Joss Whedon

From 1989 to 1990, Whedon worked as a staff writer on the sitcoms Roseanne and Parenthood.[16][17] As a script doctor, Whedon was an uncredited writer on films including The Getaway, Speed, Waterworld, and Twister.[18] Whedon worked on an early draft of X-Men which subsequently contained at least two of his contributions to dialogue exchanges,[19] while the final cut of Speed retained most of his dialogue.[20] While he was script consulting, he also wrote Buffy the Vampire Slayer (the film that would precede the series), Alien Resurrection and early drafts for Titan A.E. and Atlantis: The Lost Empire[21] - but would subsequently express strong dissatisfaction with the released versions of the first three of these films.[18][22][23] He co-wrote Toy Story , which earned him a shared Academy Award nomination for Best Original Screenplay.[24][22][25] He became one of the highest paid screenwriters when he sold his Afterlife script to Columbia Pictures for $1.5 million.[26]

(From left to right) Tom Lenk, Emma Caulfield, Alexis Denisof, Alyson Hannigan, Anthony Head, Whedon and Michelle Trachtenberg at the Buffy wrap party

In 1997, Whedon created his first television series, Buffy the Vampire Slayer.² The series depicts Buffy Summers, the latest in a line of young women called to battle against vampires, demons, and other forces of darkness. The idea came directly from his aversion to seeing the Hollywood formula of "the little blonde girl who goes into a dark alley and gets killed in every horror movie".[27] Whedon said he wanted to subvert the idea and create someone who was a hero.[28] This conception came from "the very first mission statement of the show, which was the joy of female power: having it, using it, sharing it".[29] The writing process came together from conversations about the emotional issues facing Buffy Summers, and how she would confront them in her battle against supernatural forces.[30] Whedon usually directed episodes from his own scripts that held the most cathartic moments in Buffy's story.[31][32][33]

The series received numerous awards and nominations, including an Emmy Award nomination for writing for the 1999 episode "Hush".[34] The 2001 episode "The Body" was nominated for a Nebula Award in 2002,[35] and the fall 2001 musical episode "Once More, with Feeling" was nominated for a Best Dramatic Presentation Hugo Award and a Best Script Nebula Award.[36][37] The final episode "Chosen" was nominated for a Best Dramatic Presentation, Short Form Hugo Award in 2003.[38] All written and directed by Whedon, they are considered some of the most effective and popular episodes of the series.[39][40]

A. Asbjørn Jøn, an anthropologist and scholar, recognized that the series has shifted the way vampires have since been depicted in popular culture representations.[41] Since the end of the series, Whedon has stated that his initial intention was to produce a "cult" television series and acknowledged a corresponding "rabid, almost insane fan base" that subsequently emerged. In June 2012, Slate identified it as the most written about popular culture text of all time. "[M]ore than twice as many papers, essays, and books have been devoted to the vampire drama than any of our other choices—so many that we stopped counting when we hit 200".[42]

Whedon, a lifelong comic book fan, authored the Dark Horse Comics miniseries Fray, which takes place in the far future of the Buffyverse.[43] Like many writers of the show, he contributed to the series' comic book continuation, writing for the anthology Tales of the Slayers,[44] and also for the main storyline of the miniseries Tales of the Vampires.[45] Whedon and the other writers released a new ongoing series, taking place after the series finale "Chosen", which he officially recognizes as the canonical eighth season.[46] He returned to the world of Fray during the season eight-story arc "Time of Your Life".[47] Buffy the Vampire Slayer Season Nine was published from August 2011 to September 2013,[48][49] for which Whedon wrote "Freefall, Part I–II" (with Andrew Chambliss).[50]

As a result of the success of Buffy the Vampire Slayer, Whedon was given the opportunity to make Angel, his 1999 spin-off series of the show. David Greenwalt and Whedon collaborated on the pilot which was going to be developed for The WB Network.[51] During the series' early expansion, efforts were made by the network to mitigate Whedon's original concept. "Corrupt", a precociously optioned second episode, was entirely abandoned due to the gloominess written into the script.[52] The tone was then softened in the opening episodes, establishing Angel Investigations as an idealistic, shoestring operation. It follows Angel, who works as a private detective in order to "help the helpless".[53]

