The Femmes all had fairly specific answers, albeit not always imaginative ones. We got Wonder Woman, Jean Grey, Rogue and Catwoman but all women seemed to say the same thing: they wanted a strong, funny, sassy woman and while yeah, it’s cool that we’re finally getting that, it’s taken way too long.

The Fellas responses however, are the exact problem with bringing superheroines to life on the big screen.

Jeff Sneider “only buys ScarJo and Angie, so if you don’t bring [him] one of them, [he’s] out.” He said he’d prefer a female remake of The Crow to any other female superhero out there and while I’m not denying how unquestionably awesome a female Crow would be, why genderbend when there are already so many other deserving ladies? And why limit yourself to Scarlett Johannson and Angelina Jolie when you have goddesses like Katee Sakoff, Gina Torres, and Amy Acker?

Jordan Zakarin thinks, “it’s sort of a silly debate to be having, because women have shown that they can lead…Plus, it’s not like a woman superhero would suddenly ruin the integrity and streak of perfection in these films.” True, we have shown we can lead and there have been more flops than the studios would like to admit, but to minimize the importance of the debate by calling it “silly” just proves how much more work women have to do to prove their worth. Would Jordan have called it silly when talking about the next male hero to be adapted? Arguably not.

Joseph Kapsch questions if “a studio can actually create a female superhero driven tentpole that is as viable a moneymaker as its male counterparts?” This kind of thinking is the exact reason why it’s taken so long to get a heroine onto the screen in the first place. Stop questioning and start trying.

Tony Maglio says, “I’m all for female superhero movies, but the fangirl market is still not what the fanboy market is, so it seems like a riskier investment from the studio side. Plus, historically, the vast majority of superheroes were men, so it’s inarguably slimmer pickings for the fairer sex within the realm of existing franchises.” I’m sorry, how does that matter? Sure, there may be “less options” but there are still an abundance of underrated powerful and complex heroines between all the comic universes, so why does the ratio of women to men in comics tilt the scales?

Todd Cunningham was one of my personal favorites (read: asshole). “I don’t think the gender of the superheroes matters that much, and I’m pretty sure that superhero equality shouldn’t be on the front burner when it comes to equality between the sexes. The fact is, most superhero movies are primarily the domain of teenage boys, who can identify best with male heroes (not to mention the “yuck — girls!” factor). That doesn’t mean it has to be that way going forward, but it’s not like Hollywood and Marvel and DC haven’t tried female superheroes before — if you look at Wikipedia, there’s nearly a hundred of them, and some have connected. I know Warner Bros. is pinning a lot of hope on Wonder Woman as a character. And Scarlett Johansson may yet get her own Black Widow movie with Marvel.” Mr. Cunningham could not be more confused. He gives the bigoted impression that he sees no gender inequality at all and therefore, why is everyone so upset? While no, a female hero isn’t the most important issue in the battle between sex-equality, the fact that out of all the superhero movies that have been made in the last fifteen years, I don’t even need a single finger to count the solo heroine films… That’s a major problem. The gender of superheroes released for public consumption in such a mass media market like cinema, and by extension television, is much more important that Todd realizes. Oh, there’s nearly a hundred female superheroes on Wikipedia? Why make any more, that’s plenty. Oh, ScarJo may finally get her own BLACK WIDOW movie 7 years after her character was first introduced, two IRON MAN sequels, potentially two THOR sequels, and one AVENGERS sequel later? No, there’s absolutely nothing wrong nor unequal about that. “Yuck – girls!” is no longer a feasible excuse – these films are not made for pre-pubescent boys anymore, they’re made for the general population which women just so happen to be part of.

These delightful gentlemen and the studio bigwigs are major contributing reasons that it’s take this long to adapt a female superhero into a cinematic feature; because it’s silly to wonder which heroine should get her own film, because unless you’re Angelina Jolie no one will want to see the film, because there are less options than male heroes, because “Yuck – girls!”

Unfortunately for these poor nimrods, however, a few of their male coworkers got it right: Tim Molloy offered his personal experience growing up on Black Cat and how much he loved and identified with her. He says that audiences today will embrace the female hero, especially if she’s an underdog. “But it’s sexist (and boring) if a heroine’s only supposed weakness is the fact that she’s a woman. Superhero movies need to give their women heroes the same kinds of flaws that men have, from Iron Man’s dying heart to the Hulk’s lack of self-control. If the story’s compelling, moviegoers will buy in.”

Andy Gensler also brought up a great point that women in comics have more often than not been reduced to sexy ninja warriors because if they don’t fall into that category they tend to have a tough go of it in comics. He wants the superheroine to be reinvented. His thoughts: “I’d like to see R. Crumb’s Ideal Woman, but made-over as a bad-ass contemporary feminist, a warrior who can cut through male megalomania BS in a single honest, authentic, and castrating bound. Who should play her? Melissa McCarthy, looking buxom and badass.”

And lastly Travis Reilly put it in terms that even Cunningham should be able to understand. “1) I like superhero movies, and 2) I like women. Those are my thoughts.” Upset that “companies are still — in the vast majority of instances — clinging to Caucasian male leads,” Reilly has been waiting just as long as women have for a heroine to get her own film.

*Side note, Microsoft word does not try to autocorrect “superhero” but does give me the red squigglies for “superheroine.” Jus’ sayin’.

If you have not seen CAPTAIN AMERICA: THE WINTER SOLDIER or the latest episode of Marvel’s AGENTS OF S.H.I.E.L.D., you’re not a very good nerd, nor should you read the rest of this post LEST YE BE SPOILED.

Week after week, Tuesday after Tuesday, I prepare myself to watch the next episode of what should be the greatest show on television: it lives in a world that has Gods, philanthropic-playboy-geniuses, a modern-day Robin Hood, and a goddamn Hulk. Yet, every week I have to give myself pep-talks and convince myself that maybe this time it’ll be better, maybe this is the episode that will make me go, “JOSS WHEDON IS BACK, BITCHES!” But here we are, seventeen episodes into its premiere season and I still cannot say that I am 100% committed to AGENTS OF S.H.I.E.L.D. for the duration of its television run no matter how long – or how short – that may be.

Let’s take a quick look at my lovers’ (most people call him Joss) television resumé.

BUFFY THE VAMPIRE SLAYER (1997-2003): Had it all. A kickass ladyhero, hot-as-hell vampires, a couple of lezzie Wicca’s, a few neat accents, sex, drama, blood, pain and lots and lots of laughs. While the wardrobe may be outdated now (sweet mother of God is it bad), everyone no matter if they’re a new found fan, or a lifer, can appreciate the language of Buffyisms that was created, the family that we all shared, and the everlasting hatred of the monster sibling that was Dawn. Joss Whedon was tired of watching horror movies where the blond girl always got the ax first, so he gave us a heroine that even over a decade later, everyone still wants to be when they grow up.

