Tag Archives: Angel

buffy-hush

Looking at the 10 — or 15 — best Buffy episodes

A few weeks ago, I shared a list of my 10 favorite Angel episodes, in honor of the 10th anniversary of the finale of Angel. Writing about my favorite Angel episodes also got me thinking about my favorite episodes of its sister show, Buffy the Vampire Slayer.

Coming up with a list for Buffy is actually easier than it was for Angel — a fact that surprised me. I was a bigger fan of Buffy, and the show aired for two seasons more. There are a lot of episodes of Buffy that I love — I could probably make a top 10 list for each season — but when I really sat down and thought about it, certain episodes immediately came to mind as being truly great. I didn’t spend nearly as much time thinking about which episodes should go on this list as I did the Angel list; these all seemed natural choices.

So, without further ado, here are my top 10 favorite episodes of Buffy the Vampire Slayer:

10. “Grave” (Season 6, Episode 22): I have to be honest and say that, overall, season six was one of my least favorite seasons. It was dark and rather depressing. I also had a hard time believing guys like Warren, Andrew, and Jonathan could really be a threat to the Slayer herself (though I love Andrew and Jonathan). However, it made sense in the end that Willow would be the Big Bad of the season. I feel like they had been building toward this possibility for a while — and not just in season six. I really liked the symbolism at the end of this episode, when Dawn and Buffy climbed out of the grave: they were leaving the shadow of Buffy’s death behind once and for all and entering a new stage of life. What I loved most about this episode, though, and what earns it a place on my top 10 list, is that it was Xander who stopped Willow and saved the world. I’ve always loved Xander, and I thought this was a terrific moment for his character.

9. “Amends” (S3, E10): When this episode first aired, The First Evil was just a random bad guy who was easily defeated by destroying a shrine; no one knew how powerful a villain he (she? It?) would later become. I really liked this closer look into Angel‘s character and the things he regretted doing as Angelus. I also really liked the scene with Buffy and Angel on the hill in the end. Sure, the snow was a bit of a deus ex machina, but this was a Christmas episode, so it worked.

8. “Angel” (S1, E7): The first season of Buffy wasn’t perfect, but it did have its moments, and “Angel” was one of them. I thought this episode was well done, including the reveal that Angel was a vampire. Sure, if you were paying attention, you probably suspected it before now, but I liked the fact that they waited for that reveal.

7. “Once More, with Feeling” (S6, E7): Buffy sings! Only Joss Whedon could have pulled off a musical episode of Buffy the Vampire Slayer and have it be just the right amount of cheese. A demon that curses the townspeople with having to sing about their problems? It sounds ridiculous, but in this case it worked and is one of my favorite episodes. I still pull out the soundtrack and listen to it once in a while. I think the best part of this episode, though, is the fact that it’s not just a one-off silly episode. It actually drives the plot of the entire season forward with the huge bombshell that Buffy was happy and in heaven before her friends decided to resurrect her.

6. “Prophecy Girl” (S1, E12): Looking back over my list, I realized I included a lot of season finales, though that wasn’t intentional. They just tend to pack that emotional punch that make them really good episodes. “Prophecy Girl” was no different. The scene in the library, with Buffy and Giles and Buffy’s emotional declaration, “I don’t want to die,” really made this episode; it reminded us that, though she is the Slayer, she is also still a teenager. That, along with the fact that she went to meet the Master anyway, knowing the prophecy predicted her death, really set the tone for Buffy’s character and the entire series. Even though she’s a teenager, she’s not afraid to make difficult choices and sacrifices. This is why I admire her character so much.

5. “Becoming (Part 2)” (S2, E22): This was another finale with a huge emotional punch. Season 2 is possibly my favorite of the entire series. I’m not saying it all went downhill from here — each season has its high points, and some excellent episodes — but this season was extremely well done. The Angelus storyline was brilliant, and it all culminates in one moment at the end of this episode. Willow is finally able to succeed in performing the spell to re-ensoul Angel, but she’s too late. Angelus has already opened a gateway to a hell dimension and the only way to close it is to kill Angel. Killing Angelus would have been easy — Buffy was prepared for that — but watching her kill Angel is heartbreaking.