Though praised for presenting a unique and progressive version of the archetypal noir hero as a sympathetic vampire detective,[54][55] early in its run it was criticized as being lesser than its parent show, in the context of having devolved from a more popular original work.[56] Despite that it won a Saturn Award for Best Network TV Series[57] and three episodes, "Waiting in the Wings",[58] "Smile Time" and "Not Fade Away", were nominated for Hugo Awards for Best Dramatic Presentation, Short Form in 2003 and 2005.[59]

The WB Network announced on February 13, 2004 that Angel would not be brought back for a sixth season.[60] Whedon said of the cancellation, "I believe the reason Angel had trouble on The WB was that it was the only show on the network that wasn't trying to be Buffy. It was a show about grown-ups".[61] An official continuation of the story came later in the form of a comic book series.[62] Following the successful eighth season of Buffy the Vampire Slayer, IDW Publishing approached Whedon about similarly producing a canonical sixth season for Angel.[63][64] Angel: After the Fall released 17 issues written by Whedon and Brian Lynch.[65]

Whedon followed Angel with the space western Firefly, starring Nathan Fillion, Gina Torres, Alan Tudyk, Morena Baccarin, Adam Baldwin, Jewel Staite, Sean Maher, Summer Glau and Ron Glass.[66] Set in the year 2517,[67] Firefly explores the lives of the people who while on the outskirts of society, make their living as the crew of Serenity, a "Firefly-class" spaceship.[68] The series' original concept progressed after Whedon read The Killer Angels, a book on the Battle of Gettysburg.[66][69]

An ever-present element was Whedon's injection of anti-totalitarianism,[70] writing into the show a historical analogy of the Battle of Gettysburg, the "Battle of Serenity Valley".³[71] The beaten soldiers were called "Browncoats" after the brown dusters they wore as their uniforms.[72][73] Whedon said, "I wanted to play with that classic notion of the frontier: not the people who made history, but the people history stepped on—the people for whom every act is the creation of civilization".[74] Firefly was written as a serious character study,[75] encompassing what Whedon called "life when it's hard". He went on to elaborate that it was about "nine people looking into the blackness of space and seeing nine different things".[76]

Fox chose to play the episodes of the series out of order, running "The Train Job" first, and not airing the pilot until a dozen episodes later, resulting in some confusion from viewers. The series was also promoted as a comedy, not a science fiction drama, and placed in the infamous "Friday night death slot". The show was praised by critics overall, but some objected to the fusion of American frontier and outer space motifs.[77][78][79] Faced with these hurdles, the show had an average of 4.7 million viewers at the time and was ranked 98th in Nielsen ratings. The series was cancelled by Fox before all of the episodes had aired.[80] Whedon took to Universal Pictures as a means of achieving a continuation of the story.[81] Following Firefly was Serenity, a follow-up film taking place after the events of the final episode.[82] Serenity developed into a franchise that led to graphic novels, books and other media.[83][84][85] New Scientist magazine held a poll in 2005 to find "The World's Best Space Sci-Fi Ever", and Firefly and Serenity took first and second place, respectively.[86] It also received an Emmy shortly after its cancellation, as well as a number of other awards. Since being canceled, Firefly has attained cult status.[87]

In 2004, Whedon created the comic book line Astonishing X-Men.[88][89] He finished a 24 issue run in 2008 and then handed over the reins as a writer to Warren Ellis.[90][91] One storyline from the comic, the notion of a cure for mutation being found, was also an element in the third X-Men film, X-Men: The Last Stand.[92][93] In February 2009 Astonishing X-Men #6, which depicted the return of Colossus to the title and concluded Whedon's first story arc, was named by readers as #65 in Marvel's Top 70 Comics of all time.[94]

Taking over after series creator Brian K. Vaughan completed his run on the series, Whedon became the second writer of the Marvel comic Runaways.[95] Having already been a committed reader, he had a letter published in the first volume, which was included in the Volume 1 hardcover edition.[96] He also wrote short pieces for Stan Lee Meets Spider-Man and Giant-Size Astonishing X-Men #1,[97][98] and he was the subject of an issue of the comic book, Marvel Spotlight (alongside artist Michael Lark).[99] As part of a panel of writers, he contributed to Marvel Comics' Civil War crossover event lending advice on how to tell the story and also how to end it.[100] In March 2016, Whedon contributed a story for the 75th anniversary issue of Captain America: Sam Wilson with Astonishing X-Men collaborator John Cassaday.[101] He introduced several new characters into the Marvel Universe such as the villainous Ord,[102] X-Men Ruth "Blindfold" Aldine and Hisako "Armor" Ichiki,[103][104] Runaway Klara Prast,[105] and Special Agent Abigail Brand along with S.W.O.R.D., the organization Brand commands.[106][107]