ANGEL (1999-2004): BtVS’s spinoff is all-too-often compared to its predecessor and the comments that follow are generally in the vain of, “…but not as good.” or “…it just wasn’t BUFFY.” And while, yes, those may be true because of HOW MUCH WE LOVE BUFFY, they don’t actually have any real merit. ANGEL was a great show in its own right, and no it wasn’t BUFFY… Because it wasn’t BUFFY. It was ANGEL. While Joss didn’t take the lead on this one, he left in the hands of his more than capable partner David Greenwalt who had been working on BtVS with him for years. They, together, knew the characters they created and so taking them out of Sunnydale and putting them in The City of Angels wasn’t something to be scared of. ANGEL may have fallen off the bandwagon a few times (Connor and evil Cordy, anyone?) its characters never changed past the point of recognition. Which is more than we can say for some other less fortunate folks on the telly (VAMPIRE DIARIES, I’m looking at you).

FIREFLY (2002-2003): If you haven’t seen FIREFLY, do everyone a favor and go impale yourself.

DR. HORRIBLE’S SING ALONG BLOG (TV Mini-Series, 2008): Neil Patrick Harris. Felicia Day. Nathan Fillion. Joss Whedon. Singing. DR. HORRIBLE was a brilliant, adorable and endearing work of fluffy fun. It was just a little reminder for all of Joss’ fans that he was still around and still making wonderful little things for us to treasure.

DOLLHOUSE (2009-2010): DOLLHOUSE was an interesting shift for Joss. Anyone who’s familiar with his aforementioned works, knows that he started to get very interested in technology and how that impacted the worlds he was writing about (BtVS Season 4 was the worst), and DOLLHOUSE absolutely felt like it was an experiment to see how far he could take his idea of implanting custom personalities into sleepers-for-hire. And honestly, had Eliza Dushku been replaced, DOLLHOUSE probably could have succeeded for many more seasons to come. I don’t say that because I don’t like Eliza (which to be fair, she isn’t my fave), but I say that because in order for us to believe that these “dolls” really were getting their brains wiped of personality implants, the actors that were cast needed have the range to portray anything and everything that the writers could think of, and Eliza does not have that range: she has the acting abilities of my mother ironing board. The concept of DOLLHOUSE was new, intriguing, had a fabulous crew of supporting cast, and was pretty fucking awesome all around – it just needed an equally awesome lead, which it did not.

And finally we come to AGENTS OF S.H.I.E.L.D. (2013-): Looking at all the components individually, characters (which to be fair, could use some major fleshing out; Fitz and Simmons need backgrounds and lives outside of their work together at the Academy and in S.H.I.E.L.D. and Skye could definitely improve with one of the Dollhouse’s personality implants) are decent enough, the concept is absolutely great looking at how big the Marvel cinematic universe is growing each year (OMG AVENGERS 2 OMG THE DEFENDERS OMG) and everyone loves Coulson. But what about AGENTS OF S.H.I.E.L.D. just isn’t working?

Could it be that Joss Whedon has not directed a single episode since the pilot?

Or the fact that Joss has only written one episode this entire season.

Hey, maybe it’s that Joss Whedon is not the show-runner, but merely titled “co-creator” and “producer”?

Had AGENTS OF S.H.I.E.L.D. been solely in Joss’ more than capable hands, I have no doubt that it would by far be one of the best shows to tune into weekly, but being left in the hands of another (it’s been proven time and time again that Maurissa and Jed together are not half the talent that Joss is alone) AGENTS OF S.H.I.E.L.D is suffering, and I don’t think that even the great Thor could stop it. The episodes are lackluster and #ItsAllConnected doesn’t mean a damn thing, but no one knows what’s going on anymore.

Ward is banging May, is in love with Skye, and now he’s HYDRA? Fitz and Simmons are adorable, easily flustered, and lacking any real substance, which immediately leads me to Skye. What, exactly, is the point of her? Something about her parents were important so she’s highly valuable or something… to who now? And why is that, again? Melinda May is a badass, sure, but her lack of any kind of expression has worn out its welcome. Is she in love with Coulson? She sure seems like she could be, yet she’s bumping uglies with Ward, assembled this team to put Coulson down if need be, and is apparently in contact with Fury behind everyone’s backs. Who knows what happened with Agent Hand last week since all I gathered from that entire episode is that she apparently got dead, and who knows if that was even real (Fury ain’t dead. No one can kill Sam Jackson. Be real. …And, you know, spoilers).

AGENTS OF S.H.I.E.L.D. seems to be moving in some sort of direction somewhere, somehow, but the individual storylines and overall plot have such little structure that the miniscule bit of information that is given is so haphazard and undeveloped that it feels like Maurissa and Jed took a page from the bible of LOST and are just making things up as they go. Joss may have made things up as he went (some story arcs were more ridiculous than others…ADAM) but you never quite felt this dazed and confused. While I know Joss is busy being all Avenge-y, it’d sure be nice if he stuck his head into the S.H.I.E.L.D. writers’ room once in a while to bust their balls about the hot mess that is AGENTS OF S.H.I.E.L.D.

Spoilers from CAPTAIN AMERICA: THE WINTER SOLDIER and AGENTS OF S.H.I.E.L.D. follow. 

If you’ve seen CAPTAIN AMERICA: THE WINTER SOLDIER, you know the film drastically changed the landscape of the Marvel Cinematic Universe. Ever since Nick Fury showed up at the end of IRON MAN and introduced the Avengers Initiative, S.H.I.E.L.D. and Marvel’s love of acronyms were the strings that tied the Marvel universe together.

Now, that S.H.I.E.L.D. has been destroyed, thanks to a decades long and irreversible infiltration by HYDRA, that leaves a massive, gaping void in the MCU, and in particular…kind of throws Marvel’s first foray into TV, AGENTS OF S.H.I.E.L.D. into flux. The show is called AGENTS OF S.H.I.E.L.D. for Phil Coulson’s sake. But considering AOS’ struggles with mediocrity over its first season, the bombastic events of the excellent WINTER SOLDIER offer a rare opportunity for a show to completely reimagine itself, to reboot, to revitalize itself with an eager and massive audience. Starting tonight, we’ll start to see what Maurissa Tancharoen, Jed Whedon, Jeffrey Bell and company have planned. Hopefully it involves something this wonderful:

David already chronicled what he thinks might happen over the season’s final 6 episodes, and what he WANTS to happen going forward in this awesome post. What follows are a bunch of ideas for season 2 that WON’T HAPPEN, that are too crazy, too nonsensical, and (some) too awesome, to happen, with new show titles to boot.

1. AGENTS OF THE ASTRAL PLANE

One of the more amazing nuggets in a movie bursting with greatness (CAP 2), was that Jasper Sitwell mentions Stephen Strange as an enemy of HYDRA while being interrogated by Cap and Black Widow.

This means Dr. Strange is happening. It’s as inevitable as my diabetes. To which I say:

While Dr. Strange deserves his own film, and has the highest upside of any other Marvel character yet untapped…this TV reboot wouldn’t preclude a film franchise from happening.