4. “Chosen” (S7, E22): I really loved season 7. It had its flaws, but, overall, it felt like a final season long before it was announced it would be the last. This episode brought out everything that made Buffy such a wonderful series. It even reunited Buffy and Angel for a brief period. I cried and laughed, felt worried and tense — sometimes all those emotions in just the 10 minutes of action between commercial breaks. The only sense of finality in this episode is the knowledge you have that there will never be a season 8. I loved the feeling of hope at the end and knowing that our beloved characters would continue on.

3. “The Gift” (S5, E22): Buffy willingly sacrifices her life a second time to save the world. This one was much more emotional than the first, however, since there is no bringing her back with CPR. I loved the opening of this episode, where she saves a young guy and his reaction is, “But you’re just a girl.” Buffy responds with, “That’s what I keep saying.” I love the little moments like this that remind us Buffy is much more than a Slayer. She is just a girl and sometimes would love to be just a girl. Her speech to Dawn was also tear-jerking; her line, “The hardest thing in this world is to live in it,” has really stuck with me over the years. The shot of the tombstone at the end lent the episode serious gravity and marked the series’ move from The WB into a new era on UPN.

2. “The Body” (S5, E16): These last two episodes could really be tied for first place, in my mind. “The Body” is one of the most heartbreaking episodes of television I’ve ever seen (possibly second only to Angel‘s “A Hole in the World”). The heartbreak really started in the previous episode, when Buffy came home to find her mother dead on the couch. Hearing Buffy, one of the strongest people you’ll ever meet, call out, “Mommy?” gut-punches me every time. Buffy and her friends deal with death constantly; what makes Joyce‘s death that much harder to take was that it was a natural one; this was no demon or vampire, there was no way Buffy could have done anything to prevent it. In this case, the Slayer is completely powerless. What adds to the tension (and brilliance) of this episode is the fact that there is no soundtrack at all; this gives the entire episode immediacy and a haunting feel. Anya’s breakdown and lack of understanding human emotions was one of the best moments from this episode, which, on the whole, was extremely well done.

1. “Hush” (S4, E10): I’m pretty sure this was the episode that cemented my love for all things Whedon. Not many hour-long series could pull off an entire 20 minutes in which not one character speaks, but Whedon did it wonderfully. This is definitely my favorite episode of the series. I loved how the characters had to make use of other modes of communication (Giles’ transparencies, for one), and the emphasis on expression and movement made the episode so fascinating to watch. I also loved that Buffy’s realization that Riley is part of a secret organization occurs in this episode, where they can’t talk about it until the end — and even when they can speak, they just sit there, staring at each other, unable to think of what to say. Plus, the Gentlemen still give me nightmares and are quite possibly the most terrifying monsters Buffy has fought (although, Gnarl comes in a close second).

As I was making this list, I realized there were several more episodes that couldn’t go unmentioned. So here are five more great episodes, in no particular order:

“The Zeppo” (S3, E13): This episode focused entirely on Xander’s exploits, with Buffy’s fight to stop the apocalypse entirely in the background. Xander will always be one of my favorite characters of this series, and this episode perfectly showcased his character.

“Lovers Walk” (S3, E8): I love Spike, and drunken, emotional Spike returning to Sunnydale was great.

“Something Blue” (S4, E9): This was another episode that I found amusing, as Willow accidentally casts a spell that makes everything she says come true.

“Innocence” (S2, E13): I debated whether this deserved a place on the list over “Becoming (Part 2),” but, ultimately, Angel’s death won me over. Nonetheless, from Buffy’s initial fears that she wasn’t good enough in bed, to her realization that the man she loves no longer exists, just a demon wearing his face — all very well done.

“Passion” (S2, E17): I’ve said before I’m not always a fan of voiceovers, but I thought the limited narration in this episode was powerfully done. This episode is where, in my opinion, everything changes in Buffy’s world. The stakes are raised and consequences become real. People die. And Angelus must be killed.

So that’s my list. What did I miss? Share your favorite episodes in the comments!

angel-no-1

Top 10 Angel episodes, 10 years later

Monday will mark 10 years since fans said goodbye to Joss Whedon’s Angel. The Buffy the Vampire Slayer spinoff was often darker and more adult than its predecessor, but every bit as good. If you’re anything like me, you’re probably having a hard time believing it could possibly have been an entire decade since the show was on the air. (Even harder to believe: that means it’s been 11 since Buffy closed the Hellmouth and left Sunnydale!) In honor of this anniversary, I’ve compiled a list of what I believe to be the top 10 episodes of Angel.