After Universal Pictures acquired the film and distribution rights from Fox, Whedon began writing the screenplay for Serenity.[108][109] Transforming the series into a film, he says, "... was the hardest piece of writing I've ever done ... It had to be self-contained and work as a movie, which meant I had to cope with problems like introducing nine main characters who'd already met!"[110][111] The script was based on unused story ideas for Firefly's unfilmed second season.[82] On writing the dialogue, Whedon felt that part of it came from "getting to invent the language", which "once I had... reads like a kind of poetry".[112] The narrative centered on Captain Malcolm Reynolds as the hero accompanied by River Tam acting as the catalyst for what he does.[113]

The score was composed by David Newman, and according to Whedon was intended to "deglorify space — to feel the intimacy of being on a ship as opposed to the grandeur".[114] He used two long steadicam shots for several minutes of the film's opening sequence to establish "a sense of safety in space".[115][116] In 2006, it won a Hugo Award for Best Dramatic Presentation, Long Form.[117] The elements of science fiction that Whedon wanted to convey were essentially different in kind, and held "a sort of grittiness" and "realism", which he said, together, "get the most exciting kind of film-making".[118] Critic Roger Ebert observed, "Like Brave New World and 1984, the movie plays like a critique of contemporary society, with the Alliance as Big Brother, enemy of discontent".[119] The film received the 2005 Nebula Award for Best Script, the 2006 Prometheus Special Award,[120][121] and was voted the best sci-fi movie of all time in a poll set up by SFX magazine.[118] There have since been multiple rumors regarding sequel possibilities.[122][123]

The limited three-issue comic book series called Serenity: Those Left Behind, the story of which was written by Whedon,[124] was released in 2005 as a tie-in to Serenity. Set between Firefly and the film, it was intended to connect the two storylines.[125] Serenity: Better Days also spanned three issues,[126] and was written by Whedon and Brett Matthews.[127] Whedon later co-wrote The Shepherd's Tale with his half brother Zack.[128]

As a guest director, he contributed two 2007 episodes of The Office ("Business School" and "Branch Wars")[129][130] and a 2010 episode of Glee ("Dream On").[131] Denoting this period, Whedon has said, "I had free time, but I'm pretty sure I mean my career was on the skids".[132]

In collaboration with Fábio Moon, Whedon created the free webcomic titled Sugarshock!, as part of the revival of Dark Horse Presents, which was launched on Myspace.[133] Whedon later executive produced another free comic book on the Internet, Serenity: The Other Half.[134]

Whedon with the cast and crew of Dr. Horrible's Sing-Along Blog at its Creative Artists Agency theater screening.

As a response to the 2007–08 Writers Guild of America strike,[135] Whedon directed, co-wrote and produced Dr. Horrible's Sing-Along Blog.[136] It tells the story of Dr. Horrible, an aspiring supervillain, who shares a love interest in a girl named Penny with his nemesis, Captain Hammer.[137] To Whedon the miniseries was "a project of love", an accomplishment that from their excitement would be embellished with passion and "ridiculousness".[138] His half brothers Zack and Jed and sister-in-law Maurissa Tancharoen share the other writing credits.[139] Whedon said it was a "glorious surprise" to him to discover how well they worked together.[140]

After having attended meetings with companies discussing the prospect of producing something for the Internet and faced with negative feedback on his ideas, he realized that as long as the strike was still in progress, acquiring corporate funding was an unlikely prospect.[135] Whedon himself funded the project investing just over $200,000[137] and earned more from it than he did directing The Avengers.[141] He enjoyed the independence he gained from Dr. Horrible's Sing-Along Blog as it provided him the freedom to include content without the expectancy of lessening it on behalf of the runtime.[138] He and Jed composed the music, parts of which were influenced by Stephen Sondheim.[142]

The miniseries was nominated and won numerous awards. Whedon was awarded Best Directing and Best Writing for a Comedy Web Series at the Streamy Awards,[143] a Hugo Award for Best Dramatic Presentation, Short Form,[144] and a Creative Arts Emmy Award in 2009.[145]