Judging from Sitwell’s reveal, Strange is an enemy of HYDRA, and therefore, probably an ally of S.H.I.E.L.D. in the aftermath to come. Imagine Victoria Hand, or the Clairvoyant, or the member of the team that betrays Coulson and his crew (who could also be the Clairvoyant), has them in his/her grasp, ready to end this vagabond group of misfits, once and for all. In this scenario, the Clairvoyant may as well be Dormammu. 

Enter Dr. Strange, a fun spell, and a trip to the Astral Plane, where Ward, May, Coulson, Skye, Fitz and Simmons (or whomever is still alive) regroup, learn the Mystic Arts, and pop in and out to take down the remaining heads of HYDRA, or the new threat to public safety. It’d be awesomeawful, with Wong along for comic relief and casual racism.

2. AGENTS OF UPS

In a move purely out of crazy obvious cross-promotion, the only division of S.H.I.E.L.D. that remains after CAPTAIN AMERICA: THE WINTER SOLDIER is that of “logistics.”

It’s a tough transition to make, but Coulson proves adept at leading a group of delivery men and women that ALWAYS gets their packages out in time, and to the right people. May’s pilot skills translate beautifully to the open road. Skye creates a new shipping system that revolutionizes the industry, and cripples FED EX (a front for HYDRA). It’s all a First Class time, until Christmas 2014, when the Clairvoyant (revealed as Heat Miser), threatens to ruin Christmas, by destroying UPS’ new logistics algorithm. FitzSimmons prove worthy of a littleReindeer Games, but the power and temptation proves too great, as we incur a Dark Willow type situation that doesn’t get resolved until Easter.

3. AGENTS OF LOLA

It’s clear the best character in AGENTS OF S.H.I.E.L.D. has always been Phil Coulson’s precious flying red car Lola.

Victoria Hand and HYDRA manage to destroy almost everyone (Lola only seats two passengers comfortably, after all) and everything, but not LOLA. Coulson manages to escape, with maybe one or two other survivors, zooming off in Lola.

In a show that can only be described as HERBIE: FULLY LOADED meets FAST & THE FURIOUS, Lola proves to have as acerbic a wit as Jarvis, but with far more explosive weaponry (and many a tank of NOS). Amid the innumerable car chases, races and death defying stunts, Skye and Simmons jostle for shotgun (and Coulson’s fatherly affections).

4. AGENTS OF STARK INDUSTRIES

At the end of CAPTAIN AMERICA 2, Maria Hill rebounds nicely from losing her job at S.H.I.E.L.D., by interviewing for a job at Stark Industries. This seems to hint that Tony Stark and Stark Tower will be the new base of operations for whatever is left of S.H.I.E.L.D., and the Avengers.

Coulson and company are looking at unemployment just like the rest of America (and Cobie Smulder’s schedule is free after the end of HIMYM), and their only option? A billion dollar company run by the world’s favorite superhero. Bummer, right? In this workplace comedy modeled after THE OFFICE, Phil Coulson and Maria Hill would butt heads (and bump uglies), while teaching Melinda May to work spreadsheets. Ward could try to take Happy’s job as bodyguard. Fitz and Simmons will fit right in with Tony and his group of eccentric inventors, as Simmons falls in love with Jarvis’s sultry voice (who will then turn into Vision, creating a love triangle with Elizabeth Olsen’s Scarlet Witch). Skye can hack, or whatever.

The drama is off the charts.

Think the last season of ANGEL, without Spike, a robotic Gunn, and none of the fun. The season premiere will open with this frightful image, and the rest of the year we will be figuring out how we got to this point (spoilers: bad shellfish):

5. AGENTS OF HYDRA

If you can’t beat ’em, join them. Season 1 of AGENTS OF S.H.I.E.L.D. has had a very ALIAS-like vibe, with Coulson perhaps unwittingly HELPING the bad guys, working for SD-6. Perhaps, so discouraged and disillusioned by SHIELD, the aura of order and compliance to HYDRA is exactly what the doctor ordered. Ward will follow anybody, after all.

Or, maybe Coulson’s team doesn’t just have one traitor. Maybe THEY’RE ALL EVIL, unwittingly keeping it a secret from one another because they didn’t know whom to trust.

Once the shit hits the fan, they realize they all Hail (From) Hydra, and we find out that Victoria Hand normally dyes her hair GREEN, for she’s really Madam Hydra, as they prepare for the sordid events unfurling in AVENGERS: AGE OF ULTRON.

We learn the history of HYDRA, with flashback episodes to Dr. Arnim Zola, the Winter Soldier, and how they shaped awful events of the past. HYDRA was behind Watergate, the JFK Assassination, the Moon Landing, every single conspiracy you’ve ever wanted to believe, including the mysteries of what is in McDonald’s Fish Filet.

We can also get Bob, Agent of Hydra, in there for much-needed comic relief:

Alternatively: the show could be retitled AGENTS OF H.A.M.M.E.R., where we learn that Victoria Hand was manipulated by HYDRA, or thought Coulson’s team was HYDRA, but she’s really just a hard ass with questionable morals. In other words, she’s exactly the leader Coulson’s team needs in the terrifying vacuum left behind by S.H.I.E.L.D.’s absence, as she starts H.A.M.M.E.R., the newest acronym everyone will be talking about, a shiny fancy new espionage and law enforcement group formed to replace S.H.I.E.L.D. The organization is created and run by Norman Osborn in the comics, but who needs that asshole?

Anyways, SOME of Coulson’s squad decides to join Hand (May, Simmons), where others side with Coulson (Fitz, Skye, Ward’s dead or split in half), splintering off on their own, setting up an escalating feud between the two factions.

6. FUTURE AGENTS OF S.H.I.E.L.D.

In “Seeds,” Fitz and Simmons returned to their roots at the S.H.I.E.L.D. Academy, where their academic exploits and their big beautiful brains are revered. After Coulson and his squad of over-matched spies get murdered by Victoria Hand, the Clairvoyant or an explosive Bill Paxton quip, we’re forced to go backwards in Season 2, with a prequel series.

Fitz and Simmons are adorable, the nerdy will-they, won’t they’s of the show. In the JEDI ACADEMY/MONSTERS UNIVERSITY inspired FAOS, we get their “meet cute,” as Fitz accidentally zaps her with one of his experimental weapons, and gets caught repeatedly creeping on her with his weird spy orbs. But Simmons likes the attention.

We learn where Ward’s personality disappeared to, as Bill Paxton’s Agent Garrett brings him under his wing, absorbing all humor and personality from his muscular protege’s body, since no one can compete with Bill Paxton.

Melinda May is in full blown Cavalry mode, only taking breaks to share the sheets with a sexually frustrated Agent Coulson, who can’t seem to get an erection after he discovers the world is a place where the Incredible Hulk and Thor is real, and really just wants to complete his Captain America trading card collection.

Oh, Skye spends her time in that van a lot, maybe narrating the events a la DOOGIE HOWSER (or better yet, the technological soul of Arnim Zola narrating the events from her van). Riveting stuff, and if it doesn’t find an audience, it could go the GOTHAM route, and throw every famous hero into the SHIELD Academy BEFORE they become the heroes we know and love.

