A newlywed with the ability to communicate with the earthbound spirits of the recently deceased overcomes skepticism and doubt to help send their important messages to the living and allow the dead to pass on to the other side.
Jennifer Love Hewitt,
Millions of people speak to God. What if God spoke back? Life just got a hell of a lot more confusing for teenage Joan Girardi, who already deals with feeling out of place in her family : ... See full summary »
Redeemed by Hercules, son of Zeus, Xena, once known as "Murderer," tries to fulfill her destiny as the "Warrior Princess" fighting for the greater good. On her Quest, she meets Gabrielle, a... See full summary »
Meet Georgia Lass (who prefers to be called George). She is a young Seattle college dropout who is unhappy with life. She is always at odds with her mom, Joy. One day coming back from her ... See full summary »
At the young age of 15, Buffy Summers was chosen to hunt vampires, demons, and the forces of darkness. Joined by friends Willow and Xander and her watcher Giles, Buffy fights the challenges of High School and saves the world...a lot. Written by
Originally, Joss Whedon didn't want either of Buffy's parents to appear as characters on the show. Accepting that that could get complicated, he settled on just having her mother, Joyce, appear in a nearly regular role, while Buffy's father Hank appeared in very few episodes. See more »
The sequence with the Mutant Enemy mascot, the little monster that goes "Grr Argh" at the end of all episodes, was changed for a total of six episodes: in "Becoming Part Two" (#2.22) it said, 'Oh, I need a hug." in "Amends" (#3.10) it wore a Santa hat and bells were jingling. in "Graduation Day Part Two" (#3.22) it wore a graduation cap. in "Once More With Feeling" (#6.07) it sang its "Grr Argh." in "Storyteller" (#7.16) it sang, "We are as gods." in "Chosen" (#7.22) it looked out at the viewers instead of looking straight-forward. See more »
Very often, when you find a particularly negative review of Buffy the Vampire Slayer, you find someone whose glancing opinion bounces off the surface "appearance" of the show and does not delve into the actual substance therein. Frequently, they are people who haven't really seen enough episodes to form a well thought-out opinion on the series, the content, and the characters as a whole--especially, people who have only seen a few eps from season one. Season one is the most shallow end of the series. It really gives you no clue as to what the series ends up being. Believe me, it gets more intense and complicated and dark as it goes on. If you decide to give it a try, I suggest checking out a handful of episodes from season three on before passing judgment. Some good examples are S3--The Wish, Helpless, Doppelgangland, S4--Something Blue, Hush and Restless, S5--Fool for Love, Triangle, Weight of the World, The Gift (I'd also say The Body but that one gives too much away) S6--Bargaining, Tabula Rasa, Older and Far Away, S7--Beneath You, Selfless, Conversations With Dead People, The Killer In Me, Get It Done (I'd say Chosen but it's the series finale which also would give too much away).
About the show itself--Buffy is the antithesis of the "pretty-blond-victim" who runs from the "psycho ax-murderer" in horror films past--the girl who always twisted her ankle and fell in her attempt to get away. How many times did we see that scene and feel just a little bit disgusted with the victim for not even trying to fight back? How many times did we see that scene and feel disgusted with the directors for typing female victims in this way over and over again? Buffy, herself, isn't the "traditional" feminist TV icon. Many of those are women who have forfeited the ultra-feminine symbols of their gender--love, compassion and vulnerability in order to maintain equal footing with men. Buffy doesn't do this. Buffy embraces those symbols in one hand and hones and wields them to fight evil in the other.
The show appears as a bubble-gum program, aimed at teens and while it's fan-base is largely younger viewers (teens-twenties), it's major themes profoundly confront the more mature ideas of good vs. evil, life and death, friendship, religion, the soul and the true meanings of power and love in such a way that is rarely addressed in current entertainment. It challenges the traditional ideas of religion as being an "institution" and asserts that it is something to be lived, that real love requires self-sacrifice, that true friendship requires far-reaching forgiveness, that true power is rooted in love and compassion and that good and evil, while in shades of gray can still be defined.
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