In 2009, Whedon created his fourth television series Dollhouse, and explored themes throughout the show that were initially present in an unproduced spec script of his called Afterlife.[146] The series follows Echo, whose brain is programmed to accomplish various assignments, on her journey towards self-awareness.[147][148] As stated by Whedon, Dollhouse was about "the sides of us that we don't want people to see", sexuality[149] and, on some level, a celebration of perversion,[150] which he equates to obsession, "the thing that makes people passionate and interesting and worthy".[151]

Despite low ratings in its first season, the series was renewed for a second and final season. The reason for the renewal given by Fox's president of entertainment was to avoid any backlash that would have resulted from its cancelation.[152][153] In reflection of Fox's disruptive involvement, Whedon lamented the loss of ideas with identity and moral culpability, saying they were dancing around them in the process[151] which then devolved the series into a procedural show.[149]

Whedon co-wrote and produced a horror-comedy film titled The Cabin in the Woods with director Drew Goddard, finishing production in 2009 though the film wasn't released until 2011.[154] Whedon and Goddard intended to make a film that exemplified horror movies while still preserving the fun and frightening elements necessary to being a horror film.[155] The script was written in three days[156] and they produced a minimum of 15 pages a day.[157] Whedon described it as an attempt to revitalize horror, calling it a "loving hate letter" to the genre, continuing:

On another level it's a serious critique of what we love and what we don't about horror movies. I love being scared. I love that mixture of thrill, of horror, that objectification/identification thing of wanting definitely for the people to be alright but at the same time hoping they'll go somewhere dark and face something awful. The things that I don't like are kids acting like idiots, the devolution of the horror movie into torture porn and into a long series of sadistic comeuppances. Drew and I both felt that the pendulum had swung a little too far in that direction.[158]

Whedon thought part of what distinguished it from other horror films was that people were not disposable – "As a culture, for our own entertainment, we tend to assume that they are (expendable)".[159] He reiterated a sentiment that the introduction of torture porn into this genre was becoming an exercise in nihilism and misogyny as a means to promote distress and instead of trying to scare its audience.[160]

Whedon with the cast of The Avengers and Kevin Feige at the 2010 San Diego Comic-Con International.

In July 2010, it was confirmed that Whedon would write and direct The Avengers, a live-action adaptation of the superhero team of the same name.[161] Of his desire to take on the film, he explained that the core of the movie was about "finding yourself from community" and the togetherness derived from a group that ultimately doesn't belong together.[162]

It became the fourth-highest-grossing film of all time at the North American box office,[163] and it received considerable praise from critics.[164][165] In retrospect, Whedon thought the film had "imperfections",[166] begrudging its quality in comparison to that of The Matrix and The Godfather Part II. Nonetheless, he felt he "pulled off" the endeavor of making a summer movie reminiscent of those from his childhood.[167]

In March 2012, Whedon stated that although television involves more compromise than film:

I think, ultimately, gun to my head, TV is the place. Being able to spend years with a character, to really develop them, to understand them, to challenge the actor, to learn from the actor, to work with a team of writers – that experience is so fulfilling. The idea of putting something out there and letting it grow is really exciting.[168]

In August 2012, Whedon signed a deal to develop the Marvel TV show Agents of S.H.I.E.L.D. for ABC.[169][170] The series focuses on the secret military law-enforcement agency featured throughout the Marvel Cinematic Universe.[171] Created by Whedon, Jed Whedon and Maurissa Tancharoen,[172] the show involves individuals who possess powers within the spectacle of science fiction, while also focusing on "the peripheral people ... the people on the edges of the grand adventures."[173] The character Phil Coulson was resurrected after his death in The Avengers to helm the show.[174]

Whedon spoke about certain complications that factored in with making the show for Marvel, noting confusion between him and the company regarding the degree to which they wanted him to create it, citing their demand that he prioritize Avengers: Age of Ultron.[175] He once expressed regrets for having brought back Phil Coulson, feeling that his death had lost meaning as a result,[176] but later clarified that he did not regret this decision.[177]