7. AGENT PEGGY CARTER

Since the awesome PEGGY CARTER one-shot materialized, rumors have swirled around a possible Peggy Carter TV show.

What we didn’t know was that Marvel Studios had planned all along for Hayley Atwell to take over for Coulson and his fuck ups once and for all after one season.

Following the “death” of Steve Rogers, Peggy Carter gets ushered into a fledgling little group called S.H.I.E.L.D. and becomes one of the founding members of the world’s most secretive and powerful organization. Joined by Dum Dum Dugan, his Howling Commandos and Howard Stark, we witness the origins of the divisive and mysterious organization.

Throw in the impossibly studio convoluted Invaders, the million different Captain America’s that tried to replace Steve Rogers over the years, and the seeds of Hydra’s rebellion, and you have the greatest show on the planet. Plus, we learn the truth behind Howard Stark’s death (he’s a Skrull), and get more Arnim Zola, who needs to be in every episode of every show on this list.

It’s pulpy, sexy, fun. MAD MEN meets ALIAS.

8. AGENTS OF S.K.Y.E.

Skye’s name is no accident. While it might’ve been evidence of a whimsical, hippie (but annoyingly upper class) mother…it’s more likely a code for her origin.

The sky. Space. She’s clearly an alien, yo, and by the end of season 1, Skye learns that she is KREE, and faced with either sticking around a world without S.H.I.E.L.D. and direction, the surviving members of Coulson’s pals decide to romp around in space with Skye, jettisoning us off into a galaxy far, far away, and the guardians who would protect it.

While we skirt around Peter Quill and the real GUARDIANS, we’re introduced to their swashbuckling, quirky world, and to the Nova Corps, Quasar, and Skye’s father…Mar-Vell. We learn that Skye’s been hidden from the Kree’s and the rest of the universe…because she’s the key to the galaxy, or something equally profound/ridiculous. In fact, she’s the basis for the Kree-Skrull War that explodes in Season 4.

Melinda May will admit to being jealous of her and Ward’s obvious affections in Season 3.

9. SECRET AGENTS OF S.H.I.E.L.D./AGENTS OF FURY

Do we really believe that S.H.I.E.L.D. is gone forever? They’re just as persistent and as hard to get rid of as HYDRA and bed bugs, and Nick Fury doesn’t give up easily.

In the finale, after Coulson and the surviving members of his group defeat Hand and the threat of HYDRA (for this season), Nick Fury reveals himself to be alive (Sam Jackson will appear on the finale). There, he offers Coulson his next mission, should he choose to accept it: to start a top-secret, underground sect of S.H.I.E.L.D., operating with complete autonomy, globe-trotting around the world in the Bus and Lola, raiding out HYDRA and Centipede locations, while interacting with new threats, heroes, villains and powers.

It’s basically Secret Avengers, without the cool members of the team. But throw in Sif (as the Valkyrie counterpart), a redemptive Deathlok on the squad, maybe grab Sharon Carter (Emily VanCamp), and bring back Peter MacNicol as a liaison, and you have a legitimately awesome idea for season 2. You could even cover Secret War, without relying on Nick Fury to lead the charge.

That could happen. This is the crazy, unrealistic version:

I envision it like HARRY POTTER AND THE DEATHLY HALLOWS, where Coulson and his group are constantly on the run, or in hiding from the Clairvoyant, flitting from place to place, running into friend or foe, and uncovering heretofore undiscovered tenants of the Marvel Universe. Stay a week in Atlantis with Namor. Stay at a bed and breakfast in Wakanda and meet T’Challa. Hitchhike with Nomad (or Captain America, incognito following an assassination attempt in CAPTAIN AMERICA 3). Maybe we meet the new Ghost Rider. Or Punisher. Or introduce Carol Danvers AKA Captain Marvel. Shang-Chi. Man-Thing. Ka-Zar. Moon Knight. Hundreds of others. Coulson and his team are like Ash Ketchum from Pallet Town, discovering and uncovering every corner of the MU (within reason), and jotting it into their pokedex.

10. LIFE MODEL DECOYS OF S.H.I.E.L.D.

Victoria Hand, Jasper Sitwell and the Clairvoyant manage to murder the crap out of Phil Coulson and his team.

But, this is the Marvel Universe, where no one stays dead.

Hand didn’t kill Life Model Decoys…she killed the real McCoy’s. But Coulson managed to create LMD’s for his entire team before her devastating/obvious betrayal.

The second season follows the life model decoys that survived and outlived their human counterparts. Universe-altering questions of humanity, and whether or not they deserve life, or even want it, is explored in the now moribund, existential series.

11. AGENTS OF A MAGICAL PLACE

After S.H.I.E.L.D. and everything Coulson has ever known has collapsed, he and his team are forced to go into hiding.

Because no one would expect them to go to the most obvious place, that’s exactly what Coulson’s cadre of “spies” do: they go to Tahiti. A magical place.

There, they have tropical drinks, sun tan, and undergo radical experiments with Book from FIREFLY.

Did I fall asleep? You will too.

12. AGENTS OF SHIELD

You think this is the same show. BUT THE ACRONYM IS NO MORE!

You know what this means?

The Clairvoyant isn’t Arnim Zola. It isn’t Bill Paxton or Hand, or May or any of the popular theories. No, the Clairvoyant is a nefarious time traveler (The Doctor?), who knows that Coulson’s team are the only people who can stop him…so instead of killing them when they were babies like a normal time traveler…he ships them off to…Medieval times!

I mean serious, Black Plague medieval times. Not Medieval Times. Ward finds the time change refreshing, the order of knighthood exactly what he always wanted, with Melinda May posing as his male squire, before enacting her vengeance.

13. AGENTS OF SUPERHUMAN REGISTRATION

One of the endings of CAPTAIN AMERICA: THE WINTER SOLDIER, involved the government questioning Black Widow, and threatening to arrest Natasha. It had the stink of the seeds of setting up the Superhuman Registration Act, an awful law enacted that forces all super powered humans to register with the government and relinquish their secret identities. It leads to a Civil War between heroes, fighting on either side, and sucked.

SMALLVILLE kind of did this arc before, X-MEN has done something similar, and it’s just the worst, and likely won’t ever happen, or shouldn’t. Until season 2 of AOS, as Coulson and his team go around the country, down “the list” of Assets, conscripting them to their service. Or else Deathlok kills them.

14. AGENTS OF THUNDERBOLTS

The THUNDERBOLTS are basically Marvel’s version of the SUICIDE SQUAD, a superhero team filled with reformed villains. ARROW’s been setting up a Suicide Squad in its second season (and who knows, might be planning a spin-off show), so it’d be pretty funny and fitting if Marvel stepped in and started the Thunderbolts Initiative in season 2 of AOS.

Redemption and the nature of heroism is a deep and profound theme often found in Joss Whedon’s work, and its the crux of the Thunderbolts team. Perhaps faced with the growing evils of Centipede/Hydra, Baron von Strucker, the Clairvoyant and whatever else is out there, that Maria Hill decides to enact the Thunderbolts Initiative, a decision buoyed by the successful rehabilitation of J. August Richards’ Deathlok in the final battle of season 1.

