Much Ado About Nothing

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Yesterday, I finally got to see Joss Whedon’s film adaptation of Much Ado About Nothing. Shot in twelve days in black and white in and around Whedon’s California home, most of the cast have worked with Whedon on previous projects, and that’s clearly helped achieve the sort of directorial clarity that other films can’t always manage. 

Much Ado About Nothing [DVD] [2012] (DVD)


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Including some silent flashbacks of Beatrice and Benedick’s previous liaison is a luxury stage productions can’t have, but here it helps establish the cause of their antagonistic relationship in a nutshell. She fell for his charms once, and her antipathy towards him is as much regret for her own part in that one-night stand.

Amy Acker’s Beatrice is wonderful: strong, compassionate, fragile, quick, strong, headstrong. I said in my preview blog post that I’ve never been particularly enamoured with Alexis Denisof, and for the most part that opinion hasn’t changed: however, his farcical acrobatics as he overhears Leonato, Claudio and Don Pedro talk about how Beatrice is in love with him are hilariously accomplished. His weakest scenes are those where he must monologue his way through his internal thought processes. On stage, Benedick can use the audience as confidantes: no such luck on film – although at one point he addresses an imagined audience within Whedon’s garden amphitheatre, and that just about works.

Clark Gregg’s Leonato is a warm, genial figure – and not a little camp, which is no bad thing – while Reed Diamond’s Don Pedro and Sean Maher as his bastard brother, Don John, provide solid, ever watchable interpretations of those stock characters.

As the secondary couple, Jillian Morgese is little more than a cipher in the thankless role of Hero, far eclipsed by Fran Kranz’s Claudio. As the smitten young man who allows Don John’s lies to lead him to believe his fiancée has been unfaithful to him, Kranz is astonishing. He’s been a supporting actor in several Whedon projects up to now, but I really hope that this role is enough to get casting directors considering him for the romantic lead in future projects. 

Much Ado About Nothing [Blu-ray] (Blu-ray)


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There is an undoubted highlight in the casting, though – Nathan Fillion as the buffoonish constable Dogberry. Fans of Doctor Horrible’s Singalong Blog know that, as Captain Hammer, Fillion can play heroically stupid like nobody else. That’s a path he not only treads again here, but trips down with abandon. He steals every scene he’s in, although Tom Lenk as his assistant Verges is a hilarious accomplice in that regard.

The music is also wonderful, composed by Whedon, produced by his brother Jed and featuring the vocal talents of Jed’s wife Maurissa Tancharoen. In terms of adapting the song Sigh No More, they do a great song that fits in with the mood of the party scenes. (I still prefer Michael Bruce’s Eighties-themed interpretation, though.)

Much Ado About nothing is still on release – for details, see the official websiteThe film is available to pre-order on DVD and Blu-Ray for release in October. The original score is available now.

Much Ado About Nothing5Scott Matthewman2013-06-23 14:17:44Yesterday, I finally got to see Joss Whedon’s film adaptation of Much Ado About Nothing. Shot in twelve days in black and white in and around Whedon’s…

Coming soon: Joss Whedon’s Much Ado About Nothing

If there’s one film I’m looking forward to this June – and that ignores both Behind the Candelabra and Man of Steel – it’s Joss Whedon’s take on Shakespeare’s comedy Much Ado About Nothing.

Filmed over a couple of weeks as the director took a break between production and post-production of Avengers Assemble, it was shot in and around Whedon’s home, and stars actors who have featured in several of his previous projects (for a selection of interviews with them, see this Buzzfeed article).

I’ve never been quite as enamoured with Alexis Denisof (Benedick) as Whedon seems to be, but Amy Acker’s Beatrice should be good fun. And the thought of Nathan Fillion as Dogberry…

For more details about the film, including the cinemas it’s booked to play in, visit the official site at muchadofilm.co.uk. It opens on June 14.

Ten Things About Who: The Name of the Doctor

This post has been edited, tidied up and expanded to form part of my new ebook, TEN THINGS ABOUT WHO, available on Kindle. Buy it now for £1.99More details

Okay, this time more than ever, you must watch the episode before reading anything about it. Spoilers, sweetie…

Read previous Ten Things About… posts

1. “Less poetry, Doctor”

Do you hear the Whisper Men
The Whisper Men are near
If you hear the Whisper Men
Then turn away your ear

Do not hear the Whisper Men
Whatever else you do
For once you’ve heard the Whisper Men
They’ll stop… and look at you

A simple, but effective, design helps lift the Whisper Men from being the generic henchmen that they would otherwise become. I couldn’t help being reminded of the Gentlemen that Joss Whedon created for one of Buffy the Vampire Slayer’s best ever episodes, the near-silent Hush. True, they stole hearts rather than just stopping them – but they, too, were presaged by a cod nursery rhyme:

Can’t even shout, can’t even cry
The Gentlemen are coming by
Looking in windows, knocking on doors
They need to take seven and they might take yours
Can’t call to mom, can’t say a word
You’re gonna die screaming but you won’t be heard.