Whedon returned to write and direct the sequel to The Avengers,[169][178] following the deal with Marvel Studios, which expired in June 2015.[179] On the matter of approaching a sequel, Whedon reasoned not to go "bigger" but "deeper", and likened it to digging with a scalpel to cause pain.[180] He said of the film's characters, "Strong but damaged by power describes every person in this movie. It may, in fact, describe what the movie is about ... the more power that we have, the less human we are."[181] Whedon discerns that Age of Ultron "is an odd film"[182] that proved challenging when it came to finding the rhythm between both its calm and exciting moments. Drawing parallels to a symphony, he wanted to bring about "grace in the middle of ultimate chaos".[183]

Whedon also served as a creative consultant on the films in the Marvel Cinematic Universe leading up to Age of Ultron.[184][185] He rewrote some dialogue for Thor: The Dark World,[186] directed the mid-credits scene of Captain America: The Winter Soldier,[187] and suggested that James Gunn make Guardians of the Galaxy "weirder" after reading an early draft.[188] Whedon said it was unlikely that he would return to make another sequel, stating that he "couldn't imagine doing this again".[189] He remarked that not having created his own fictional universe in over five years felt wrong[190] and intended to use the proceeds made from Avengers: Age of Ultron for such ventures.[141] In January 2016, Whedon announced that he will no longer work with Marvel.[177]

To create Much Ado About Nothing in 2012, Whedon established Bellwether Pictures.[191] He filmed it in black-and-white on digital video over a period of 12 days at his residence in Santa Monica, California.[192][193] The film was scripted, produced, directed, edited and composed by Whedon, based on William Shakespeare's play of the same name.[194] His idea to adapt the play for the screen originated from having "Shakespeare readings" at his house with several of his friends, years prior.[195] Despite the play's comedy, he discovered that there were elements in the text "of debauchery" that brought out a core darkness, and said the visual nature of film influenced him to permeate a motif of sexuality into the script.[196]

Whedon at the 2015 San Diego Comic-Con International.

Whedon wrote and executive produced the paranormal romance film In Your Eyes, the second feature by Bellwether Pictures.[197][198] The film tells the story of Rebecca Porter and Dylan Kershaw who can feel each other's emotions, but are ultimately strangers.[199] Whedon's script marked a theme of human connection as the metaphor for the couple's mysterious link.[200] He conceived the idea in the early 1990s, and had written drafts of the screenplay since then.[201]

In summer 2014, Whedon encountered artist Shawnee Kilgore on Kickstarter. Whedon funded her album and when Kilgore contacted him about his fulfillment reward, he suggested they make a song together. She agreed, and the collaboration was later repurposed into producing an EP.[202]

At the 2015 San Diego Comic-Con International, Whedon announced Twist, which was described as a comic book about "a Victorian female Batman".[203]

In 2017, Whedon directed Unlocked, a short film in support of Planned Parenthood.[204][205]

In May 2017, Whedon took over post-production duties for Justice League, including writing and directing additional photography for the film.[206] He received a co-writing credit for his contributions to the film, which was released in November 2017. Despite reshooting a majority of the film and largely changing the tone from what Zack Snyder had originally intended, Snyder retained sole credit as director of the film.[207] After Snyder's original cut was released in 2021, fans began to refer to the theatrical cut as the "Whedon Cut"[208] and "Josstice League".[209][210]

On July 13, 2018, HBO announced that the network had obtained the rights to The Nevers, an "epic science fiction drama about a gang of Victorian women who find themselves with unusual abilities, relentless enemies, and a mission that might change the world", on which Whedon was going to serve as writer, director, executive producer, and showrunner.[211] Production on the series started in July 2019 in London where scenes are filmed at Trinity Church Square and the New Wimbledon Theatre area.[212] By 2020, production was completed on five episodes before being shut down due to the COVID-19 pandemic, only resuming in September of that year to complete six of the season's ten-episode order.[213][214] On November 25, 2020, HBO announced that Whedon had exited the project.[215]

Elements of feminism are present throughout much of Whedon's work[276][306] and he gives his mother credit for inspiring this.[307] The character Kitty Pryde from the X-Men comics was an early model for Whedon's strong teenage girl characters.[308] He said, "If there's a bigger influence on Buffy than Kitty, I don't know what it was. She was an adolescent girl finding out she has great power and dealing with it."[309] Kitty Pryde later played a central role in Whedon's run on Astonishing X-Men.[310] In his 2006 Equality Now address, Whedon said that journalists frequently ask him why he writes such strong female characters. In his speech he provided several answers, concluding with, "Because you're still asking me that question."[305]