We’ve met Blizzard in “Seeds,” Radioactive Man in IRON MAN 3 (kinda), and most of the other “villains” in THUNDERBOLTS wouldn’t be stepping on the toes of any of their bigger franchises. Maybe Baron Zemo would, but I doubt we’ll be seeing a Masters of Evil group (unless Sony takes over). While Crossbones is likely planned for CAPTAIN AMERICA 3 (and a role in the Death of Captain America, been calling that since forever), he does have history with the Thunderbolts, and Frank Grillo isn’t too big for TV. There’s no shortage of people that have Thunderbolts ties, including Songbird, Nighthawk, Atlas, Swordsman, Penance and Paladin, that we wouldn’t have to delve into the Green Goblin, Bullseye, Venom and Deadpool’s of the world, that are untouchable and too big for TV even if they weren’t.

Crossovers have long been a part of the TV landscape. Most recently, Jerry Bruckheimer Productions has shuffled its cast of “characters” between COLD CASE and CSI: NY, or various combinations of CSI, CSI: MIAMI and CSI: NY. CSI & WITHOUT A TRACE also got in on the action.

But they’ve been around for a long time. Green Hornet and Kato appeared on an episode of Adam West and Burt Ward’s BATMAN. Characters from practically every crew in STAR TREK have met each other at one star date or another. Many shows have concluded storylines on other shows, like Andy Griffith on DIAGNOSIS: MURDER.

Can I beeee on any more shows?

90’s sitcoms featured a treasure trove of crossovers, as Chandler Bing of FRIENDS fame appeared on a show called CAROLINE IN THE CITY, and Lea Thompson (the titular Caroline) also made it on FRIENDS. Ross Gellar showed up on an episode of THE SINGLE GUY, which seems about right.

Kramer showed up on MAD ABOUT YOU. Carl Reiner reprised his role of Alan Brady from the DICK VAN DYKE SHOW on MAD ABOUT YOU. Phoebe’s twin sister Ursula (from FRIENDS) started as a character on MAD ABOUT YOU. Helen Hunt and MAD ABOUT YOU got around.

CHEERS & WINGS had a symbiotic relationship. Dr. Crane appeared on the JOHN LARROQUETE SHOW. Steve Urkel checked into FULL HOUSE and STEP BY STEP and John Stamos plays himself in STEP BY STEP, potentially forever altering the space-time continuum in the process.

Ray Romano and Kevin James have both appeared on their counterpart’s respective shows. Ray Barone (which is apparently Ray’s last name in EVERYBODY LOVES RAYMOND) appeared on COSBY, THE NANNY and BECKER. Everybody truly loved Raymond.

While we’re clearly living in a golden age of TV, the 80’s and 90’s were a magical time, but the fun doesn’t stop there.

The holy trinity was achieved much later, in the deplorable 00’s, by the Disney Channel when HANNAH MONTANA, THAT’S SO RAVEN and THE SUITE LIFE OF ZACK & CODY merged for an ungodly episode called “That’s So Suite Life of Hannah Montana.”

I can’t go a few minutes without mentioning something related to Joss Whedon, and his vampire shows ANGEL and BUFFY featured many of the same characters popping in and out and storylines that directly affected the other. Beyond that, Whedonites will tell you that the entire Whedonverse is connected.

There are a billion more (especially when you expand the net to include spinoffs or animated shows), but why isn’t there a network dedicated to it? Why aren’t producers and their production companies teaming up to produce seamless hours of interconnected, Easter Egg laden entertainment?

It’s exhausting, expensive, and likely, implausible in many respects. But…come on.

This year, Jason Katims has staged a little fun with his three TV shows on NBC: FRIDAY NIGHT LIGHTS, PARENTHOOD and ABOUT A BOY, highlighting the promise and potential.

Even before Katims staged an “official” crossover between FRIDAY NIGHT LIGHTS and PARENTHOOD, the shows were very much similar in mood, tone and actors. Almost every time a story necessitated a recurring guest star, Katims simply borrowed from his FNL alumni, oftentimes recycling their skillset or going against the grain, but always to comedic/wonderful effect.

Then “Friday Night at the Luncheonette” happened where Dillon, TX traveled to Berkeley, CA for a performance of Crucifictorious, the (3rd) greatest fictional band of all-time (Random Rankings column coming soon!). Amber (Mae Whitman) is manning the Luncheonette, Crosby and Adam’s recording studio, when LanceLandry shows up with the band and tears the place down with their set, thanks to Billy Riggins and a bunch of beer. It’s beautiful, hilarious bliss to see these characters again, mingling with Amber and Max.

Here’s the whole thing:

Jason Katims didn’t stop there. When ABOUT A BOY, NBC’s newest schmaltzy comedy that stars David Walton and Minnie Driver, premiered on February 22nd, the circle expanded further, another Katims Konnection. In fact, it existed already HAVING a crossover, as star David Walton had a cameo in a poker game on a previous episode of PARENTHOOD:

That’s Walton almost not in the shot on the right. Turnabout is fair play, however, as PARENTHOOD’s Crosby (Dax Shepard; we see the back of his head in the above shot) appears in ABOUT A BOY in Will Freeman’s very own poker game.

What can we derive from this? Jason Katims likes poker, the Bay Area (both shows are set in the SF area) and that he has fun playing with the audience a little bit. Here’s how Katims described the happenstance to EW:

“The one that aired on Parenthood was so subtle because people don’t know [About a Boy] yet, but I kinda liked that — not say anything about it and putting it out there,” Katims said. “When Dax comes on to About a Boy it will be very different. It’s going to be a cameo. It won’t be what the episode is going to be about. We’re doing it in ways that feel real and organic to the shows…I’ve never done anything like that before…it seemed like a natural thing to do.”

I’m not sure he can say that he’s never done anything like that before, considering what we already know about the incestuous relationship between FNL and PARENTHOOD, but I believe him when he says that it’s just a one and done thing.

But why should it be?

Cardigans.

Why are superhero movies, and in particular, the incestuous (in a good way) Marvel Cinematic Universe films, the only piece of popular entertainment that can crossover? The same benefits apply to any other show. In fact, you could argue the benefits might be even bigger for TV.

In this day and age, nobody watches a particular network out of loyalty or habit, unless they’re 67 years old and incapable of watching anything that doesn’t have a CSI or NCIS or L&O in the title. By creating an expanded universe within a roster of specific shows, and utilizing web series and webisodes and exclusive content online, a network rewards fandom, and gives viewers that watch more than one of their shows a certain cache. It incentivizes the relationship between TV and consumer, and rewards multiple viewings, plays into the DVR crowd, and will spark debate and fanfare in an age dominated by that very thing.

In the comic book world, it’s why Marvel and DC continually piss fanboys off by whipping up company wide crossovers year after year, and why fanboys always buy them. Because they’re inherently cool, whether they blow or not, because they have ramifications and you won’t want to be left out in the cold watching THAT 70’S SHOW reruns (though there are worse fates).