10. “Dead End” (Season 2, Episode 18): The Wolfram & Hart law firm, front for a demon cabal, is behind the replacement of Lindsey’s hand, and he is surprised to discover it has a mind of its own. Meanwhile, Angel Investigations looks into a vision Cordelia has had of a man stabbing himself in the eye — an eye that had been transplanted by the same clinic that replaced Lindsey’s hand. I may be totally biased when it comes to this episode as I am a big fan of Christian Kane. I always loved the character of Lindsey: I loved that while he worked for an evil law firm, he was conflicted deep down about his involvement in the work. More than once, we saw the moral conflict within Lindsey, and it helped to make him a really interesting character. Plus, he and Angel had great on-screen chemistry; I loved seeing the two interact. This episode also introduced me to the fact that Kane is a great singer; he even released an album several years ago.

9. “Smile Time” (S5, E14): Angel and his team investigate a children’s television program that appears to be sucking the life-force out of its viewers. In the course of his investigation, Angel is turned into a one-foot-tall puppet. “Smile Time” is to Angel what “Once More With Feeling” was to Buffy the Vampire Slayer. The plot seems utterly ridiculous — and it kind of was, yet you just can’t help but enjoy it. Watching Puppet-Angel rolling on the ground, trying to fight Spike was a classic moment in Angel history and led to one of my favorite Spike lines ever: “You’re a wee puppet man!”

8. “Soulless” (S4, E11): In an attempt to learn more about The Beast that is coming, Team Angel decides to remove Angel’s soul in order to get information from his cursed alter ego, Angelus. Angelus tries to take advantage of the situation by turning everyone against each other. This episode was light on action, but David Boreanaz really shines as Angelus. He’s done some of his best work on both Buffy and Angel in that alternate role, and this is possibly one of his best performances.

7. “There’s No Place Like Plrtz Glrb” (S2, E22): The four-episode Pylea arc that closes season 2 concludes with Angel and the gang attempting to escape from the hell dimension Pylea. I really loved this entire storyline simply for the change of pace from the usual darkness of the show. These episodes also introduced us to Fred, whom I loved almost immediately. I’ll never forget the first time I watched this episode and saw Lorne’s severed head speaking — how quickly I went from sadness and horror to relief and amusement. The lightness of this episode, however, was juxtaposed in the end with the arrival of Willow to inform Angel of Buffy’s death back in Sunnydale.

6.”Are You Now or Have You Ever Been” (S2, E2): After its offices exploded in season 1, Angel Investigations is homeless until Angel rediscovers an abandoned hotel where he had spent time in the 1950s. This episode showed how easily the humans can become the monsters, as the guests of the hotel are influenced by a paranoia-demon hiding within the hotel. When they all turn against Angel, he gives up on humanity and leaves them in the hands of the demon. This episode was a fascinating look into Angel’s back story and part of his psychology.

5. “Not Fade Away” (S5, E22): The final episode of Angel was designed to be a season finale, not series, so it ended with a huge cliffhanger that left many fans frustrated. This episode makes my list because, while it may have been a bad series finale in some people’s eyes, it was still a good episode. (And it seemed appropriate to me to see Angel and the gang — those who were still alive, at least — go out fighting.) There were a lot of things I loved about this episode, but “Fred” and Wesley‘s goodbye was possibly the most beautiful and most heartbreaking. The one thing I still find fault with is Lorne being charged with killing Lindsey: not only did the idea that Lorne would kill anyone bother me (though that issue was certainly addressed by Lorne’s reaction to the assignment), but I agreed with Lindsey in that it should have been Angel who did the deed. Dying by Lorne’s hand just felt anti-climactic, which is why this episode doesn’t make it to No. 1 on my list, as it does on many others.

4. “I Will Remember You” (S1, E8): Buffy shows up in Los Angeles to yell at Angel for not letting her know he had been in Sunnydale at Thanksgiving. When a demon attacks, Angel is turned human and spends several happy hours with Buffy. However, he learns that if he remains human, those he cares about will die, so the day must be reset. I, like many Angel/Buffy shippers, really loved this episode. I enjoyed seeing what Angel and Buffy could be like as a normal, human couple. What really makes this episode great, though, is when Buffy finds out she will not be allowed to remember this day — only Angel will remember what happens.