In college, Whedon studied a theory called "womb envy",[276] a concept he says observes "a fundamental thing that women have something men don't, the obvious being an ability to bear children. Men not only don't get what's important about what women are capable of, but in fact they fear it, and envy it, and want to throw stones at it, because it's the thing they can't have."[306] In 2007, Whedon expressed his outrage over the murder of Du'a Khalil Aswad, and because the act was caught on video, was prompted to attack the underlying attitude he felt led to the murder, comparing the video to torture porn.[276][311]

In late 2013, Whedon spoke at an Equality Now event, where he issued a pointed dissection of the word "feminist". He begins to say, "I have the privilege living my life inside of words ... but part of being a writer is also living in the very smallest part of every word." Arguing against the suffix "-ist", he continues, "you can't be born an –ist. It's not natural." Whedon explains that because of this, the word "includes the idea that believing men and women to be equal ... is not a natural state. That we don't emerge assuming that everybody in the human race is a human. That the idea of equality is just an idea that's imposed on us..."[312][313] This sparked an unfavorable reaction from the feminist community,[314][315] but also an appreciation for Whedon's arguments' thought provocation.[316][317]

News website Digital Spy released in early 2015 an interview they had conducted with Whedon, during which he criticized the entertainment industry for its "genuine, recalcitrant, intractable sexism, and old-fashioned quiet misogyny".[318] Whedon exemplified The Hunger Games film series as an argument for female-led franchises, and hoped Marvel Studios would pursue production of more such franchises.[319] However, critics noted an almost stereotypical lack of feminist ideals in his writing decisions and portrayal of Black Widow, one of two female protagonists in Marvel's 2015 Avengers: Age of Ultron, played by Scarlett Johansson.[320][321]

In August 2017, Whedon's ex-wife, Kai Cole, published an essay on an industry trade site accusing Whedon of 15 years of multiple infidelities and the hypocrisy of touting feminist ideals while using their marriage "as a shield" for his misuse of power.[322] A Whedon spokesperson said the essay contained "inaccuracies and misrepresentations", but did not clarify what those were.[323]

In 1995, Whedon married Kai Cole, an architect, producer and co-founder of Bellwether Pictures.[339] They have two children together.[340][341] Whedon and Cole separated in 2012 and divorced in 2016.[342] In 2017, Cole claimed that Whedon had repeatedly been unfaithful to her and that he "does not practice what he preaches" in regard to feminism.[322]

Whedon married Canadian artist Heather Horton in February 2021.[343]

Whedon has identified himself as an atheist.[75][344] In an interview with The A.V. Club Whedon elaborated on his nonbelief in gods.[345] Whedon has identified as an absurdist and existentialist.[344] A committed humanist, Whedon was presented with the Outstanding Lifetime Achievement Award in Cultural Humanism by the Humanist Chaplaincy at Harvard University in 2009.[346] He has spoken about existentialism, explaining in detail how it, and more specifically Jean-Paul Sartre's Nausea, was used as a basis for the Firefly episode "Objects in Space". He called it "the most important book" he ever read,[270] and said it was given to him right after he saw Steven Spielberg's Close Encounters of the Third Kind, whose impact, he recalls, had made him an existentialist.[347]

In July 2012, at the San Diego Comic-Con International, in response to one woman who noted the anti-corporate themes in many of his films, and asked him to give his economic philosophy in 30 seconds or less, Whedon spoke out against capitalism, saying that America is "turning into Tsarist Russia".[348]

Endorsing Barack Obama in the 2012 United States presidential election,[349] Whedon satirically equated Mitt Romney's future as president with a zombie apocalypse, quipping, "Romney is ready to make the deep rollbacks in health care, education, social services and reproductive rights that will guarantee poverty, unemployment, overpopulation, disease, rioting—all crucial elements in creating a nightmare zombie wasteland."[350][351]

In 2015, Whedon signed a petition as part of a political campaign calling for Elizabeth Warren to run for President of the United States.[352][353]