It’s certainly a lot more effort, and money (actors wanna be paid, yo), but the upside is tremendous, as evidenced by the number of articles and interest that came out of just these crossovers, and these shows are low rated chump change in the scheme of things. Going further with this idea would also promote cohesion among writers and producers and this sort of collaboration would likely increase the quality of TV thanks to the old adage of friendly competition. You don’t want to be the one who doesn’t know how to write Ron Swanson, or doesn’t use him correctly, when he pops on CHICAGO FIRE to save the day with his homemade fire hose.

Speaking of, NBC’s crossovers don’t just revolve around Jason Katims. LAW & ORDER creator Dick Wolf is also getting in on the fun, with CHICAGO FIRE, CHICAGO PD and soon, LAW & ORDER: SVU, swapping characters. Therein lies the rub: most shows can only crossover if they share the same producer or creator or at the very least, production company. Hollywood’s needlessly complicated that way. Two shows might very well air on FOX on the same night, but they might be partially owned by different studios, or filmed on a Sony Studios lot, or in Vancouver.

It’d take a concentrated effort, a regime change, or a brand new network starting from scratch to pull this off. Or a network with nothing to lose and the infrastructure already intact. Go to Vancouver, and you’ll find that that’s where EVERY CW show is shot, and considering ARROW, TOMORROW PEOPLE and FLASH (with the potential for BIRDS OF PREY and SUICIDE SQUAD out there) already share the superhero DNA (with FLASH literally being an ARROW spinoff), the CW is halfway there. And if they can somehow make ARROW viewers watch HART OF DIXIE because Diggle shows up to bang Rachel Bilson, and find a way to merge these combating audiences (though ARROW is pretty much a soap opera with tights 87% of the time), CW is all of a sudden a buzzy network.

That’s an awful, lame example, but imagine an age when Stephen Amell’s Ollie could pop in on FOX’s GOTHAM, or NBC’s CONSTANTINE, or AMC’s PREACHER? Some of that sounds awful, but who knows? Networks will never allow this to happen, mind you, but this sort of bold maneuver might be exactly what they need to compete with cable and the myriad of online avenues for original content. It’d also send fan fiction writers into a tizzy.

Think about it, and in the comments, give me some of your dream TV crossovers!

Oftentimes, I’m on my own, and that’s fine by me. If I waited for my friends to do something, or only did activities that appealed to them, I’d likely never get out of the house. Ever since I crumpled my acceptance form to the University of Washington, merely 15 minutes away from home, and took on the sojourn to an unknown, tiny town in upstate New York for college, many of my best times have come from my willingness to do exactly this. To just go, and see what my whims or instincts, or Yelp’s, Guy Fieri’s or Rick Steves’ instincts, will carry me into.

This random Saturday (Feb. 8th) in Los Angeles was one such day. I had a meeting for work (that I’m not at liberty to discuss at this time), and found myself in Hollywood on a sunny, glorious afternoon with nothing to do. The kind of conundrum people in Boston and NY wish they had right now.

I could bus back home (I’m one of the only LA residents who actually uses the infrequent, plodding and frustrating Metro system), or I could walk.

A lot.

Because I didn’t really bother zooming in on the Google Map of my phone, and because I had all the time in the world (a wonderful feeling), I decided it was time to make a Joss Whedon-tinged pilgrimage, and see what happens. That led to a roughly 4.3 mile jaunt down Vine (then Rossmore), then east on Wilshire, arriving at 4121 Wilshire Blvd, hoping this location still existed.

En route, I basically stumbled through one of the richest parts of LA, including past the infamous El Royale Apartments (above), erected in 1927 by William Douglas Lee, and keeping people erect until today. Check out the view and the inside:

Here are some other neat, massive apartment buildings likely filled with Arnold Schwarzenegger’s illegitimate children. Is it me or does the first one kind of look like an insane asylum, or a corporate building owned by Max Schreck or something? The day time maybe doesn’t sell that thought.

I sped past the Wilshire Country Club, keenly aware that I was the only one walking around (and not in a luxury vehicle). I also realized that I probably shouldn’t be snapping pictures at private homes, especially since many of them have legitimate security guards watching the house 24/7. I did anyway. Here are a few places I’d settle to live in:

For whatever reason, my recurring daydream involved bumping into Seth Rogen and smoking a blunt with him. I don’t even smoke. Not sure why it didn’t include a hot older woman who was antsy at home, like a Michelle Pfeiffer type. But I’m weird.

I also imagined actually living in a house like these, and while I liked some of the architecture, even if I could ever afford it, I just don’t think LA is where I’d want to live. Of course, if I ever find myself in that position, I’d likely sell out faster than I’d last during a sexual experience with Jennifer Garner (circa ALIAS days).

If this photo wasn’t taken from an iPhone, maybe it’d look more impressive. This is the view from Wilshire. Can it get any more Hollywood than this picture? Well, add droves of tourists, an empty tour bus, a hot dog stand and a dude dressed up as a Transformer, and you’d pretty much have it.

But enough of this shit. Finally, after a long ass walk, I reached the Hyperion Hotel, the sweet exterior location of Angel, Cordy, Gunn, Fred and Wesley’s base for seasons 2-4 of ANGEL.

BEHOLD!

The base was described by production designer Stuart Blatt as “an old hotel, something [the writers] could use to evoke the past of Los Angeles and some of Angel’s history, something kind of creepy and spooky but not too dark because they didn’t want something depressing…” It certainly fit the bill, and became the most iconic location on the show, aside from Cordelia’s chest. Clearly it stuck with David Boreanaz, as the hotel was even mentioned in a season 2 episode of BONES. It also got talked up in another Whedon classic, DOLLHOUSE.

In 1999, the apartment building, the Los Altos Apartments, was listed on the National Register of Historical Places. It was built in 1925 and was used as a luxury apartment and hotel for Clara Bow, Bette Davis, Mae West, Douglas Fairbanks and a little guy named William Randolph Hearst. I mean, they’re no Angel or Fred, but impressive nonetheless. AND YOU CAN STILL LIVE IN IT. RIGHT NOW.

While I was there, soaking all this in, a guard popped out and asked if I lived there. The guy’s either an idiot (I was a sweaty dude wearing a backpack taking pictures), or more likely, was using this question to get me off the property. I left pretty soon after, instead of staking the bastard, or claiming that I used to live in the house….fifty years ago. Either way, the nerd inside me was tingly all over during this experience.

If you want to live in such esteemed company, it’s only $1,850/month for a studio. A 2 bedroom apartment could be had for up to $3,600/month. What a steal.

I thought about turning around and going back the way I came back up to Hollywood, but thankfully I wasn’t a moron, and wandered toward Koreatown (or K-Town, if you think that’s cool to say).

In the heart of it, it appeared to be only hair salons and restaurants. My afternoon’s success called for one thing: BEER.

And that’s when I stumbled upon one of the best places to get beer and fatty foods in LA: Beer Belly.

Beer Belly is one of those “nice” places that serve craft beer and “classy” ways to ingest macaroni and cheese, pulled pork and french fries. I love these places, even if they’re overpriced.