3. “You’re Welcome” (S5, E12; the 100th episode): Cordelia awakes from her coma and shows up at Wolfram & Hart to help Angel. I had been disappointed with how things ended for Cordelia the previous season, so I was relieved that they brought her back one more time. This episode was a much more fitting farewell for her character. It also had a lot of references to the early days of Angel Investigations, including Doyle’s attempts to make a commercial for the business. This episode felt more like the old pre-Wolfram-&-Hart Angel, and I really appreciated that. The final twist was heartbreaking, but not entirely unexpected. This was a well-written episode and one of Charisma Carpenter’s shining moments.

2. “Hero” (S1, E9): Angel, Cordelia, and Doyle work to save a group of demon refugees from an evil clan of demons known as the Scourge. In order to stop the Scourge’s deadly weapon, Doyle sacrifices himself to save the others. I loved the half-demon Doyle from the beginning, and his death and sacrifice were heartbreaking. I had also loved Cordelia and Doyle’s growing flirtation, making his parting words to Cordelia (as his demon form emerges), all the more tragic: “Too bad we’ll never know if this is a face you could learn to love.” I think this was the best episode of the first season, and it remains one of my all-time favorite episodes (as well as one of the saddest). I admit, I still get teary-eyed when I see it.

1. “Hole in the World” (S5, E15): Angel’s most tragic episode is also its best. When Fred becomes infected with a disease from an ancient sarcophagus that’s slowly killing her, the team works desperately to attempt to save her life. This episode was amazing and oh-so-heart-wrenching. Watching everyone, even Spike, try so hard to save Fred as Wesley slowly begins to realize nothing can be done was tragic. Then you get that final gut punch in the end when a demon takes up residence in Fred’s body. This episode was so well-written and the entire cast put in excellent performances. Amy Acker’s work was flawless in this episode (and she continued to impress the rest of the season with her portrayal of Ilyria).

So there’s my list. It’s not easy to narrow down an entire series to just 10 episodes, especially when the series is as good as Angel or Buffy. Plus, I had to resist the urge to put mostly season 5 episodes on this list; I still believe season 5 was the best, and there are so many episodes from that year that I loved.

Did your favorites make this list? If not, feel free to share your own in the comments below!

Bloodlines

Spinoffs: The often unneeded TV sequels

When a film does well at the box office, Hollywood has a habit of feeling the need to create sequels, regardless of whether the story calls for one or not. If the producers can’t think up a sequel, they turn to backstories and make prequels, which are often worse. Television attempts the same thing; when a series is doing well, a network will try to take advantage of its popularity through the TV equivalent of a sequel: the spinoff.

Television executives started pondering early on that when a series is doing well or has been on the air for a significant period of time, surely another edition with a similar premise will be just as well-received, right? Way back in 1960, a fictional sheriff from Mayberry, N.C., arrested Danny Williams on The Danny Thomas Show, and that fall, The Andy Griffith Show began its eight-year run as one of television’s most iconic series. That series gave rise to its own spinoffs: Gomer Pyle: USMC and Mayberry R.F.D.

Some of the highest rated and acclaimed series of all-time have been spinoffs, including The Jeffersons, Laverne & Shirley, The Facts of Life, A Different World, Star Trek: The Next Generation, Family Matters, The Simpsons, and Frasier. In fact, the most watched series on television right now is a spinoff, though many have long-since forgotten this fact. CBS powerhouse NCIS got its start within the late seasons of the series JAG, which, ironically, premiered on NBC. Then, in the tradition of Andy Griffith and All In The Family before it, viewers’ embracing of NCIS led to the spinoff spawning a spinoff, NCIS: Los Angeles, which I personally find more interesting than the original. Another well-known crime procedural, CSI: Crime Scene Investigation, has had similar good fortune.

Of course, while our TV sets have been full of successful spinoffs lately, there have been others that make you wonder why the producers made the effort. Even NCIS has had its spinoff missteps. CBS attempted a spinoff-of-a-spinoff when it aired a planted pilot of what would have become NCIS: Red, starring John Corbett, as an episode of NCIS: Los Angeles last year, but ultimately decided not to move forward with the series.

Undaunted by the lack of a pick-up for NCIS: Red, NCIS aired a two-part backdoor pilot to yet another anticipated spinoff, NCIS: New Orleans, just a few weeks ago. While I enjoy seeing Scott Bakula back onscreen, and I like the New Orleans atmosphere, I can’t help but wonder: is yet another spinoff really necessary (really, is any spinoff necessary)? And why so soon after the previous spinoff attempt failed to make it off the ground?

