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James Marsters Talks Ghost of The Robot with Assignment X
Exclusive Interview: James Marsters and the band mates GHOST OF THE ROBOT re-unit – Part 1
James Marsters, Charlie De Murs, Kevin McPherson and more talk about the band’s reunion and new album
By ABBIE BERNSTEIN ?/Contributing Writer
Posted: December 28th, 2011
The story of Ghost of the Robot is one of rock ‘n’ roll reunion. Back in 2001, Charlie De Mars, then in his teens, moved from Sacramento to Los Angeles. His new next-door neighbor was James Marsters, then in the midst of playing Spike on BUFFY THE VAMPIRE SLAYER. Marsters and De Mars began jamming together on their guitars. De Mars’ Power Animal band mates, bassist Kevin McPherson and drummer Aaron Anderson, and De Mars’ brother Steve Sellers came aboard. In 2002, the quintet became Ghost of the Robot. The band made an album, MAD BRILLIANT, plus several EPs and singles, toured the U.S. and Europe, and then broke up in 2004.
However, original Ghost of the Robot members Marsters, De Mars, McPherson and Anderson – sadly, Sellers passed away in 2009 – got back together for a live performance at their old Santa Monica stomping grounds the Central Social Aid & Pleasure Club (formerly 14 Below) in 2010, joined by Marsters’ then fourteen/now-fifteen-year-old son Sullivan. This kicked off a California tour. Subsequently, Anderson moved out of state, so De Mars recruited Jordan Latham to play drums on the band’s new album MURPHY’S LAW, which just debuted on iTunes. A CD edition, plus more albums and a new tour, are planned for 2012. At a listening party for MURPHY’S LAW in Los Angeles, the Ghost of the Robot membership, plus MURPHY’S LAW vocalist Micah Biagi, talk about the band’s new incarnation.
ASSIGNMENT X: How and why did Ghost of the Robot get back together?
JAMES MARSTERS: I think it was about a year ago. My son Sullivan had been a fan of our first album MAD BRILLIANT, and he started playing guitar. Ghost of the Robot became one of his favorite bands, which was really cool for me, and he started pressuring me to get back in touch with Charlie. And I kept telling him, “Oh, yeah I will,” and I put it off. Finally, I told him that I would. Two weeks later, Charlie calls me out of the blue and says, “How’s it going?” And we immediately made time to get together. Sullivan wanted to learn a couple guitar licks off of him and so we started going over to Charlie’s house.
SULLIVAN MARSTERS: I was, “I really love [De Mars’] style” from when I first heard MAD BRILLIANT. It’s one of those styles where I couldn’t figure it out without his help. He has this weird sound. We went over to [De Mars’] house and I played “Blackbird” for him And he was really nice and he’s taught me all I wanted to know and he’s really helped me develop and we’ve become really good friends. I never thought it would come to another album. That was like a faraway hope.
JAMES MARSTERS: Charlie lives up in the Delta, south of Sacramento. Whenever I was inNorthern California, we’d go over to his place and play guitar. Charlie at one point just said, “Look, we should just do a reunion show.” Kevin was in between tours and Aaron was available. We played that show [at the Central], and Sullivan played with us for a few songs, because he’d been laying in lead parts to some of the songs I’d been writing. That night, Ghost of the Robot voted him into the band without asking me. They said, “You can veto this if you want to as a father, but as a bandmate, you’re outvoted.”
AX: Sullivan, when you were hoping the band would reunite, was your hope that you could hear them, or was your hope that you could join them?
SULLIVAN MARSTERS: Hear. That wasn’t even in my mind, that I could join them. Actually, [Ghost of the Robot] were having their reunion show and they wanted me to play with them and I had just written a couple of things to go with my dad’s songs. And I brought my friends, and we had been making our own stuff [as the band Mars Police], but we weren’t really in [Mars Police] until the day before the first [Ghost] show. My dad was like, “Would you guys like to open for us?” And we said, “Yes.” And [Mars Police has] been a band ever since. So I started both at the same time.
