaning and value within themselves, they might only wear stiletto heels as a lark, and not proof of their femininity. They might have relationships with men they like, and not for status or validation.

The powers-that-be don’t enjoy that possibility. They’ve kept it out of almost all the other super-hero stories.

As fans and as feminists, we have an obligation to hold their feet to the fire when the inevitable sequels arrive. Joss can’t – and shouldn’t – have to do it alone.

SATURDAY: Marc Alan Fishman 

Dennis O’Neil: So, Who Didn’t Like The Avengers?

Yeah, yeah. I know it’s early in the summer movie season – I do have a calendar, after all – and two of the three big superhero flicks won’t be on screens for weeks yet. But for now, let us proclaim; Joss Whedon is king of the superheroes!

A couple of days ago, Mari suggested we go to the movies and I said no, I had work to do, and then, about ten minutes later I said yes, let’s go to the movies, and we did.

Marvel’s The Avengers, of course.

I don’t attend the 21-plex to criticize – to pry faults out of what’s intended to entertain me and maybe convince myself that I’m really a smart guy. I used to do that for money – the fault-prying part – and though it was okay for me then, it wouldn’t be okay now. I don’t want to criticize, I want to get out from under it. Not to have to think for a little while.

And yet… I don’t want my intelligence insulted, either. When that happens, the magic is gone and there I am, right back under it. So, for example, I loved the Indiana Jones flicks because they delivered the escapism I sought and didn’t expect me to forgive plot glitches, which tend to get in the way of enjoying the escapism. Anything that pulls me out of the story, that makes me question did he director and writer intend what I just saw or is it a mistake? – anything that does that sabotages the experience.

The Avengers verdict: not guilty.

Mr. Whedon understands the appeal of the early Marvel comics, the ones he read as a kid, and what made them work: the broad, extravagant action, the rough edges on the heroes, the occasional flashes of humor, the juxtaposition of larger-than-life characters with realistic settings. (That sure looks like the real New York City the villains are trashing.) He’s translated these from the language of comic books to the language of movies, filled in some blanks, provided some motivations, hired good actors who didn’t condescend to the material any more than he did, gave them decent dialogue and then put the special effects wizards to work and…

Presto! Behold what I think is the best Marvel movie yet (though the first Iron Man might also be worthy of that title).

Did I mention that Joss Whedon, of teevee’s Buffy the Vampire Slayer, the Dollhouse and Firefly wrote and directed The Avengers? No, I didn’t – my bad – but you figured that out, if you didn’t already know it before you started reading this. Well, that same Joss Whedon had this to say to a Time magazine journalist: “I love fantasy…I love it because of the scope and the chance to talk about humanity that is very close to the heart but not wearing the same skin.”

Go buy yourself a movie ticket and see what he’s talking about.

FRIDAY: Martha Thomases On Alien Sex


Mindy Newell: The Geek And Her Daughter

Yesterday I stopped by Vector Comics, my local dispenser of all things comics related, to pick up my readings, which included Vertigo’s Saucer Country by Paul Cornell and Ryan Kelly, ComicMix columnist John Ostrander’s Dawn Of The Jedi: Force Storm from Dark Horse, and the latest issue of Dark Horse’s Buffy The Vampire Slayer by Andrew Chambliss, Scott Allie, Cliff Richards, Andy Ownes – executive produced by Joss Whedon, of course. Does that man ever sleep?

Before I left I got into a discussion with Alex, one of the guys behind the counter, about summer movies. Well, specifically, about The Avengers. Alex told me that he had already seen it, having gone into Manhattan to get in line for the first showing at midnight. Which made me very jealous and pissy, ‘cause these days my life is about work, school, work, school, work, school, work, school… and oh, yeah, writing this column. I will probably be the last person in America to see it on the big screen. No, make that the world. Thanks to Denny’s column last week, I know that the movie has been open in the international market for nine days already.

So then Alex and I got to talking about other summer movies, and the first season blockbuster that made an impression on us. For me it was in 1975, the summer I saw Jaws.

I was at Camp Monroe in Monroe, NY – going to sleep away camp is a time-honored ritual for Jewish kids in the New York metropolitan area – and working as a nurse’s aide in the camp infirmary. I knew the camp was planning an outing to the movies, and with some wheedling I got to go on the possibility of some kid getting carsick. I didn’t know what it was about. I don’t think there were that many who did, except for some of the counselors and adult staff who had read Peter Benchley’s book, but I had a hankering to get “off-campus.”

