popmatters is taking its shot at shaping buffy's legacy
www.popmatters.com/THE GOOD SLAYER
Buffy the Vampire Slayer ends its seven-year run this week. Here, PopMatters writers remember and reconsider the series' many meanings. To quote Buffy: "From now on, we won't just face our worst fears, we will seek them out... There is only one thing on this earth more powerful than evil, and that's us. Any questions?"
www.popmatters.com/tv/rev...hs.shtml:. Death Is What a Slayer Lives / Cynthia Fuchs
[For all its clever observations and insight into teen angst, the show has drawn particular praise and criticism for its handling of death. When Buffy's mother Joyce (Kristine Sutherland) died two years ago, reviewers applauded the sensitive treatment of such trauma ("The Body," 5-16). But the murder of Willow's lover Tara (Amber Benson), incited considerable controversy, as it appeared to confirm the costs of visible queerness in a homophobic world ("Seeing Red," 6-19).
And there are more costs. Dark Willow's brutal flaying of the murderer Warren (Adam Busch) only made her feel worse: killing the monster who killed Tara didn't have any sort of cathartic effect. In fact, the ordeal has haunted her as she's embarked on a relationship with JFK (Iyari Limon). In "The Killer In Me," Willow's guilt over Tara and Warren's deaths leads her to absorb Warren, to look like him and begin to think and act like him. When JFK pulls her back into herself with a kiss (the same trigger that first turned her into Warren), Willow weeps, "I let her be dead. She's really dead. And I killed her" (7-13). ]
www.popmatters.com/tv/rev...ethy.shtmlThere's only me. I am the law.
:. Scooby Love / Michael Abernethy
[Some of the Scoobs have died (Kendra [Bianca Lawson] and perhaps most famously, Tara [Amber Benson]), some have died temporarily (Angel [David Boreanaz]), some have left town to wrestle with personal demons (Angel, Oz [Seth Green], Riley [Marc Blucas]), and some have experienced complete personality changes (Anya [Emma Caulfield], Willow, Spike [James Marsters]). Others have popped up out of nowhere (Dawn), and almost all have been seriously wounded at one point or another (the latest devastating injury is Xander's loss of his left eye)]
www.popmatters.com/tv/rev...mlow.shtml:. Boys and Girls and Buffy / Todd R. Ramlow
[The most progressive social and political impact of Buffy emerged in the long coming out process of Willow (Allyson Hannigan). After her painful separation from high school sweetheart and werewolf Oz (Seth Green), she realized her queer desires when she met fellow witch Tara (Amber Benson). What began as a tentative admission of bisexuality wound up, some two seasons later, as an out and proud declaration of her gayness. Willow's struggle to make sense of her own desires, her indecision about whom to tell, what to tell, and when, reflected the coming out stories of many queer people, and has had the potential to influence the way homosexuality is perceived by Buffy's audience.
I would feel remiss at this point if I didn't at least mention the controversy over the ending of season six with the callous murder of Tara, which to many viewers implicitly repeated homophobic stereotypes of queer sexuality as pathology and excess. This scandal and the public uproar that ensued were testament to the many ways Buffy so often intersects with the "real" world, despite its fantasy stylings. With Tara's death, and no matter the makers' intentions, the show participated in the perpetuation of homophobia, as happens so often in our currently "tolerant" world (Rick Santorum comes to mind).
Here was one of Buffy's most important lessons: the safety and acceptance of sexual minorities are not, and perhaps never can be, finalized in a society so long based in sexism and homophobia. But perhaps the lack of young women's safety is precisely the point. Sex, sexuality, and desire are messy and sometimes painful, as well as pleasurable and self-affirming. It's an urgent message for young women in a contemporary environment where they are given injunctions to a "normal" sexual restraint, and pilloried in public paranoia over the increasingly young age at which girls are having sex. ]
www.popmatters.com/tv/rev...oone.shtml:. Surprises / Tracy McLoone
[Amid all this mucking about with familial norms, Buffy notably diverged from hetero and traditionally romantic representations of sexuality. In particular, its challenges to conventional sexual morality have pleased Buffy fans. The Willow and Tara (Amber Benson) love story offered a lesbian relationship unique in television history. Queer kids loved the relationship, and found inspiration in the young witches' example of a fully committed, healthy same-sex relationship. Seldom have two women on tv seemed so suited to one another. They kissed and hugged, weathered Willow's magic addiction, cohabitated, and even got a pet kitten together. Sadly cut short by Tara's death in "Seeing Red" (6-19), their relationship has continued to affect Willow's life into the show's final season, as she has begun a new romance with the Potential Slayer, JFK (Iyari Limon) ("The Killer In Me," 7-13).
Where Willow and Tara developed a deeply intimate and romantic love, Buffy has also explored other sorts of sexual desire, specifically lust. While Buffy's relationship with the vampire Angel (David Boreanaz) has surely turned on physicality and longing, her relationship last season with Spike (James Marsters) further complicated these terms: they had violent sex, even as Buffy worried that she didn't even "like" Spike. This was a different kind of girl action. The fact that they are now, in the final season, moving towards real intimacy suggests that love doesn't always proceed from romance, but can come out of desire. While Willow and Tara had a friendship that developed into something more physical, Buffy and Spike had a tangled sexual relationship that now may be growing into a more intense emotional connection. ]
www.popmatters.com/tv/rev...nger.shtml:. Lord of the Nerds / Jesse Hassenger
www.popmatters.com/tv/rev...sten.shtml:. We Could Be Heroes / Erich Kuersten
The finale of Buffy marks not only the end of a great series, but also the end of one of the most popular myths of our postmodern times.
www.popmatters.com/tv/rev...orta.shtml:. Family Relations / Marco Lanzagorta
Buffy's narration of the troubled family proposes complex and apparently contradictory views on gender and monstrosity.