I had the Duck Fat Fries, served with Raspberry Mustard (awesome), their “Frankenstein” ketchup (maybe even better) and a couple great beers. The fries were far too salty, but still fantastic, though I couldn’t help but want more duck than the duck skin cracklins and the duck fat oil the fries were drenched in. That probably means I’m getting Death by Duck next time, which is the duck fat fries with duck confit on top. Holy hell.

Their beer menu changes daily (the bathroom had a chalkboard advertising a keg opening on a Sunday, with deals occurring until the keg ran out), and after sampling a watery Irish Red from TAPS (of Brea, CA), I settled on the Holiday Spruce Ale from Craftsman Brewing Company based in Pasadena. As one might expect, it was like sipping on a Christmas tree, and that somehow translated into me calling it a smooth, easy drinking beer in my notes. I need help.

I followed that up with Modern Times’ Lost Horizon, a double IPA from the holy land that is San Diego. The beer itself was on the verge of being one of those IPA’s that’s just hoppy as hell because it’s supposed to impress you, without much in the way of flavor, but it skated by that potential catastrophe, thanks in large part to smelling like happiness. For more of my thoughts on beer, check out Untappd.

Beer Belly would’ve demanded future visits if only for the beer….but the food. I must try their Grilled Cheese, which has 4 kinds of cheese (Asiago, Gruyere, Cheddar, Goat Cheese), topped with bacon and a heaping portion of maple syrup. I could smell it all over the place, which made me hard and disgusted at the same time.

Bree, my delightful server, also recommended the Buttermilk Fried Chicken and the beer & chipotle braised short rib. I almost came on the spot, and somehow managed to resist ordering EVERYTHING on the menu. They have deep fried pop tarts, people. Bree also bought my second beer for me, so I was in love/tricked into tipping more to make up for the “savings.” One of my other notes about the place: “I want to be inside all the waitresses.” Real classy Andy. Beer Belly rules.

Before I had settled upon Beer Belly, I discovered another place for future reference. While I said earlier I’m fine going almost everywhere alone…this demanded company. This demanded a whole night dedicated to its revelry. This demanded Leonardo DiCaprio. Check out…

CAFE JACK. I don’t know where to begin with this place. It’s been themed after the TITANIC since 2007, merely TEN years after the movie came out. But that’s better than never to put a kitschy boat in a sketchy parking lot, where one buys coffee and sushi (they have a “Jack and Rose” sushi roll). It’s gotta be a stop on a Bachelorette party, or an ironic date with a game partner, or a place to get plastered at. It need to be on everyone’s itinerary.

The reviews are mixed, as one might expect, but that hasn’t deterred me from telling everyone I know about this place, in hopes that it can kick off a bizarre bar crawl.

With a spring in my step, I walked past Biergarten, then turned around and stared at the bar for a moment. I wavered on whether or not to grab another beer, or continuing on back up to Hollywood (I had an improv show to go to)…but it was that kind of day, and I sauntered in after a few moments hesitation. Plus I past this guy, who made the decision for me:

No idea.

Within moments, I realized that while trekking up Western, I had stepped in pungent dog shit, and I mistakenly brought it in with me to Biergarten. I quickly ordered a beer, and then stomped my entire body on the parking lot outside, rubbing my soles against the grass, to no avail. From there, I went to the bathroom and wiped the poop off of my shoes with paper towels, while the server was confused if I was staying or leaving. I still haven’t been able to get all of the poop off those shoes.

Needless to say, it was a fantastic entrance to a bar, let alone a Korean/German hybrid sports bar with one of the better beer menus I’d seen in LA. They have German fried rice, drunken chicken, and peanut butter sliders, apparently, but this was a beer-as-dinner sort of day.

I went with the Hop Tanker, a 9% double IPA, and it felt like heaven. If heaven gives you a hangover, an empty wallet and was from El Segundo. It had some great citrus and fruit on the tongue, while still remaining a kick in the pants.

Because I’m an idiot (and brilliant), I tried The Dudes’ Brewing Company’s Juicebox Series: Blood Orange, based out of LA (seen above). It was strong, overly sweet and thick, like the Big Lebowski fanbase, but it also kind of tasted like sweat. I was not a fan, but there wasn’t anything that I disliked about the concept.

Then I was off, to make it up to Hollywood. I got there in plenty of time to spare for the Doctor Who themed improv show that awaited me at iOwest (alumni from the entire iO program include Pete from 30 ROCK, Stephen Colbert, Andy Dick, Chris Farley, Tina Fey, Dave Foley, Neil Flynn, Jon Favreau, Dave Koechner, Lutz, Jack McBrayer, Seth Meyers, Tim Meadows, Amy Poehler, Mike Meyers, Danny Pudi, Key & Peele, Vince Vaughn, Jason Sudekis, Adam McKay, Eric Stonestreet, Glenn from THE WALKING DEAD and many more).

You know what that meant: more beer. Next up was the Blue Palms Brewhouse, another pub with a great beer list, including two of their own (brewed by Firestone Walker).

I started off with the aptly named Blitzen (from Faction Brewing of Alameda, CA), which was what made the Doctor Who Live! so much better than it really was. My quote for the beer: “Hell yes this is dangerous and hell yes I want all of it inside me.”

I followed it up with one of their own beers, the Blue Palms IPA, which was as bland and lame as any IPA you’ve ever had. Firestone apparently doesn’t care when there name isn’t on it. It was impressive that I could even distinguish anything at this point, but the bucket of salty pretzel balls surely helped (a bucket of salty pretzel balls ALWAYS helps, even if they burn your hand off). I was told to order the Truffle Burger next time I was there.

(Note: the next day I would randomly find myself back at the Blue Palms Brewhouse, and sampled their esteemed Truffle Burger, which was as rich and over-the-top as you might’ve expected. Not sure how much I truly loved it, but it was great.)

I found this hilarious at the time, and still do.

I finally arrived at iOwest, where I believe I had another beer while waiting for the show to start (because it was late), and talked football (GO HAWKS) at the bar with a couple folks, including a Minnesota Vikings fan and (gasp) a woman (no idea what team she was into).

I’d be lying if I said I internalized most of the show, but I still had a blast, and enjoyed the festivities, likely more because of the concept than many of the jokes. Crafting a new doctor, new companions and getting a different time period or locale every show highlights how the real show has lasted 50 years, and how an improv show based on it can last just as long.

Perfect photo for a caption contest.

Afterwards, it was time for another beer. Kidding: I took the bus and went sweet sleepy time. But before I did, I took a picture of the most important star on Hollywood Blvd:

Full Disclosure: I’m writing this while listening to the “Once More With Feeling” soundtrack from BUFFY. But, of course.

Sometimes things so bizarre, weird, or perfect, just fall in your lap. That was exactly what I felt like when a Facebook friend (so you know we’re close) of mine posted a status update that related the following news to me:

Lusty Kitten Productions (naturally) was putting on an Joss Whedon-themed burlesque show in Los Angeles, THAT night (Friday Feb. 7th), entitled Across the Whedonverse.