Continue reading “Ten Things About Who: The Name of the Doctor”

Review: Avengers Assemble

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Over the past few years, several of Marvel’s movie adaptations of its greatest comic book heroes have featured short scenes after the credits. Once the seemingly in terminable list of CGI artists has finally concluded, an eyepatch-bedecked Samuel L. Jackson would appear, offering each film’s titular hero an opportunity to join “The Avengers Initiative”.

In The Avengers — known here in the UK as Avengers Assemble to avoid confusion with the cult TV series (and woeful movie remake) of the same name — filmgoers get to see what all those scenes were about.

Continue reading “Review: Avengers Assemble”

Review: Avengers Assemble4Scott Matthewman2013-06-07 16:59:56Over the past few years, several of Marvel’s movie adaptations of its greatest comic book heroes have featured short scenes after the credits. Once th…

Ta-ra Tara, hello homophobia?

After the producers of cult TV hit Buffy The Vampire Slayer killed off a recurring character who was also an out lesbian, this article examined the accusations of homophobia aimed at a show which was historically regarded as being gay-friendly. Written for Gay.com UK.

In the US (and, in a few weeks’ time, on Sky One here in the UK), Buffy: The Vampire Slayer will be hanging up the stakes and garlic for the last time, as the series reaches the end of its seven-year run. It’s generally perceived as going out on a high, with its final season garnering much critical acclaim. US site PlanetOut.com described it as “the gayest show on television”, and is picking out a fetching funeral outfit for the final episode later this month.

For UK terrestrial viewers, though, who are one year behind, the series is coming to the end of a much more difficult batch of episodes.

The sixth season of Buffy was a tortuous period in the series’ history. On screen, Buffy Summers was brought back from the dead by her friends, who later discovered they’d not rescued her from hell, but wrenched her from heaven. Rupert Giles gave up sunny California for his native rain-drenched West Country England. Xander and Anya bored everyone with their marriage plans for most of the season, before it all ended in tears at the altar with not a single vow exchanged. But most heinous of all, Tara Maclay – beautiful, shy, funny, bewitching, lesbian Tara – was killed.

It was that last action that many fans found hard to take. Amber Benson’s character, introduced a season and a half earlier, had become an instant favourite since her first appearance in the near-silent episode, _Hush_. Not initially conceived as a lesbian character, the chemistry between Benson and Alyson Hannigan as Willow was so electric from their very first scene together that the characters were soon an on-screen item. Willow’s growing discovery of her own sexuality, her coming out to both ex-boyfriend Oz and her larger group of friends, was handled deftly and sensitively in a manner that earned production company Mutant Enemy much praise.

As Willow and Tara’s relationship blossomed throughout the series’ fifth season, Amber and Alyson became the American darlings of the gay press. Any criticism of the series’ handling of the relationship was mild, and aimed at the sometimes comedic presentation of Willow’s coming out (in _Triangle_, she herself describes her orientation as “gay now”, while a robot replica of Buffy summarised the character’s sexuality in an on-screen caption as `GAY: 1999-PRESENT`). Generally, most people were simply happy that two regular characters in the same show could not only both be gay, but be shown having a loving, intimate and sexually charged relationship. In American television, Willow and Tara were unique.

Even in the troubled season six, the couple were still setting the screen alight, despite fractures in the relationship based on Willow’s over-reliance on magic. In the much-vaunted musical episode _Once More, With Feeling_ (available on [DVD](http://www.amazon.co.uk/exec/obidos/ASIN/B00008N6ZH/thislitheunoffig), (http://www.amazon.co.uk/exec/obidos/ASIN/B000070WPE/thislitheunoffig), [script book](http://www.amazon.co.uk/exec/obidos/ASIN/0743467973/thislitheunoffig) and probably tea-towel by the time you read this), Tara sings the standout song of the episode, I’m Under Your Spell, about how bewitched she is by her girlfriend (ironically, unaware that she really _is_ bewitched, as Willow has cast a spell to ensure her girlfriend does not remember an argument they had the previous episode). The song ends with Tara floating over the couple’s double bed in what seems to be orgasmic delight. The top of Willow’s head can be seen doing something further down Tara’s body – it doesn’t take much to guess what.

As Willow’s deception is uncovered, the couple break up, and stay apart for the rest of the season. In the episode _Seeing Red_ (to be broadcast today, 8 May, on BBC2 at 6:45pm), the couple finally reconcile and spend pretty much all of the episode making up for lost time in bed. In the last few minutes, though, a stray bullet aimed at someone else fells Tara at her girlfriend’s feet.

That fans of the show, of the character and of the actress were upset at Tara’s death comes as no surprise. That the upset spilled over into anger and fury aimed at the show’s makers, though, took producers Mutant Enemy completely by surprise. But was it justified?

Tara’s death can certainly be justified dramatically. It propels Willow down a very dark path in her grief that shapes the concluding episodes of the season, and sends her character on an arc that continues until the series’ end a year later. In terms of character development, it can also be argued that Tara didn’t have anywhere else to go. Apart from one spell gone awry in season five, she was practically perfect in every way – acting as a surrogate mother not only for Buffy’s sister, Dawn, when she was left without anyone else to look after her, but also for the rest of the gang. And while that sort of emotional stability is something that most of us hope for in real life, in terms of television drama it becomes stale very easily.