JAMES MARSTERS: At that point [by adding Sullivan], we had another guitarist. We had enough guitars, and we just started making play dates around California, and they all went really nicely and at some point it became obvious that we had more than enough material for an album. And then it was just a question of calling up Joe Johnston at Pus Cavern [where MAD BRILLIANT had been recorded] in Sacramento, and started recording. And it just really took off. We were young when we were first together, I was hip-deep in television fame and it was a heady time. I feel like I’m a better musician and a better singer than I was back then. I don’t know if we’ve mellowed actually [laughs], but it’s been really good. There’s just a lot of love for each other. I just think that frankly we missed each other, and so maybe because we’re a little bit older, we’re willing to tell each other that.
CHARLIE DE MARS: I personally was being pushed by a specific person to reincarnate this band, which made us have that initial show. I had been meeting with Sullivan once or twice a month for about eight months. James would bring Sullivan up to the house and I’d just show [Sullivan] my hardest things that I could think of on guitar and he’d come back the next time and play it better than I could. “Okay, we got something here.” It was just a real organic reunion.
KEVIN McPHERSON: I think it was something we wanted to do again. [In 2004], we were just in very different points in our life where [continuing the band] didn’t really make much sense. Years later, we’ve gotten past that to where we’re ready again. And we realized how amazing and unique and how much fun we had on the first go. It all started just as it did the first time, just hanging out, being friends, and we said, “By the way, we have all these great new songs.”
AX: How has the band changed over the years?
DE MARS: Well, I’d have to say we’re different. We’re more mature as human beings, more experienced, we’re better musicians. This time, we just said, “Let’s really plan these things out before we do it so we can save time and money, and not finish until we [think it is] worthy of being done.” And that’s what we did with [the MURPHY’S LAW album].
McPHERSON: It felt like we were picking up where we left off. We’re still compatible, we’re still friends, we still appreciate each other’s talents and input. And it was also something new, because the songs were new and we’re in a new phase of our lives as musical maturity goes. So we were excited to explore that. I’m a side man in other bands and it’s great, but those other bands, I’m paid to just show up, be on time, know the parts well. Ghost of the Robot is my passion, it’s my project.
AX: Did you miss what you got out of being part of the group during its long hiatus?
JAMES MARSTERS: Oh, God. I missed that so much. I have pride in the two [solo] albums that I did [CIVILIZED MAN and LIKE A WATERFALL], but in the back of my mind, I always thought, “I wish Charlie and Kevin and Aaron could get their hands on these songs.” Aaron is no longer with the band. He’s decided to go to Utah and pursue a life there. But we found a new drummer, Jordan, who is just phenomenal. I think I have hungered for Ghost of the Robot the whole time. I got my panties in a bunch on our last tour, way back in ’04. We all got our panties in a bunch. It only takes a drop of success sometimes to ruin a good vibe. I’m afraid we let that happen and I think I always had more regret than I wanted to admit to myself and only realized how much I’d missed it when we started playing together [again], and I felt like I was back in the warm pool of water, like [sigh of relief], “Here I am.” We were barbecuing over at Kevin’s house, and I was saying to Charlie, “I’ve been waiting for this for many years. I’ve been waiting to really show my music off.” I’m not ashamed of my other albums, but I’m nowhere nearly as proud as I am even of the rough mixes that I heard off this album.
AX: As far as instruments go, Ghost of the Robot is three guitars, a bass and a drummer?
DE MARS: Yeah. We did some synth work on this. We wanted to keep [the synthesizer] to a minimal level. It was mainly just drums, bass, guitar, vocals and mild percussion. And some mouth percussion – a little Michael Jackson. We need a little “sss” [oral replication of synth hiss] sound in there [laughs].
AX: How did the new Ghost of the Robot drummer Jordan Latham join the group?
JORDAN LATHAM: I’ve known Charlie for probably close to ten years now, through high school. He’s always been really talented. He moved [toLos Angeles] for a number of years, and in that time, he began [Ghost] with James and Kevin and got pretty successful. I’m up inSacramento, so for a long period of time, I didn’t see him at all. I saw him two Novembers ago up at Best of Sacramento Festival, and he was just walking around on his own in a top hat and a crazy suit. I was working there and I told him about a band that I was in, Friendship. We were looking for a guitar player. He joined the band and we lasted for about a year. The band is no longer but we had a great time, and it was really great to be able to finally play music with him. Growing up, he was always someone that I wished that I had a chance to [work with], so it made me feel good. [De Mars] put in my ear that they were going to try to reinvigorate [Ghost of the Robot], and he wanted me, and suddenly I was just doing it, was up at his house, bringing my drum set, staying for the entire weekend, going there with all these songs and then step by step meeting the rest of the band, having a little rehearsal time and then going into the studio.