That night the infirmary was busy with kids having nightmares and unable to sleep. The next night the pool was full of “great white sharks.” And me? I’m still way more comfortable in a pool than in the ocean.

Anyway, the conversation got me to thinking last night about summers and movies and how sometimes the movies and the summers become entwined in your life and make great memories.

For me that movie was Star Wars. I remember coming home from working that 1977 Memorial Day holiday and being incredibly pissed off at my then-boyfriend because he had gone to see it that afternoon with some friends instead of waiting for me. I immediately said, “Well, we’re going tonight,” Incredibly, instead of him complaining, he said, “okay.” Curious, I said, “You mean it? You just saw it a few hours ago.” All he said was, “You’ll see.”

Boy, did I ever! I can’t even describe the experience, even after all these years. I was so blown away by what was happening on the screen – the rolling introduction fading into a sea of stars, the endless Imperial battleship coming in seemingly over our heads, the Falcon jumping into hyperspace, Luke and Leia swinging across the chasm – that I didn’t really get the actual story until the second time I saw it. Which was the following Wednesday, ‘cause I was off from work and I went by myself to a matinee showing while then-husband was working.

I remember coming home and sending off for a subscription to Starlog. No more waiting for the next issue to appear on the newsstand. I wanted more. Lots more. I devoured everything Star Wars. When I found out there was going to be a sequel, I drooled and yeaned and read and reread every article I could find on it. I discovered NPR by accident one night and they were playing a “radio theatre” of Star Wars. (I’ve been a devotee of NPR ever since.) I sent away for the cassette (yeah, remember those?) so I could play it whenever I wanted to. I even saved the issue of Time magazine with Empire as the cover story – it’s still somewhere in the house.

Oh, I was a geek, and it was a great time to be a geek. I didn’t have to hide it anymore. Except around my family.

Which is why I had my daughter Alix. She was a great excuse to indulge myself.

By the time Empire came out my daughter Alix was nearing her first birthday. I remember buying her a full-scale model of the Millennium Falcon. For Hanukah, Christmas, and her birthday, I told my family. “Yeah, right,” they said. I remember that when she was two I brought her to the rerelease of Empire, buying a shitload of candy and soda so she wouldn’t be bored ‘cause I couldn’t find a babysitter. I remember seeing, in the back of Starlog, an ad for Luke’s Rebel jacket. Adult sizes. And kid’s sizes. I remember chickening out of buying one for myself. But I bought one for her. She looked so cool in it, even if it was kinda big. My family said, “what a great motorcycle jacket.” I said, “It’s Luke’s jacket from Empire.” Suddenly it wasn’t so great. (But she had that jacket for years, as she grew into it. And even kept trying to squeeze into it as she got older.)

And what was the effect on Alix? She’s 32 now, married, with a Master’s degree and a corner office with a window and responsibilities. She’s a serious adult.

Isn’t she?

Well, I just got off the phone with her. We’re going to see The Avengers at 5:00 p.m.

Tuesday Morning: Michael Davis


MINDY NEWELL: Group Dynamics

Joss Whedon at the 2010 Comic Con in San Diego

There’s a great interview with Joss Whedon, director of the upcoming The Avengers movie, out May 4th, in Sunday’s Arts & Leisure section of the New York Times.

Anyone who reads these columns with any regularity already knows that I am a Buffy geek. But you don’t know that I originally ignored it.  Yep, that’s right.  I didn’t find the Buffster until the second half of the second season, about the time Angel went back to being Angelus. I found her thanks to my participation in a message board called The Coffee Nebula, which started as a Voyager fan fest, but spread out into other science fiction — I can’t call it sci-fi — and fantasy shows, especially after Voyager ended. (The Neb, as we “Nebsters” fondly call it, is still active, so you might want to check it out.)  Everyone was raving about Buffy The Vampire Slayer, so I finally gave in checked it out.  And was hooked.

I searched out and found the episodes I had missed.  They weren’t quite as strong as the current episodes, but thinking about it now — and after reading the interview — I’ve figured something out.