The CW has recently been getting into the spinoff game in a big way. One of its strongest freshman dramas this season was a spinoff, and next season could possibly see two more added to the schedule. The network did moderately well with the debut of The Originals this year. The series is spun-off from the network’s runaway hit drama The Vampire Diaries and follows the Original Vampires, who have been antagonists on the parent series for the last couple seasons.

I believe part of why The Originals works is that the main characters were already well-established on The Vampire Diaries. Klaus, Rebekah, and Elijah are characters that fans of The Vampire Diaries have grown to love, even if they have created nothing but trouble for the protagonists of the show. Even though these were the kind of bad guys we loved to hate, their stories on The Vampire Diaries could only last so long before the characters would become stale, and I have a feeling they were getting close to that point.

By creating the spinoff centered around the Mikaelson vampires, the writers were able to start telling new stories and even take steps toward possible redemption. I’ve been watching The Originals all season and, I have to admit, I’m finding it much more compelling than The Vampire Diaries at the moment. Either Klaus and Elijah were the best part of the original series or I’ve finally had enough of Elena being Elena (possibly both).

Following the good showing put up by The Originals, the CW is now planning two more spinoffs for next season from two other dramas: Arrow and Supernatural. I am actually excited about one of those series, but I have some reservations about the other — and, surprisingly, the one I’m worried about is the spinoff from a series that’s been at the top of my list of favorite shows for years.

Earlier this season, Arrow introduced us to Barry Allen, the young man destined to become the Flash. At the end of the two-part episode, Barry was injured when a particle accelerator exploded. Next season, the series The Flash will show us how he becomes the comic book superhero. Writers had originally intended for Barry to make another appearance on Arrow before the end of the season; however, the network decided it would rather have the Flash’s origin explained in his own series, not on Arrow.

I admit when the producers first announced Grant Gustin had been cast in the role of Barry Allen, I had my doubts — maybe in part because I was still a little bitter about that slushie he threw in Blaine’s face on Glee. I just wasn’t sure Gustin had the charisma to play lead in his own series. However, I really liked the character when he appeared on Arrow. I’m still not sure if he will be able to carry a series, but with a good supporting cast, this show could be great. I’m really looking forward to seeing how it turns out.

On Tuesday, the CW’s longest running drama, Supernatural, will air a backdoor pilot for proposed spinoff Supernatural: Bloodlines, renamed from Supernatural: Tribes. (I have to say, I wish they would just drop the colon title entirely. I prefer series with original titles for spinoffs, such as The Originals or Angel. Fans are smart enough to figure out which series the new show is connected to.) Supernatural: Bloodlines will be set completely in Chicago and focus on mafia-style monster families within the city, and a new, young hunter who goes up against them.

This is the series I have some reservations about. I love Supernatural — so much so that I traveled all the way to Vancouver for a fan convention back in 2009. However, I’m just not sure how this series will work out. One of the things that makes Supernatural unique is the road trip nature of the show; the ’67 Impala they drive around in is as much a character in the show as Sam and Dean. What will a version of the series set in a single city be like? How will they maintain the tone of the original? It’ll also be interesting to see how they distinguish this series from other shows with a similar premise, such as The Vampire Diaries, The Originals, or True Blood.

I don’t want to put the show down before it has even aired — I’ll give it a chance based on my appreciation of the original — I just can’t help but be skeptical. I also feel introducing new characters into a series for the sole purpose of creating a spinoff makes the entire situation feel contrived. It didn’t work so well for NCIS: Red, or for the Bones spinoff, The Finder, a few years ago (though I actually enjoyed The Finder).

As I stated earlier, part of The Originals‘ appeal was the fact that these were already established characters that fans loved, much like when Angel was created as a spinoff from Buffy the Vampire Slayer. Fans already knew and loved Angel and Cordelia, so they were willing to follow them to another series. Angel was another case where the spinoff almost felt necessary to keep the characters and stories seeming fresh and not going in circles.

The Angel spinoff occurred at an organic point in the storyline, where characters were graduating and moving on, so it made sense that some would be making a fresh start far from Sunnydale. Not all spinoffs have a natural starting place; the CSI spinoffs did fairly well coming from planted pilots, but I believe using familiar characters at a natural point in the story gives a spinoff a better chance of standing on its own. The Flash isn’t using this technique, but the character of Barry Allen is already familiar to many of the fans who are currently watching Arrow.