AX: How did Micah Biagi wind up singing on MURPHY’S LAW?
MICAH BIAGI: I have known Charlie De Mars for a really long time, so I’ve known about Ghost of the Robot from the beginning. I’ve played music with Charlie [since] 2004 on a project called Victim Effect. We were just getting started as a band and we didn’t have a drummer, so he said he would help us out, but he stopped doing that, because he was pretty busy doing some other stuff. [Victim Effect was] based in Utah from ’06 to ’08. We won the Battle of the Bands for the Warped Tour in ’07. We won ten thousand dollars in Guitar Center money, which we spent in one day. Typical musicians, I guess. Since then, I’ve kept in contact with Charlie. We’re actually really close friends. But he said he’d always wanted me to do stuff with [Ghost]. And he’s come to me recently and said that he needs me to work with him [on Ghost] and I was more than happy to.
AX: What was the songwriting process on MURPHY’S LAW?
McPHERSON: There’s one song on this record that I approached Charlie with the melody and the chords and the title, “Issues.” I don’t write lyrics. I give input on lyrics when I’m asked, but James and Charlie are the lyric guys. I said, “I don’t know what the lyrics could be for this, but I know it’s a catchy hook,” and I did a set of chords that would be fun to play over. Two or three days later, [De Mars] had these lyrics, and he sent me a demo that he recorded and it was light years beyond anything I would ever be able to do. It was a wonderful thing to hear and I’m really happy that I gave him complete control over [the lyrics]. I think it’s one of the best songs on the record.
JAMES MARSTERS: I provided about half of the songs, and then Charlie and Kevin started writing together, and came up with the other half. The other thing about this album that I’m very excited about is that Charlie is singing his songs. He’s no longer trying to get me up half an octave above my comfortable singing range [in order to sing lead on the songs]; he’s actually singing the songs that he writes himself. It’s something I’ve wanted since the band got together. We’ve always had the Beatles as a touchstone; the Beatles had no real lead singer but passed around lead vocals. Micah, who does background, his voice is just right in between Charlie and mine. And so when we’re all singing together, it’s really hard to tell who’s who. It really mixes beautifully. It took me a long time to know how to tell, “Oh, that’s McCartney, oh, that’s Lennon, oh, that’s Harrison,” because they’re all blended so well together. I’ve always wanted the band to be like that, I’ve always thought that Charlie had a great voice, and he has made such breakthroughs vocally. He really has an emotion that I am in awe of.
DE MARS: The previous incarnation [of the band], I sang a couple tracks, but nothing substantial. One of [the tracks] didn’t get put on the record, and one was a rap song, and then [vocals] from the “David Letterman” single. But yes, I sing [lead on] a few songs on this, as well as singing harmonies with James. We’re a lot more confident in our abilities and James is really adamant about us showcasing our specific talents. [It is] whatever suits the song. A lot of songs, I will be singing a verse, and then James will take over the chorus, where it’s hard to tell who’s singing what, when, who’s got the melody, who’s got the harmony, throughout this record. Our voices do blend very well together.
AX: Who does the arrangements or do you just hear what everybody sounds like when they play their parts and arrange based on that?
DE MARS: I usually have something in mind, but I would rather see what somebody else can bring to the table before I throw anything else in the mix. Usually they have better ideas than I do and I go with that, but if there are specific things, I like to guide where it’s going to better suit what it is I hear in my brain as a finished product. But Kevin and I really worked together orchestrating all the cuts.
LATHAM: Obviously, Charlie and Kevin and James have had these songs in their heads for over two or three years probably, depending on the song, so they were already very familiar to pretty much the rest of the band. So I was by far the most in the dark. But being a drummer, being a musician, you can’t not hear your own in your head what you feel the song calls for. So I did a little bit of that. You know, “I think this should go here, I think this would sound better if I did this instead of that.” But for the most part, Charlie knew what he wanted to hear and said, “I’ll give you a skeletal outline of what I want to hear; you do your best and fly free.”
Original Interview at Assignment X
Interview with James Marsters from the Coventry Telegraph
James Marsters asks fans to be seasonal stars – plus exclusive Q&A
By David Bentley on Nov 1, 11
MOVE over Buffy and watch your back Drusilla. James Marsters is looking for some new co-stars to share the stage with him this Christmas… and it could be you.
