![]() In terms of quality, judging by the current television season alone, things seem fairly evenly matched. Certainly in terms of volume, Bad Robot comes out ahead, with three series on television compared to Mutant Enemy’s one. So, who would win in a fight between Bad Robot and Mutant Enemy?Īnswering this question really depends on what we mean by win. In contrast, Whedon’s primary identity as a scriptwriter makes his contributions closer to the model of auteur theory in film studies, where his own distinctive voice and vision are central to his influence on the field. Abrams’s work as a producer enables him to create a space for innovative work in the genre beyond titles to which he directly contributes. Yet, despite their similar innovations at this level of form, their influence and legacy is distinct.Ībrams has achieved greater reach in marketing new fantastic modes, but Whedon is more widely praised by critics and fans. Abrams and Whedon have changed the nature of fantastic genres in the twenty-first century and contributed to significant shifts in the overall political economy of popular culture. Additionally, in their work across media (from television to film to comics to digital games), both have played significant roles in the creation of transmedia storytelling. ![]() ![]() Both were among the first to engage with fan communities’ responses to their narratives, and they therefore played key roles in shifting the relationship between industry and fan production toward what Henry Jenkins has described as Convergence Culture (2008). In addition to creating popular and influential series and films that have shaped the genre through their many imitators, both Abrams and Whedon have pioneered new ways of relating texts to audiences across distribution platforms. Whedon was able to complete his vision in media such as comic books, and fan enthusiasm for Firefly (2002-2003) played a significant part in that narrative’s completion in the feature film Serenity (2005). None of Whedon’s other series achieved quite the same success as Buffy, but its spin-off Angel (1991-2004) made a respectable showing and is regarded by some as a better, more adult treatment their shared theme, the monstrosity of everyday life as literalized metaphor. Whedon’s Mutant Enemy logo is less widely distributed, currently airing only Agents of S.H.I.E.L.D., but his name is as widely known and more enthusiastically embraced by a loyal cadre of fans who follow his work since television’s Buffy the Vampire Slayer (1997-2003). Abrams himself is associated with the celebrated series Lost (2004-2010), which seemed single-handedly to reinvent notions of genre on television, and is involved as writer, producer, and director across science fiction more broadly, especially his role in rebooting both Star Trek and Star Wars. Abrams’s Bad Robot company logo lies behind many of the science fiction programs currently on the air, including Revolution, Person of Interest, and Almost Human. THERE IS NO QUESTION that two of the dominant forces in genre television right now are J.J. Billed Into Silence: Money and the Miseducation of Women.
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