Admittedly, when “Angel” began, it didn’t quite know what it wanted to be. It was a spinoff from “Buffy the Vampire Slayer,” ordered (perhaps in haste) during the peak of that show’s popularity. But when Angel (David Boreanaz) landed in Los Angeles, it wasn’t quite clear what he was supposed to do except, for some reason, become a private detective.
As the show moved along, the themes deepened and — structurally and stylistically — it went out on a limb. By the fifth and final season (arguably its best), “Angel” had mutated from a guilt-plagued cop show into a bizarre, Whedon-verse take on a legal drama. And it was glorious.
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