James has a performance in mind at his show in London this December that requires the acting talents of several people from the audience.
This is his only European event this year and he says he is determined to make it extra special. See my earlier article for more information and go to www.jamesmarsterslive.com for booking details.
In the run-up to the festive date, we had chance for an exclusive Q&A with James, where he shared his thoughts on the films and shows in which he’s appeared – including Buffy The Vampire Slayer, Caprica, Torchwood and Smallville – as well as revealing his sci-fi favourites.
What does he think of the plans for a new Buffy movie? Would he return to Torchwood? And what are his views on the short-lived Battlestar Galactica spin-off Caprica and on the Dragonball Evolution film, in which he played the villain Piccolo? Find out all that and more below.
The Geek Files: According to IMDB, your first acting role was the TV series Northern Exposure in 1992-93. Is this correct – and how and why did you get into the business?
James Marsters: My first acting role was Eeyore in Winnie The Pooh in fourth grade. I was instantly bit by the prospect of joining a group of freaks who came together harmoniously to try to make something worthwhile. Northern Exposure was my first camera job, which I did because everyone wants to be on TV.
You soon developed a taste for sci-fi and fantasy shows. Were you a fan of the genre before these parts began to be offered?
I was a fan of the genre since I first saw Beneath the Planet of the Apes when I was 11. I was in love with the original Star Trek and even put up with Space 1999 – all apologies to Oscar-winner Martin Landau.
Which has been your favourite role to play and your favourite show to be in, so far?
Spike from Buffy the Vampire Slayer. Beautifully written and executed and when you add a villain, wacky neighbour, outcast, lover and guinea-pig hero, it became an interesting journey for me.
Any plans to return to Torchwood, in which you previously played Captain John Hart?
Only If my phone rings, lol. I loved working on Torchwood and would gladly go play with them again.
What was it like to work on Smallville, where you played the supervillain Brainiac? What do you think worked about the show, and what didn’t? What kept it going where other series have faded and failed?
Smallville was a dream. Tom Welling is one of my favourite people. The reason the show lasted was a great central idea that makes Superman truly vulnerable and inexperienced. Also, the fact that Tom looks hotter now then when it began.
Speaking generally, beyond your own work, what’s your favourite show on TV at the moment?
Breaking Bad. Bryan Cranston, the lead, is 32 flavours of wonderful. He could play anything and I would pay to watch.
And, also beyond your own work, which sci-fi movies (or films in general) have you enjoyed the most in recent years? Which are your all-time favourites?
Inception; the second Batman (The Dark Knight); Black Swan.
All-time favourite: Apocolypse Now, about why we lost Vietnam, a bitter pill to swallow.
You were in 20th Century Fox’s film adaptation of Dragonball Evolution, although it didn’t seem to go down too well with many fans and critics. It has a Rotten Tomatoes rating of just 15 per cent. What was it like to work on the film and how do you feel now about it? What did it do that upset people so much?
Dragonball disappointed because it wasn’t Dragonball Z. Most fans are familiar with Goku as an adult, destroying mountains and planets but that is Dragonball Z. The prequel to that series was Dragonball, where Goku is 11 years old and primarily fights midgets – maybe we were too respectful of our source material.
You have since gone on to appear in Battlestar Galactica spin-off Caprica, which didn’t last very long. That must have been hugely disappointing. What were your experiences working on that?
Excellent actors, directors and producers and crew and an outrageously challenging theme – being that we are watching people destroy their future. I wonder if the series were short lived because that’s just too close to home?
Since then, you have been in the remake of Hawaii Five-0 and also appeared in Supernatural. What’s next for you?
An indie film that I’m filming this November (can’t really give any details) and an episode of Metal Hurlant for French TV based on a comic book that gave raise to Heavy Metal – one of my favourite animated films. I’m also doing a new series of book on tapes. The band’s (Ghost of the Robot) new album Murphy’s Law will be available on both i-Tunes and Amazon at the end of November.
A new Buffy movie that reboots the franchise is in the pipeline from Warner Bros. What are your thoughts on that? Is it time to bring a new incarnation of Buffy to a new generation or do you think it should be left alone?