In January 2017, after actress Nicole Kidman publicly suggested that America should accept that Donald Trump is president, Whedon tweeted a photograph of plastic puppet Lady Penelope Creighton-Ward alongside an image of Kidman, an action some interpreted as mocking and objectifying Kidman's physical appearance.[354] That same month, Whedon also received criticism for reportedly comparing Ivanka Trump to a dog and for wishing that Paul Ryan would be raped to death by a rhinoceros.[355][356] Referring to Ivanka's husband Jared Kushner and Trump, he tweeted: "He's a Voldemort in training, & unlike the Pekingese he married under, can play the long game."[354][357] Whedon stated that he had been referring to Donald Trump.[358] In April 2017, Whedon took a shot at Republicans by criticizing the physical appearance of teenage cancer survivors who were visiting then–Speaker of the House Paul Ryan.[359] He later apologized on Twitter.[360]

• Buffy the Vampire Slayer:
  • Fray #1–8 (with Karl Moline, 2001–2003) collected as Fray (tpb, 216 pages, 2003, ISBN 1-5697-1751-6)
  • Angel: Legacy Edition Book Two (tpb, 304 pages, Boom! Studios, 2020, ISBN 1-684-15490-1) includes:
    • Angel vol. 2 #1–4 (co-written by Whedon and Brett Matthews, art by Mel Rubi, 2001–2002)
      • Also collected as Angel: Long Night's Journey (tpb, 104 pages, 2002, ISBN 1-569-71752-4)
      • Also collected in Angel Omnibus (tpb, 480 pages, 2011, ISBN 1-595-82706-4)
    • Dark Horse Extra #36–38 (untitled three-page story co-written by Whedon and Brett Matthews, art by Mel Rubi, 2001)
  • Buffy the Vampire Slayer: Tales (hc, 296 pages, 2011, ISBN 1-5958-2644-0; tpb, 2018, ISBN 1-5067-0802-1) includes:
    • Tales of the Slayers (anthology graphic novel, 96 pages, 2002, ISBN 1-56-971605-6) featured three short stories by Whedon:
      • "Prologue" (with Leinil Francis Yu)
      • "Righteous" (with Tim Sale)
      • "Tales" (with Karl Moline)
    • Tales of the Vampires #1–5: "Tales of the Vampires" (with Alex Sanchez, leading feature in the anthology, 2003–2004)
      • In addition to the leading feature, Whedon also wrote "Stacy" (art by Cameron Stewart), a short story published in issue #1 (2003)
      • The entire 5-issue limited series was also collected as Tales of the Vampires (tpb, 144 pages, 2004, ISBN 1-569-71749-4)
  • Buffy the Vampire Slayer Season Eight:
    • Volume 1 (hc, 304 pages, 2012, ISBN 1-5958-2888-5) includes:
      • "The Long Way Home" (with Georges Jeanty, in #1–4, 2007)
      • "The Chain" (with Paul Lee, in #5, 2007)
      • "Anywhere but Here" (with Cliff Richards, in #10, 2008)
      • MySpace Dark Horse Presents #24: "Always Darkest" (with Jo Chen, digital anthology, 2007)
    • Volume 2 (hc, 320 pages, 2012, ISBN 1-5958-2935-0) includes:
      • "A Beautiful Sunset" (with Georges Jeanty, in #11, 2008)
      • "Time of Your Life" (with Karl Moline, in #16–19, 2008)
      • Buffy the Vampire Slayer: Willow (with Karl Moline, one-shot, 2009)
    • Volume 4 (hc, 320 pages, 2013, ISBN 1-6165-5127-5) includes:
      • "Turbulence" (with Georges Jeanty, in #31, 2010)
      • "Last Gleaming" (with Georges Jeanty, in #36–40, 2010–2011)
  • Buffy the Vampire Slayer Season Nine #1: "Freefall, Part One" (with Georges Jeanty, 2011) collected in Buffy the Vampire Slayer Season Nine Volume 1 (hc, 304 pages, 2015, ISBN 1-616-55715-X)
  • Buffy the Vampire Slayer Season Eleven: Giles #1–4 (co-written by Whedon and Erika Alexander, art by Jon Lam, 2018) collected as Giles: Girl Blue (tpb, 104 pages, 2018, ISBN 1-5067-0743-2)
  • Buffy the Vampire Slayer Season Twelve #1–4 (scripted by Christos Gage from a plot by Whedon and Gage, art by Georges Jeanty, 2018)
• Serenity (plotted by Whedon, scripted by others):
  • Firefly: Legacy Edition Book One (tpb, 288 pages, Boom! Studios, 2018, ISBN 1-6841-5320-4) includes:
    • Serenity #1–3 (written by Brett Matthews, drawn by Will Conrad, 2005) also collected as Serenity: Those Left Behind (tpb, 80 pages, 2006, ISBN 1-59307-449-2; hc, 96 pages, 2007, ISBN 1-59307-846-3)
    • Serenity: Better Days #1–3 (written by Brett Matthews, drawn by Will Conrad, 2008) also collected as Serenity: Better Days (tpb, 80 pages, 2008, ISBN 1-59582-162-7; hc, 128 pages, 2010, ISBN 1-59582-561-4)
    • Serenity: The Shepherd's Tale (written by Zack Whedon, drawn by Chris Samnee, graphic novel, 56 pages, 2010, ISBN 1-59582-561-4)
• MySpace Dark Horse Presents #1–3: "Sugarshock!" (with Fábio Moon, digital anthology, 2007) collected in MySpace Dark Horse Presents Volume 1 (tpb, 176 pages, 2008, ISBN 1-5930-7998-2)
• Twist (unreleased 6-issue limited series starring "a Victorian female Batman" — initially announced in 2015)[361][362]
• Dr. Horrible: Best Friends Forever (with José Maria Beroy and Sara Soler, one-shot, 2018) collected in Dr. Horrible and Other Horrible Stories (tpb, 136 pages, 2019, ISBN 1-50671-231-2)