And then there’s the spinoff that has almost no real connection to the original series. Next year, we’ll likely see the premiere of How I Met Your Dad, from the creators of How I Met Your Mother but, aside from having a similar structure, the series has no other relationship with its predecessor. This type of spinoff is really just hoping fans of the parent series will give it a chance, as they have no more reason to watch this than any other new sitcom premiering next year. In fact, this particular series may actually suffer from the backlash created by the How I Met Your Mother finale a few weeks ago.

So are spinoffs really necessary? No, most of the time, I don’t believe they are. They’re just a way for a network to attempt to capitalize on the popularity of a series — just like Hollywood tries to attempt to capitalize on a film’s popularity in any way possible. They’re also a way to connect a concept for a new series to an already established one in order to draw in fans of the original in an attempt to take advantage of an existing audience.

However, once in a while, a spinoff could be the answer to continuing a character’s journey in new and interesting ways. It worked for Angel, and so far it has worked for The Originals. Next season, we’ll see which of the new series are able to find the formula for spinoff success.

buffy

Beloved TV series can have no ‘right’ ending

SPOILER ALERT: This post discusses series finales of many television series. If you are still catching up on any of the following series, proceed with caution: How I Met Your Mother, Dawson’s Creek, Charmed, Boy Meets World, The Sopranos, Dexter, Lost, Buffy the Vampire Slayer, Angel, Dollhouse, Once Upon a Time in Wonderland, Being Human, Psych, and Breaking Bad.

In the past two weeks, I have watched four series finales, each one very different, with its own faults and triumphs. I’ve also been watching fan reactions to each of those finales, curious to see who liked it, who didn’t, and what their arguments for each position were. My conclusion is this: no matter how good or bad a series finale is, you can never make every fan happy.

It doesn’t matter if a series has been on the air for only a year or two, or for nine long seasons: fans become attached to the characters and the plots. Over time — possibly without even realizing it — every fan will start to imagine how they would like to see the series end, even for shows that still have no end in sight. A lot is riding on that final episode. When the finale doesn’t live up to those expectations, fans are left feeling frustrated and betrayed, as was evidenced by the controversy over the How I Met Your Mother finale last week.

I was in the camp that, for the most part, enjoyed the HIMYM finale. I always had a feeling Robin and Ted would end up together, so the last few minutes were no big surprise. My major complaint with the episode was entirely about the pacing. Everything seemed to happen much too quickly; there was so little time to adjust to events in one time period before we moved on to a year or so later, leaving viewers with temporal whiplash.

Unfortunately, the writers of HIMYM aren’t the first to make this mistake when plotting out a series finale. Many shows seem to think viewers need to see the characters’ futures in order to be content with the ending, because I guess we’re not capable of imagining a happy future for the characters ourselves. Dawson’s Creek jumped ahead five years for its finale, Charmed fast-forwarded through time as well to show everyone how the sisters lived happily ever after. Many shows use this technique, but few do it well.

Those that don’t jump into the future for a finale often decide to go in the opposite direction, incorporating clips from previous episodes. This often feels like laziness to me. I would much rather see a well-written episode that makes clever use of callbacks and references to earlier episodes than just be shown older clips. This approach also has the tendency to feel overly sentimental, like the producers are clinging to the past.

The Boy Meets World finale is one example that comes to mind. While I remember loving it at the time, looking back now it seems a little heavy-handed with sentimentality as everyone is saying goodbye and clips play to show various scenes from the life of the series. I’m sure I’d still enjoy it if I watched the finale again, but it wasn’t perfect. (But I am pretty sure the compilation of Eric’s “Feeney!” calls probably still holds up.)

Some series finales are hated for perceived deficiencies in their plots. I’ve never seen an episode of The Sopranos; however, I remember all the criticism of that finale after it aired. I also have yet to watch the final two seasons of Dexter, but I’ve heard from more than one source that it may be one of the worst series finales ever.

One of the more controversial finales in recent history was the last episode of Lost, which left many fans feeling outraged by a lack of resolution. On the other hand, some fans were content with how the characters’ arcs were completed. From what I can tell, the Lost finale divided fans into two groups: the fans who watched the show for the mystery of the island, and the fans who watched because they were invested in the characters themselves.