The only way to make a good incarnation of Buffy is with Joss Whedon at the helm.
Any other projects you want to mention or anything else you want to add?
A couple more conventions before the end of the year and my show in London in December. I really enjoy meeting the fans. I haven’t been able to get to the UK for a while and the UK fans are great and inspirational – I seem to do a lot of songwriting when I visit London.
Original Interview at Coventry Telegraph
Have a Dickens of a Christmas with James Marsters
Who: James Marsters Live
What: A Christmas date with James Marsters featuring a theatrical reading, Q&A, evening concert, autographs and photographs.
Where: St Paul’s Church, Covent Garden, London, UK
When: 3 December 2011
How: Online Booking
Price: £150.00
Whedonverse Guests
Dragon*Con 2011
Who: Dragon*Con
What: A 4 day convention for fans of fantasy, sci-fi, gaming and more with features including special guests, dealers, workshops and a film festival.
Where: Hyatt Regency Atlanta, Atlanta Marriot Marquis, Hilton Atlanta, Sheraton Atlanta Hotel, Westin Peachtree Plaza Hotel
When: 2 – 5 September 2011
How: Online Booking
Price: Various packages from $30 to $120
Whedonverse Guests
Audio Download of Macbeth Starring James Marsters
James Marsters recently took part in an LA Theatre Works Production of Macbeth which was recorded. You can buy a copy of the audio for download at Learn out Load for $4.95, right here
James Marsters and Charisma Carpenter To Guest in Supernatural
James Marsters and Charisma Carpenter have been cast as husband and wife in the fifth episode of the new season of Supernatural, entitled “Shut Up, Dr. Phil”.
Showrunner Sera Gamble said the episode would be “Bewitched gone wrong. [It was] all upside for this successful man while he was married to the witch, but now that he’s pissed her off, the whole town is paying the price”.
Supernatural returns for a seventh season on 23rd September 2011.
Source: TVLine
James Marsters to Narrate The Vampire Empire Trilogy
Buzzy Multimedia have announced production on their latest audio book which will be The Greyfriar, the first book in The Vampire Empire Trilogy. The book was written by Clay and Susan Grifith and is described as a “steampunk fantasy action adventure.” James Marsters will narrate the book which is set in post apocolyptic, vampire infested, 2020.
The book is due out in Spring 2012.
Source: PR Web
The Parramatta Sun Interview James Marsters
James Masters: Still buff(y) after all these years
BY MATT LAWRENCE
10 June, 2011
Thanks to the popularity of DVDs and the cult status of the series Buffy the Vampire Slayer, accomplished star of the stage and screen James Marsters is unlikely to escape the vampiric shadow of his character Spike.
Luckily, its something he’s quite comfortable accepting.
‘‘He still comes out, but only late at night and I’m hoping that nobody else is around because I usually lose friends,’’ Marsters joked of the blonde-haired goth vampire.
Marsters played the role for 96 episodes of Buffy and returned in the series spin-off Angel, in which he appeared in a further 24 episodes.
‘‘A lot of people I meet are freshly discovering it all,’’ he said. ‘‘They come into line and they’re looking at me like I just got off the set. It’s awesome.
‘‘The magic of DVDs and also reruns. The thing is Buffy holds up to repeated viewing. Even when you know the end of the story it’s still fun to watch it play out. I tend to prefer to watch something really good more than once than something that’s not so good that’s fresh. I can watch the original Alien like forever. I could watch something like that once every six months for the rest of my life.’’
Marsters will be in Sydney next week as one of the guests of the Supanova Pop Culture Expo to be held at The Dome, Sydney Olympic Park [June 18 and 19].
He is no stranger to the convention scene – both as special guest and fan.
‘‘I’m a sci-fi fan,’’ he said. ‘‘I was at the very first Star Trek convention in the world back in 1978 in Oakland California. I was in on the writing campaign to get the first movie made. I’m a sci-fi fan from way back.
‘‘When I was growing up all we had was Planet of the Apes and Star Trek and old Twilight Zone – and that’s not too bad – but its not the kind of cornucopia that’s available now. You look at the big movies that are coming out this summer they’re all sci-fi/fantasy. I went to go and see the new X-Men movie – that rocked. It’s like we sci-fi guys – we won.’’
Marsters cites the ability of science fiction to offer veiled social commentary as a big part of its attraction.
