With writing that never dared to patronise its audience, production that experimented at every opportunity and characterisation that was always consistent, \'Buffy\' was a joy to watch. It rarely wavered and when it did, it picked itself up, dusted itself
10
"Perfect"
Yes yes, okay, fine, I hear you. Calm yourself down, it\'s gonna be alright. Really, just stop. Take a deep breath. Loosen that strangulatingly tight collar of yours. *Relax*. There. Now it doesn\'t seem quite so bad, does it? There\'s really no need to get yourself all in a fluster. \'Buffy the Vampire Slayer\' is quite simply the best thing to have ever graced our television screens and you know it. Being as such, it is therefore more than worthy of being ascribed the coveted accolade of \'classic\'. All you have to do is accept it.
Yes yes, okay, I\'m playing with you, but the sad truth of the matter is that there will be those that read the above classification and reel back in horror, nay disgust. Regardless of their personal opinion of \'Buffy\', be it positive or negative, the notion that a television show of this kind, a pop-culture-teen-science-fiction-fantasy-romp (please, add your own meaningless generic demarcations here) could ever be considered a \'classic\' will revile them; they will see it as a besmirching of the very principles of such a concept. We can call \'The West Wing\' a classic, \'M*A*S*H*\' a classic, hell even \'Friends\' a classic. We can shower them all with critical accolade after critical accolade. But as soon as the eye turns on programming that deals with issues outside the boundaries of \'reality\', well there\'s just no room for the word anymore. Especially not for some little upstart overblown teenage soap opera with vampires and demons and all sorts of other things inbetween. \'Good in its own right, good *for what it is*, but not a classic\'.
Oh you couldn\'t be more wrong. Blind, you are if you don\'t recognise this show\'s genius. Insane, you are if you dismiss it as \'beneath you\'. You\'ll see more realistic character development, groundbreaking production and thought-provoking stories in a single episode of this show than you would in an entire three seasons of \'Friends\'. It may have an off-putting title (although I\'ve never understood why it puts people off myself), but it is never anything other than thoroughly engrossing.
The show\'s principal concept - girl with a secret identity - forms the groundwork for its use of sf-concepts as metaphor for teenage (and later, adult) life. Place yourself in any one of Buffy and co.\'s situations, sans monsters, demons etc., and see whether you can honestly tell yourself you haven\'t experienced the emotions they\'re going through. Whether it be ex-boyfriend turning bad (in Buffy\'s case, literally), feeling like no-one notices you (for the show, read actual disappearance) or finding out that the Biology teacher you have a crush on is really a praying mantis (okay, maybe not that one), there was always a sense of identification intrinsic to the show. For all the fantasy of Buffy\'s world, the feelings are always very real and never in a forced, hokey way. One needs only to look to Buffy\'s revelation to her mom that she is a Slayer after two years of keeping it secret for evidence of this. The sequence is a coming out, complete with all the expected cliched parental responses. But for anyone
who has had to go through such a moment, it is cathartic, enthralling and eminently enjoyable. It would be all to easy for Joss Whedon to lose himself in the monsters of the Buffyverse. Instead, he makes it all achingly human.
But \'Buffy\' is also so much more than that. The principal cast are never anything short of fantastic; Sarah Michelle Gellar more often than not astounds in her ability to play whatever emotion, however strongly. Nick Brendon plays the affectionate, blundering dork to absolute perfection and is so damn good at what he
does that when Xander takes a turn for the mature in later seasons, Nick conveys it without evoking a single shred of disbelief. Anthony Stewart Head is simply marvellous as Giles, working with comedy and tragedy equally beautifully. And really, could you honestly imagine anyone other than Alyson Hannigan
as Willow? More than any other cast member, she *is* her role and has you eating out of the palm of her hand whenever she wants. Perhaps what is most unique, and refreshing, about this show though is that there is rarely a poor secondary player. The list of guest-recurring characters throughout the seasons is endless but the actors are all so excellent and the characters so well-rounded that not a one feels like a Charlie from \'Friends\' or an Eddie from \'Dawson\'s Creek\'. You don\'t want a single one to go away and stop cluttering up our Buffy-time (well, with the possible exception of Riley Finn). Angel, Spike (my, what a beautiful development of a character), Faith, Cordelia, Johnathan, Wesley Wyndham-Price, Andrew, Drusilla, The Mayor, Oz, Glory... I could go on. And on. Every single one is a joy to watch, and not a one is a carbon copy of the other.