Um, what.the.fuck?!

It was two hours until show time, I had no ride, and would be bailing on my roommate’s burgers and movie night…but I didn’t really have a choice.

What was to come reminds me of what Whistler said in “Becoming, Part One,”:

Bottom line is, even if you see ’em coming, you’re not ready for the big moments. No one asks for their life to change, not really. But it does. So what are we, helpless? Puppets? No. The big moments are gonna come. You can’t help that. It’s what you do afterwards that counts. That’s when you find out who you are.

This night was one of those “big moments.” I’ve never been to a burlesque show. Not for lack of…trying? No, that’s not the right way to put it (though I do want to go to David Lynch’s writing spot). Not for lack of desire? …I guess. The idea of women getting naked and dancing holds much appeal. Obviously. The idea of these women getting naked with a FIREFLY or BUFFY back drop? That gives me every kind of boner possible, while also confirming how great the universe is.

Of course, I was imagining semi-beautiful look-alikes with decent production value and mildly clever jokes.

I got none of those things. Well the jokes were mildly clever, if you consider ketchup mild.

But, even so, it was so worth it. It was the kind of awful you want to experience. The kind of awful you can tell your friends about, and the kind of awful that reveals beauty and brilliance and what life is all about.

Joss Whedon is the greatest. There’s no disputing it, and his fans, acolytes and believers are also the greatest by extension. Joss Whedon is everyone, a patron saint for the average guy and girl, the nerd, the recluse, the nerd recluse who gets the courage to wave his nerd recluse flag amongst other like-minded nerd recluses at Comic-Con and Slayage Conferences, or as it so happens the Fais Do Do club on Adams Boulevard.

It also allows these same people to get close-to-naked on stage for others Whedonites amusement and pleasure.

The night began, after a long wait in line, bursting with men and women donning their Jayne hat (above), with another interminably long, single file line to an uninspired bar (HELP US GET DRUNKER), and a magician who gives low-energy magicians a bad name. It wasn’t even a diverting experience; it just made the crowd that much more restless and impatient for boobs. At one point he was “floating” paper flowers or something, and the string he was using was as clear as day. It was painful, and certainly didn’t get one pumped up for what was to come.

And then, before the show had even started…it was time for an intermission. Fuck off, really?

At this point I was painfully sober (two weak $8 Dark and Stormy’s didn’t cut it) and impatient for this trip to work out. I had met my aforementioned friend, and two of his friends, including a guy who managed to tell me he had slept with 70 different women in his opening introductions and was now dating this cute girl from Seattle who was on his arm. Yeah, I wasn’t going to like “Rob” ever.

And then it was time for nerds gettin’ naked time! Things kicked off with a girl Dr. Horrible (dancer Tas DeVille), then a “shy” Willow blossoming before us (Rynie Das Wreckless), and an Anya (Spy Kitten) not only removing bunny stuffed animals from her robe, but also articles of clothing. Plus, her pasties accidentally fell off. Now I know what it must’ve been like for those at Super Bowl XXXVIII.

After Anya, it was time for an oddly dominatrix-y Echo (Estella Detroit), and then, Buffy, performed by Holly Rock-It! Later that night, feeling like I needed to do, I managed a very awkward “conversation” with Ms. Rock-It!, that consisted of me complimenting her on her dance and Holly thanking me politely to leave her alone.

How do you follow Buffy? You don’t…you just get another intermission. Thanks.

The most uncomfortable I might have ever been was when Mae Lust, one of the organizers of the event, a red-headed Wonder Woman, came to the stage and began reading…Fred and Harmony erotic fan fiction. As a friend told me, “That’s the dream.” It was the worst, but such a brilliant idea. I would’ve had two dancers as Fred and Harmony act out the events in the background, but that’s just me.

My favorite performer might’ve been the Rave inspired Black Widow (Lyra La Belle). Next up was some not obvious blonde character, brought to life by Cici Stiletto.

The cherry on top of weirdness was the awkward, short, quiet Mercury Troy putting a spin on Drusilla I’ll be trying to forget for years. But this show wasn’t over yet. The three most eclectic acts had yet to happen.

Enter Princess Kida Kidagakash (above), the hottie from ATLANTIS: THE LOST EMPIRE, a 2001 animated feature that Joss Whedon wrote a treatment for. Yup. We’re digging deep, even with Inara, Kaylee, Zoe, River, Sierra or any of the characters from AGENTS OF S.H.I.E.L.D left to play. And no female Spike?! It was the kind of off-the-wall choice to be expected from the show, and also brought with it one of the more elaborate costumes of the night (one of the few good ones), filled out by June Au’Purr Darling.

Thrown in for good measure was also live music, supplied by Gemeni, a band formed by Lisa and Gina Gomez. Nerd rock is a thing, and they’re a fine example:

Then it got hot.

Who would’ve thought a near naked female Reaver with a man’s face covering her naughty bits would be so hot? Apparently Lusty Kitten, and Donatella MeLies made it happen.

Throughout the festivities, VV Trippple acted as the undead “pick-up artist,” meaning she was a zombie who picked up the clothes of the other performers. I could’ve done without it.

CABIN IN THE WOODS fans didn’t get a Merman. Instead, they got a Unicorn (Dia Blow…I think).

The finale was supplied by Sgt. Die Wies, a massive black woman (?), who brought more attitude, flair and gravitas to the character of Iron Man than even perhaps Robert Downey Jr. himself. Her performance was easily the most ridiculous, crazy thing I saw all night, as she bounced around stage, with lit-up arc reactor pasties and all. Her dance, and ACROSS THE WHEDONVERSE itself, was summed up perfectly by Captain Hammer’s closing line: “Fuck the arc reactor, we can power the Stark Tower with that ass.”

It took me far too long to really get and appreciate this night, but Sgt. Die Wies drilled the message home. The Whedonverse is about acceptance, and being yourself, and standing up for yourself, and doing what makes you happy, and that’s what these girls were doing all night, while showing off cleavage for charity. Jesus would be proud. Some dancers were better than others, but each were emblematic of the Whedonverse in every fashion, and every number was accompanied with truly bizarre and great music.

The evening was tied together by Mr. Snapper, or the aforementioned Captain Hammer stand-in, who was oftentimes unbearably cheesy, and other times, the only thing that didn’t make me want to impale myself on the Unicorn’s horn. It helps that we all came together to sing the Firefly theme song. Afterwards, he tried to rally us to sing Jayne’s Song…which should’ve been a roaring number, but instead ended up being just one dedicated and drunk Jayne fan singing along…and it was glorious.

Proving that he truly has nothing better to dois a tremendous sport, BUFFY and FIREFLY artist Georges Jeanty was there to sign autographs and cringe at the festivities with the rest of us.

While it didn’t prove to be a night of extreme socializing held together with expert storytelling, there was enough in-jokes, Whedon quotes and a stellar video clip featuring moments from all of our favorite series to make it worthwhile. The memorable experience will leave me as a leaf on the wind, at least until Accio Burlesque! returns…

A blurry photo of the cast