‘‘I think when its at its best – and often in these projects it is, certainly with X-Men it was – it functions like the court jester used to function in the medieval court, in that the court jester was the only one able to call the king an idiot, as long as it was funny,’’ he said.
‘‘The X-Men can say, ‘hey man, we’re just talking about mutants, it’s not about gays at all, or black people, it’s not about the poor and oppressed and minority in any population, its not about the Hutus and the Tutsis [Rwandan people] at all – it’s just about mutants’.
‘‘In a way sci-fi and fantasy can state their point artistically much more bravely, much more forwardly than any other artform. You can both escape your normal life but also get fed ideas that will help you with your normal life at the same time.’’
Marsters cites the writing as the main reason for the longevity of the Buffy series, which officially ended its seven-season run in 2003.
‘‘The writers were really hanging it off the bridge so to speak,’’ he said. ‘‘They were being asked to come up with the most embarrassing, humiliating or painful day of their lives and then slap fangs over it and then show everybody in the world.
‘‘The writers were able to strike a tone that incorporated melodrama, comedy, tragedy, horror, all of it kind of in one pot. A lot of projects will combine say two elements – comedy and drama, that’s the most common. Sometimes its horror and sex, but to put them all in the hopper and then be able to balance it that was pretty incredible.
‘‘It was also the first time that you saw a young woman kick butt. We tend to look at that as normal now, but it really wasn’t when we started.’’
Marsters other television credits include roles in other cult series including Torchwood and Smallville and he has appeared in Without A Trace and the the reimagined Hawaii 5-0.
On the big screen he has appeared opposite Hillary Swank in P.S. I Love You and his stage credits exceed more than 100 plays.
When he’s not acting, Marsters also performs original music, both with a band and solo.
But of his core craft, Marsters says its the stage that has always offered the most intense adrenalin rush.
‘‘When you’re on stage it’s like your the chef – your given a script, your given a costume, your given special effects pieces, your given a set and you have to chop it all up like a Benihana [American restaurant chain where the chef prepares the meal in front of the guests] chef in front of the audience and deliver something edible and delicious, whereas when your doing film you’re just a little piece of celery and the editor is going to be chopping it up and making something delicious,’’ he said.
‘‘It’s a great job being a little piece of celery – you try and be the freshest crispiest little piece of celery you can, and you’re often part of something bigger – really beautiful on a level that maybe some of the stage shows weren’t accomplish – but as a single artist, as myself, I like to be the chef.’’
Marsters said he felt a similar sensation when playing his music.
‘‘Music is more scary, because I’m not as good at it,’’ he joked. ‘‘Actually I’ve got pretty darn good at it, but I’ve done like 100 plays, so when I’m doing a play I’m kind of hoping something goes wrong to make it interesting – let’s break some glass on stage just so we can deal with it. Let’s make the sets fall down.
‘‘I want to keep at it until I can get to hope it goes wrong and I can break a guitar string and see how we can deal with it.’’
Marsters said he had no problem baring his soul lyrically via his music.
‘‘It’s almost like a crime,’’ he said. ‘‘I write songs about stuff that I don’t even tell my best friend … if I sat down one-on-one and told you, you might be like ‘oh man, too much information’.
‘‘It’s really kind of delicious actually. I’ve been protected by the artform. I don’t really feel afraid about it I kind of feel like I’m stealing the baby.’’
Supanova Perth 2011
Supanova Perth
Who: Supanova
What: A two day pop culture expo for fans of all media with special guests, Q&A’s, autograph and photo sessions and much, much more.
Where: Claremont Showgrounds, Perth, Australia.
When: 24-26 June 2011
How:Online Booking
Price: Day Pass: $23.80 adv. $25.00 door | SUPA Fan Pass $39.50 adv. $50.00 door | SUPA-STAR VIP Ticket $650.00 | THE WHEDONVERSE EXPERIENCE: $400.00 | James Marsters in Concert $30.00 adv. $40.00 at the door | Post-Nova Party with James Marsters and Gareth David-LLoyd $150.00
Whedonverse Guests:
Amy Acker – Fred/Illyria in Angel and Dr. Claire Saunders/Whiskey in Dollhouse
James Marsters – Spike in Buffy and Angel
Sean Maher – Simon Tam in Firefly and Serenity
Cider
Whedon's World 