While the series’ previous big death, that of Buffy’s mother Joyce, had been far more emotionally charged a year previously, the fact that Tara was gay threw the situation into a much more complex light. As author Keith Topping, writer of the critically acclaimed Slayer series of episode guides, noted, “the amount of Internet bandwidth used to discuss the possible subtexts surrounding Tara’s death… could have filled Wembley Stadium.”

In a series of blunt and frank essays, the first of which is entitled [It’s Not Homophobia, But That Doesn’t Make It Right](http://www.xtreme-gaming.com/theotherside/homophobia.html), former television writer Robert A Black argued that to kill off one of the only lesbian characters on television, only for the surviving partner to go on a homicidal rampage, conjured “images of the many dead and evil lesbian characters that have appeared on American TV and movie screens before. For Mutant Enemy to have placed these images on the screen and not expected viewers to hearken back to the homophobic stories of the past is as naïve as if they had placed a swastika on the screen and expected the viewers to think it signified good luck.”

Even critics such as Black acknowledge that the course of Tara and Willow’s relationship had, up until that point, been incredibly positive for the gay community as a whole. “Today, there are several gay and lesbian characters on American TV, but none of them are in a steady long-running relationship,” he wrote. “The fact that Willow and Tara were together was what made them unique. The relationship was greater than the two characters individually, because together they gave the gay community something it could find nowhere else.”

Topping agrees. “Willow and Tara, whether by accident or design, have been positive role models to gay people everywhere,” he writes in [Slayer: The Next Generation](http://www.amazon.co.uk/exec/obidos/ASIN/0753507382/thislitheunoffig), which covers Season Six and the fallout over the character’s death in some detail. “They’ve shown that you don’t have to hide your sexuality or to be an outsider, that ridicule and homophobia are products of ignorance.”

But, as Black notes, when you can count regular gay or lesbian couples on television not on one hand but on one _finger_, killing one half of that relationship carries a far greater impact than any death of a straight character could ever do. “It can be difficult for the heterosexual community to understand how important it is to see one’s self reflected onscreen. It’s so common for heterosexuals that we take it for granted, often to the point where we don’t even think it matters at all. But to a marginalized segment of the population, where there is a constant feeling that one’s very existence is being denied, that onscreen reflection can be priceless.”

The most eloquent critics of the decision to kill Tara are at pains not to label the show’s producers as homophobic. “A group of homophobic writers and producers could never have given the world the Willow/Tara relationship in the first place, and there’s no reason to assume that they have all suddenly turned homophobic now,” says Black. “On the other hand, even if Mutant Enemy didn’t intend to tell a homophobic story, they were still capable of placing a homophobic image on the screen.”

The argument gains strength given the juxtaposition of Tara and Willow’s make-up shagging with the death straight afterwards. Buffy has always portrayed sex and death as being metaphors for one another: the ‘siring’ of a new vampire has always carried strong sexual overtones, and when Buffy herself lost her virginity to Angel (a vampire whose soul had been returned to him) he reverted to the ultra-evil serial killer he had been in centuries past. But in a series where death is generally no hindrance to continued appearance in the series, redemption has generally always been on offer — at least, as long as you’re straight.

The only other recurring gay character in the series at this point had been Larry, a high school student who was one of two killed during the climax to the series’ third season. The other victim, high school bitch princess Harmony, became a vampire herself and popped up on numerous occasions. For the gay characters to be the only ones denied any chance of redemption, it can be argued, sends a terrible message to the audience — a message that may be unintentional, but is no less damaging for it: sex is bad, but gay sex is worse. Producer David Fury admitted in an interview in May 2002 that “in retrospect, I can see the cliché. That was not our intent. We wanted to show them together and happy. It created the impression in a lot of people’s minds that [Tara’s] death was linked to them having sex.”

The show’s producers, especially series creator Joss Whedon, say that the negative reaction to the loss of Tara from the show took them by surprise. “It was an episode that was clearly about male violence and dominance,” Whedon told _E! Online_, “and suddenly I’m a gay basher.”

In America (and for satellite viewers in the UK), a year’s worth of episodes have gone by since the events of Seeing Red. Willow’s still gay — and making the faltering steps back into coupledom with new girlfriend Kennedy. While played almost completely played for laughs, Tom Lenk’s Andrew Wells brings the total of recurring gay characters by the series’ end to three — which is three more than most TV series have ever achieved.

Amber Benson will be missed from television screens both sides of the Atlantic. Not only because there’s one less positive gay character, but also because she’s of normal build, with a curvaceous beauty that is so rare in an industry where most actresses can only succeed if they’re genetically cross-bred with a stick insect. Still, her own career now has some great opportunities ahead. She has written and directed an acclaimed film, _Chance_, and is co-author (with Christopher Golden) of the remarkable animated series [The Ghosts of Albion](http://www.bbc.co.uk/cult/ghosts/) for BBCi’s website. And thanks to DVD and video, Tara and Willow can remain together for as long as we need them to be.

* Originally published on [Gay.com UK](http://uk.gay.com/) _(original article no longer available)_