Guess which group actually enjoyed the finale? I started out fascinated by the mystery of the island, the numbers, and the polar bears but eventually became more interested in the lives and interactions of the characters. Therefore, I appreciated the ending of the series because each character’s journey felt complete by the end.

Buffy the Vampire Slayer is one series finale that I felt did a good job of wrapping the season arc as well as the entire series, while still opening doors to the future without telling fans exactly how the characters’ lives ended up. In my opinion, the entire seventh season improved on the lackluster sixth and drove the action toward the endgame right from the start. All throughout the final season, there were parallels to earlier seasons without smacking viewers over the head with the references via clip shows. By the end, it felt like the series had come full circle.

Buffy‘s spin-off, Angel, did not have as much resolution. After hearing the series had been canceled, creator Joss Whedon chose to stick with the initial season finale plan, in which Angel and the gang go out with a bang. While this was a good episode — and would have made an incredible season finale — it made for a frustrating series finale; we are merely left with the image of the surviving members of Angel’s team preparing to face off against the armies of Wolfram & Hart, which included a dragon. Only the character of Wesley got a proper sendoff.

While on the topic of Whedon shows, I feel it necessary to point out that Dollhouse is one of the few series to successfully pull off the jump-forward finale. The last episode of each of its two seasons was essentially two parts of a whole. The scheduled first season finale, “Epitaph,” never aired on Fox, though it was included in the season one DVD set. “Epitaph Two: Return” aired a year later as the series finale, and these two episodes are arguably the best of the entire series.

Fortunately, of the four series finales I’ve watched in the last two weeks, HIMYM was the only one I could find serious fault with. Once Upon A Time in Wonderland only lasted 13 episodes and was not nearly as well done as its progenitor, Once Upon A Time, but it wrapped up its story lines nicely.

Being Human felt slightly off in the pacing, but the ending was bittersweet and almost perfect for each of the characters. In fact, that ending was almost exactly how I had hoped the original United Kingdom version would end when I first heard Aidan Turner was leaving the series, so it was nice to see at least one set of Being Human characters get a (mostly) happy ending.

In an earlier column, I wrote about my favorite show Psych coming to an end. That finale aired two weeks ago yesterday, and I must say it was probably one of the best series finales I’ve seen in a while. I have yet to see any of Breaking Bad, so I can’t weigh in there, though I know a lot of fans were very happy with how that ended as well.

In an interview, Psych creator Steve Franks told E! Online, “I didn’t realize just how challenging writing a finale was going to be … I started watching other shows’ finales to see how they did it, and I realized I didn’t really like any of them. They felt different from the show I remember … and I wanted it to feel like a regular episode. I wanted it to feel like these characters were going to live on, they were going to be having adventures and doing things, and we were just not seeing them for the time being.”

I think this is why Psych may have succeeded where previous finales have failed. The writers didn’t set up some huge, climactic ending. To be sure, there were a lot of changes in the finale — for example, Shawn moving to San Francisco to join Juliet — but it didn’t feel like an ending. If anything, it felt like a new beginning. Like Franks said, it was like they were just moving on to a different chapter of the story that we can’t see anymore.

Plus, there were some really great callbacks, and cameos from three actors whom the show has referenced repeatedly in the eight years it was on the air. I honestly think the only thing that could have possibly made that finale better is if we had actually gotten a cameo from Tony Shalhoub’s Adrian Monk, instead of just a quick reference.

However, even though I consider the Psych finale nearly perfect, I’m sure there are plenty of fans out there who were somehow disappointed because something they wanted to see was missing, or a certain character didn’t get enough screen time. There’s simply no way to make every fan happy.

A few weeks ago, I wrote about how we have to take films adapted from books on their own merits and not compare them to their source material. I could say something similar here. In judging series finales, it’s important that we don’t put too much of our expectations into our judgment. A lot of writers do listen to fans online and will sometimes adapt story arcs based on reactions, but when it comes down to it, we are not the ones writing the series. We did not create the characters, we do not sit in the writers’ room breaking stories, and we have no say in what the characters do or how long their marriages last. All we get to do is sit back and enjoy the journey with them.

Of course, there will be times when we’re not happy with the direction the show takes, or when we feel like the writers have betrayed the fans. But as with many things, these disappointments will only help us to appreciate it more when a show gets it right.