Buffy the Vampire Slayer was a feminist parable for everyone including me – The Guardian

Joss Whedons original concept was to take the girl in the horror movies who is the victim and make her the hero. Sarah Michelle Gellar as Buffy Photograph: HO/Reuters

Im lucky enough to have been attached to a few iconic shows Merlin, Doctor Who, Little Britain but 20 years on, Buffy the Vampire Slayer is still the one I get stopped in the street to talk about most. It deeply affected so many people they tell me how it eased their growing pains, how without the show they wouldnt have been able to cope. It gave them strength. The executives who commissioned it had no idea what they were unleashing, and the impact it would have.

The network kept wanting to change the name. Nobody is going take it seriously if its called Buffy. But that was the whole point. Its somebody called Buffy who nobody really takes seriously, but who has the fate of the world in their hands. Joss Whedons original concept was to take the girl in the horror movies who falls over, twists her ankle the victim and make her the hero. Its clearly a feminist parable. But it went so much further. It was this extraordinary allegorical tale that lasted seven years.

Of course, this was most apparent in the way it presented the difficulties of growing up. Take the story of Buffys boyfriend, Angel. Hes this wonderful, caring person, but only because hes a vampire cursed by gypsies to have a conscience. Thats enough right there. But not for Whedon. As soon as Angel finds himself in a state of ecstasy when he finally sleeps with Buffy he loses his soul and becomes the one night stand from hell. Its a situation women the world over can relate to, but presented through this horrific metaphor.

And Whedon was able to almost sense what was coming in the world. The episode Earshot predicted a Columbine-style massacre before it happened and had to be moved in the schedules as a result. But in those 43 minutes, Whedon created a three-dimensional character for this would-be murderer. Jonathan was relatable, his problems and motivations felt clear especially to that young teenage audience. Many have tried to replicate the nuance of that psychology in far grander settings, but with nowhere near the same level of success. Thats the thing brilliant writing connects.

One is aware in this industry that executives, who are rarely creatives, feel the need to contribute. Notes come through, often purely about exposition, which means that the character stuff gets whittled away because, ultimately, they underestimate the audience. But its that stuff that people connect to, and its that stuff that makes entertainment cross over from the narrow demographics that executives too often focus on.

We were lucky Buffy was off the radar nobody expected it to do anything, so we werent subject to their scrutiny. We did, however get a note, in season one, on Teachers Pet, because we werent allowed to show blood. We couldnt show the green blood shooting from the severed neck of a beheaded praying mantis demon. We shot it in silhouette instead. Whedon was able to get Buffy up and running before the higher-ups took notice and it got a huge response almost immediately. It was a lucky accident that it was at a time when online became a real voice. A community of fans built up.

And that was the real power of the show it resonated. Not just with girls, or teenagers, but with everyone. It gave flesh, and horns, to the demons we all face in life. That was never more apparent than in the episode The Body. Whedon liked to play with the medium. An episode where nobody talks. A musical. But The Body was something else entirely. He had said a year previously that Joyce, Buffys mother, was going to die serious stuff for a teenage comedy horror. He gave her a brain tumour here we go, I thought. But then she recovered. He was planning much further ahead.

Shell have an aneurism at the end of a really light, frothy episode, and Buffy will come in and find her on the sofa, he told me. When it finally aired, it was gut-wrenching stuff. Hed said he thought he might strip it of incidental music, to increase its intensity and he did. It was a brilliant and extraordinarily bold choice on a mainstream, network show for kids. Buffy was presented with an enemy that she couldnt fight, an enemy that everyone can relate to the death of a loved one.

And that was the real power of the show it resonated. Not just with girls, or teenagers, but with everyone.

I knew Buffy was special as soon as I read the first two scripts. I was on board from the beginning. Id come close to doing another show about demons and poltergeists and things. But it was humourless, it had no empathy, it was just in-your-face horror. My agent was telling me to take it, but my partner said wait, that something else was coming. A month later, I was in a Tex-Mex restaurant in Santa Monica on my own, laughing out loud much to the chagrin of all the people round me who thought I was some loony Englishman. Buffy isnt just a horror its a comedy, its a thriller, its a coming-of-age drama. Whedon proved that you can have sardonic humour alongside all the serious stuff, you can turn emotions on a dime, and people love it. A laugh-out-loud moment, followed by a death. He changed television.

Thats why when a 40-year-old man comes up to me confessing to being a fan of the show, as if its a dirty secret, I tell him to stand proud. Buffy might have been a teenage girl, but the issues in the programme transcended age or gender. Its undoubtedly a feminist story, about the empowerment of women, but Whedon managed to tell that story in a way that was inclusive.

He is an incredible, genius writer so its hardly a surprise that few, if any, have managed to emulate that feat. Female protagonists are still thin on the ground. Executives still struggle to see how they can sell womens stories to mixed audiences. But even if a televisual landscape filled with female heroes hasnt followed on, theres no doubting the impact Buffy had.

In the final season, Whedon started to build up this young group of Slayerettes around Buffy. I was confused. Where is this going? Isnt he diluting what makes the show special? But after seven years, in the seriess final moments when Buffy handed over the mantle to all womenkind, he encapsulated the true message of the programme. And its that legacy that still resides in all of us, true, lifelong Buffy fans.

Anthony Stewart Head is appearing in Love in Idleness at the Menier Chocolate Factory until 29 April

Read the original here:
Buffy the Vampire Slayer was a feminist parable for everyone including me - The Guardian

Reviewed and Recommended by Erik Baquero