• X-Men:
  • Astonishing X-Men vol. 3 (with John Cassaday, 2004–2008) collected as:
    • Ultimate Collection: Astonishing X-Men Volume 1 (collects #1–12, hc, 320 pages, 2006, ISBN 0-7851-1733-4; tpb, 2012, ISBN 0-7851-6194-5)
    • Ultimate Collection: Astonishing X-Men Volume 2 (collects #13–24 and the Giant-Sized Astonishing X-Men one-shot special, hc, 344 pages, 2008, ISBN 0-785-12253-2; tpb, 2012, ISBN 0-785-16195-3)
    • Astonishing X-Men by Joss Whedon and John Cassaday Omnibus (collects #1–24 and the Giant-Sized Astonishing X-Men one-shot special, hc, 672 pages, 2009, ISBN 0-7851-3801-3)
  • Giant-Size X-Men #3: "Teamwork" (with Neal Adams, co-feature, 2005) collected in Giant-Size X-Men: 40th Anniversary (hc, 440 pages, 2015, ISBN 0-78519-777-X)
• Stan Lee Meets Spider-Man: "Some Steves" (with Michael Gaydos, co-feature in one-shot, 2006) collected in Stan Lee Meets... (hc, 240 pages, 2007, ISBN 0-7851-2272-9)
• Runaways vol. 2 #25–30: "Dead-End Kids" (with Michael Ryan, 2007–2008) collected in Runaways: The Complete Collection Volume 3 (tpb, 528 pages, 2015, ISBN 0-7851-8917-3)
• Captain America: Sam Wilson #7: "Presentation" (with John Cassaday, co-feature, 2016) collected in Captain America: Sam Wilson — The Complete Collection Volume 2 (tpb, 504 pages, 2021, ISBN 1-3029-2297-1)

• Superman/Batman #26 (with John Cassaday, two-page sequence among other writers and artists, DC Comics, 2006) collected in Superman/Batman Volume 2 (tpb, 336 pages, 2014, ISBN 1-4012-5079-3)
• Angel: After the Fall (scripted by Brian Lynch from plots by Whedon and Lynch, art by Franco Urru, Tim Kane (#6–8), Nick Runge (#9–12) and Stephen Mooney (#12–14), IDW Publishing, 2007–2009) collected as:
  • Volume 1 (collects #1–5, hc, 144 pages, 2008, ISBN 1-6001-0181-X; tpb, 2009, ISBN 1-6001-0343-X)
  • Volume 2 (collects #6–8, hc, 104 pages, 2008, ISBN 1-6001-0231-X; tpb, 2009, ISBN 1-6001-0393-6)
  • Volume 3 (collects #9–12, hc, 128 pages, 2009, ISBN 1-6001-0377-4; tpb, 2010, ISBN 1-6137-7059-6)
  • Volume 4 (collects #13–17, hc, 136 pages, 2010, ISBN 1-6001-0461-4; tpb, 2011, ISBN 1-6137-7100-2)
  • Premiere Edition Volume 1 (collects #1–17, hc, 432 pages, 2011, ISBN 1-6001-0861-X)