The same can be said of the shows themselves. Each season of Buffy is drastically different from the next, choosing the tricky but ultimately highly rewarding path of the on-going season arc as its template. This allows for the spectacularly complex mystery, intrigue and postmodernism of season five\'s Glory/Key plot (come on... what other show introduces a 12-year-old sister for its principal character five seasons in, without having mentioned her at all before, and *gets away with it*? Of course, this is due to the delightful lack of constraints in sf/fantasy and it all makes perfect, logical sense but still...), the Shakesperian uber-drama of the Angel/Spike/Dru tale of season two (Joss Whedon produced one of TV\'s most shocking twists when Angel turned evil midway through the year... and stayed that way til its end) and
the highly intelligent ennui of season six\'s \'oh grow up\' motif. In fact, I would like to stick my neck out and say \'Buffy\' is one of a select few TV shows that never, ever jumped the shark. In fact, it only got better with age. While the first two seasons undoubtedtly had their classics, there is also a sense of \'finding our feet\' in both; Whedon and co. appear to be testing the waters, seeing what they can do, what they can get away with, just what stories they really can tell. It leads to some unfortunate dross that would be best forgotten - episodes such as \'Bad Eggs\', \'I Robot, You Jane\', \'Teacher\'s Pet\', \'Reptile
Boy\' and \'Inca Mummy Girl\' spring to mind here. But come the third, these problems are well ironed out and the show matures into something far greater. Sure, there are occasional lapses (season four\'s \'Beer Bad\' is a noteable one), but the sheer volume of simply outstanding television is enough to forgive these. By the seventh season, \'Buffy the Vampire Slayer\' had developed into the most intelligent and consistently well made programme on TV. Period.
It has \'Restless\'. An episode that takes place almost entirely in the dreams of our principal characters. It is mind-boggingly complex, rich with metaphor, self-reflexivity and downright weirdness. It is also outstanding. It has
\'Hush\', an episode in which over half of the screen-time has no dialogue; as a treatise on communication, it works beautifully. And it has some of the scariest monsters, and one of the most terrifying concepts, you\'ll ever see. It has \'Storyteller\', a quite simply astonishing piece of work about redemption, from its seventh season no less, that marries fantastical hilarity with poignant emotion. It has \'The Body\', an episode that deals with death so vividly and believably that I can barely bring myself to watch it again. And, of course, it has \'Once More, With Feeling\', the musical episode. Oh you may laugh at the notion, but after approximately fifteen minutes of watching, I defy anyone not to recognise it as one of the best things ever made. Words can\'t express how amazing it is. Just go watch it and be converted instantly. And this is only a very minute selection of the show\'s best work. \'Innocence\', \'The Zeppo\', \'Selfless\',
\'Superstar\', \'Tabula Rasa\', \'Passion\', \'The Wish\', \'Who Are You?\', \'The Gift\', \'Fool For Love\', \'School Hard\', \'Seeing Red\', \'Lies My Parents Told Me\', \'Becoming parts 1 and 2\', \'Wild At Heart\', \'Band Candy\'.... do I really need to go on?
No, I thought not. With writing that never once dared to patronise its audience, production that challenged and experimented at every opportunity, with beautiful results, characterisation that was always consistent and believable and a cast of seemingly unending talent, \'Buffy the Vampire Slayer\' was never anything other than a joy to watch. It
rarely wavered and when it did, it inevitably picked itself up, dusted itself down and got back on with trying something else it had never attempted before. Standing at a highly respectable seven seasons, it still doesn\'t feel like it was quite enough. For once, we had a show we didn\'t want to hang up its shoes quickly before it all got too depressing (X-Files producers, are you reading this?) And if all of that doesn\'t earn the show the accolade of \'classic\', then really, I just don\'t know what will. Put quite simply, it\'ll slay ya. (Oh I\'m so sorry, I really am).