MINDY NEWELL: Music To Write By

Every writer has his or her way of settling down to write. Mine is to bring a Diet Pepsi and a pack of Salem cigarettes – yeah, yeah, I know… my bad – to my computer desk. Oh, yeah, and slipping in a CD.

Here’s the dope.

I’m pretty much out of the loop when it comes to music.

On the radio I listen to our local NPR (I love everything about that station); the local CBS sports station (especially during the football season – and during the past two or three weeks, the Peyton Manning-Tim Tebow-Mark Sanchez drama here in New York City has mesmerized me); WRL-1600 AM (the progressive station that took over for Air America here); occasionally WWOR-710 AM (though the station has moved too far to the right for my tastes – at least they got rid of Lou Dobbs!); and CBS’s “oldies” station when I’m commuting.  I also play my CD’s, which are eclectic to say the least – the soundtrack to Buffy The Vampire Slayer’s musical episode, Once More With Feeling; a lot of Sinatra; the soundtracks to Yentl and South Pacific; a lot of Beatles; Michael Jackson’s Thriller; The Greatest Hits Of Diana Ross and The Supremes; and a great mix of punk, alternative rock, jazz, and Ethan Hawke singing Your Song from Moulin Rouge (which is amazing) that my daughter made me that she called Rod Stewart Sucks,because she knows I like him. Here’s the problem – I groove to all the songs on that CD, but except for the aforementioned Your Song by Hawke, and Midnight Train To Georgia, I’m hard pressed to tell you the names of the songs and the groups who perform them. I’m not even sure of the name of the song that Etta James performs on the CD – I think it’s I’d Rather Be Lonely (Than Be With Somebody Else), but I’m not sure – and it’s one of my favorites.

My musical tastes when writing are equally weird. I listen to soundtracks.

Right now I have the soundtrack to Ben-Hur playing at full volume. (It was composed by Miklos Rozsa, whom I had to look up on Google to discover that he won three Academy Awards – for Double Indemity, Spellbound, and Ben-Hur – and also composed the music for The Lost Weekend, The Jungle Book, The Thief Of Baghdad, Ivanhoe and Lust For Life, to name just a few others.) I find the music of Ben-Hur inspiring, poignant, thrilling/ It’s romantic in its classical sense, meaning that the pieces are passionate and expressive.

Other orchestral soundtracks that inspire me, take me into the heart of my characters or my theme – and this isn’t the complete list – are:

  • The Last Of The Mohicans – which, by the way, was also a favorite of “My Friend Kim”
  • Star Wars and The Empire Strikes Back
  • Superman
  • ET The Extraterrestrial
  • Amadeus
  • The Godfather (I and II)
  • The Winds Of War and War And Remembrance
  • Angel (the television series).

I also listen to musical soundtracks. I love that the songs are expressions of emotions and perplexities, which is why I write. I especially love Rodgers and Hammerstein. Lerner and Lowe ain’t bad either. And then there’s Sondheim. Some examples:

  • Carousel
  • South Pacific
  • Brigadoon
  • The King and I
  • Oklahoma!
  • West Side Story
  • Moulin Rouge
  • Funny Girl
  • Glee (every season)

Just put on the second CD to Ben-Hur. I gotta write a paper for school.

TUESDAY: Michael Davis

MARTHA THOMASES: Hunger Games, Buffy, and Goldie

My friend, Goldie, said, “I’m reading the best book. You would love it.”

I was skeptical. My friend, Goldie, usually likes different kinds of books than I do. She likes historical novels with a sense of place. She enjoys literary fiction, with Serious and Important themes. Still, she is my friend, and I was curious. “What is it?” I asked.

The Hunger Games,” she said. “I can’t put it down.”

“Isn’t that a young adult series?” I asked. Goldie is circling 60.

“It’s so good,” she said.

The next week, I found myself sitting around a lot and I managed to plow through the entire trilogy. At the same time, another friend (also older than me) and a woman whose job required extensive medical training both told me they were reading it.

Why are four reasonably sophisticated urban women, all but me with advanced degrees, reading a science fiction series aimed at tweens? Are there others like us? Are we statistically significant? Will the lines for the upcoming movie look like the Twilight audience, but now with more feminists?

