Nothing before it had had that kind of impact. He rose to his brand of niche fame in the 1990s with the creation of Buffy the Vampire Slayer, a horror comedy film that became the supernatural teen drama series about a cute, quippy teenager with the ability to defeat vampires. The show was a critical and commercial hit, spawning a creative fandom, conventions, books, spin-offs, comics and even academic courses. But to others, that name represents something larger than the very fallible man it belongs to. To most people in the world, Joss Whedon is hardly a household name. There were few disappointed fans left to be disillusioned by this latest insight into Whedon the man, after a series of revelations over the last couple of decades have shattered the image of him as some feminist genius.
But he seems to own up to the broad strokes of his nastiness while assigning cosmic reasons to his behaviour with a passivity that borders on the supernatural. He does deny some specific accusations, like calling Angel actress Charisma Carpenter “fat” when she was pregnant, or grabbing a costume designer’s arm so hard it left marks. But he does have some pretty nifty excuses tucked away: he was “powerless” to resist the young women throwing themselves at him Ray Fisher was driven by a “malevolent force” and when it came to on-set tantrums, well, sometimes he “had to yell”. He doesn’t directly deny many of the accusations of wrongdoing levelled at him through the years: affairs with young actresses, mistreatment of actors, maintaining a stressful environment while running his sets. There is a theme running through Lila Shapiro’s Vulture profile of the Buffy the Vampire Slayer creator Joss Whedon: he never seems to have done anything truly terrible in his life, ever.
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