Because The Hunger Games is definitely a work for those of us who have grown up with feminism. The heroine is brave, strong, skilled and smart. There is almost no mention of her beauty, or even if she is attractive. The two men vying for her affections never comment on her appearance. The challenges she faces throughout the books are about politics, the individual’s obligations to the larger society, and the repercussions of personal choices. She does not shop, talk about shoes, or even hang out with other girls. She doesn’t dislike other girls. She simply has no time for friends.

There is no comparison to serial science fiction in comics. Perhaps Buffy, the Vampire Slayer, but only because it’s based on a (deliberately) feminist television series, one in which the producer retains creative control.

The Hunger Games seemed to me most like the Philip Pullman series, [[[His Dark Materials]]], with the same mistrust of authority, the heroine with a mission whose scope is unknown to her when she begins, the complex and dystopian society. Pullman is a better writer, creating a richer world. There is no love triangle, but there are talking bears.

If you like your fictional worlds created for an adult audience, I highly recommend the books of [[[Elizabeth Hand]]]. The early ones especially are dense and humid, cheaper than a trip to Mexico and much longer-lasting.

Hand, along with Paul Witcover, created a series for DC in the 1990s. Anima was also big fun, mythic while also grungy and pulpy, a Rrriott Grrl for the DCU. Naturally, DC cancelled it before it could find its audience.

This is why there may be lines outside the theaters for the opening of The Hunger Games, but there won’t be lines outside the comic book store.

SATURDAY: Marc Alan Fishman


MARTHA THOMASES: Grimm – Once Upon a Time

As I wrote a few weeks ago, this is a great time to enjoy non-realistic fiction. Technology has evolved to the point that, even with no budget, people can tell the most fantastic, unimaginable stories without spending millions of dollars.

As an example, there are two different broadcast network television shows this year based on classic fairy tales. They’re very different, appealing, I suspect, to different audiences. Let’s discuss.

NBC’s Grimm is, in my opinion, the better show. It’s premise is that there is a race of people, Grimms, who hunt down supernaturally evil creatures from folklore, like trolls and ogres and giants. The last Grimm is a young married police detective, Nick Burkhardt, played by David Giuntoli (who looks a lot like Brandon Routh). He is helped in his investigations by a charming werewolf, Silas .

As you might expect from that premise, this series owes a lot of its structure to Buffy, the Vampire Slayer. So you won’t be surprised that the producers worked on Buffy show and the spin-off, Angel, as well as movies. The other two producers have experience in comedy.

The show is paced very much a police procedural, with a crime committed at the beginning of the show that must be solved by the end. The only difference is that the criminals are almost all supernatural, and Burkhardt is the only one who knows. There’s also a continuing story about some kind of conspiracy against the Grimms, one that the chief of police seems to be in on. The relationships among the characters seem real, the town seems like a place where people actually live, and the hero is happily married (at least so far), which is refreshing. Too many shows rely on the sexual attraction between two characters and a “will they or won’t they” dynamic to provide suspense.

By contrast, Once Upon a Time is much more of a soap opera, which is appropriate, given that it’s the lead-in for Desperate Housewives. The premise here is that the fairy tale characters have unknowingly left their dimension because of a spell by the Evil Queen, and now live Storybrooke, with no memory of their true identities.

As with Grimm, every week there is a mystery to solve. The sheriff, Emma Stone, is a former bail bondsman who was brought to Storybrooke by her long-lost son, Henry, who was adopted by Regina, the Mayor. As you might expect from that name, Regina is the evil queen.

Appropriate to a series with a queen, Once Upon a Time is campy fun. There are lots of knowing winks to Disney films, and the comic book rack at the drugstore has only Marvel titles. The child psychologist who works with Henry is, in the fairy tale universe, Jiminiy Cricket. Hilariously, his name on our world is Archie.

Best of all, the mysterious Mr. Gold is played by Robert Carlyle, an actor who can do anything. In Trainspotting, he was a scary psychopath. In The Full Monty, he was adorable. He was a Bond villain. He was Hitler. This show doesn’t give him enough to do.

The Evil Queen is always evil. The good guys are always good. The characters are not as complex as those on Grimm. However, half the time, they get to dress up like royalty.

As I said, I think Grimm works better overall. If you can only watch one, choose that. I can’t imagine why you would have to so limit yourself. Maybe that will be next season’s fantasy series.

SATURDAY: Marc Alan Fishman