Buffy Articles, Merchandise 'n' Stuff

[PokerKitten]

/ny-fftv3285511may18" rel="nofollow" target="_blank">www.newsday.com/entertainment//ny-fftv3285511may18,0,5841941.story?coll=ny%2Dentertainment%2Dheadlines

Pulling Up Stakes
Vampire slayer 'Buffy' faces her greatest evil in the cult fave's finale
Tuesday


By Noel Holston
STAFF WRITER

May 18, 2003
All great epics come to an end. "The Iliad." "The Odyssey." "War and Peace."
"Buffy the Vampire Slayer."

Just kidding. The Tolstoy book is a ringer. Doesn't belong on this list. Too
literal. Not enough monsters.

But no, I'm not kidding about "Buffy," which will come to a conclusion
Tuesday night at 8 on UPN after a run that stretches back to March 1997 and
another network, The WB. In the finale, devoted fans will find out if Buffy
Summers of Sunnydale, Calif., a small circle of friends she has had since
high school and a small army of vampire-slayer trainees have it in them to
stop the First Evil, an amorphous entity that may be sin itself; its
clerical-collared first lieutenant, Caleb, and an army of ghouls who hope to
overrun Earth and turn all humanity into slaves or snack food. Be still, my
heart.

I am not the first person to suggest that "Buffy" is grand mythological
literature. In fact, I am far down the list. I was on a sabbatical when
"Buffy" premiered, ignored the first couple of seasons entirely and, frankly,
found the critical gushing rather silly when I finally got around to seeing
what the fuss was about. Sure, the show had snappy lines, smart cultural
allusions and some decent karate-kicking, vampire-staking action. Decent for
, anyway. But it was no "X-Files." It was no "Kolchak: The Night Stalker."

Then, the night of Dec. 14, 1999, I tuned in once more, just on a whim, and
encountered an episode in which a squad of emaciated, death's-head fiends in
long, dark coats and bowler hats glided into Sunnydale on little cat's feet
and stole everyone's voices, a prelude to harvesting out seven hearts. They
were The Gentlemen, and the episode was called "Hush." It was surreal,
unnerving and largely absent dialogue - a silent nightmare that suggested a
daring well beyond the ambition or the ability of most shows. I was on my
way to becoming a "Buffy"-phile.

According to the lore of "Buffy," the back story dreamed up by creator Joss
Whedon, who had written for "Roseanne" and earned an Oscar nomination for his
"Toy Story" script, planet Earth was originally inhabited by demons. Over
time, they were either forced into other dimensions by a newcomer race,
humans, or they mingled with our ancestors to become harder to detect, hybrid
forms. They're forever looking for an opportunity to retake control.

That's where the 15-year-old Ms. Summers came in. As the series' preamble
establishes, "In every generation there is a Chosen One. She and she alone
will fight the demons, vampires and the forces of evil. She is the Slayer."

It's always a she, always a young woman, but in this particular generation
the honor and the burden fell to a cute, blond teenager whose name is
practically a synonym for vacuity and who already had her hands full with
hormones, homework and her parents' divorce. How do you psyche yourself up to
save the world from evil when your dad tells you you're not as smart as he
thought you would be, or when no one asks you out, or when you're just having
a bad-hair day? Being a teenager is hell enough without knowing that your
high school sits on a portal to the netherworld where vampires congregate
like roaches.

Whedon was hardly the first writer to give a supernaturally empowered
character everyday, real-world problems, or even teen angst. Stan Lee did
that with Peter Parker, the hapless alter ego of "The Amazing Spider-Man," 40
years ago. But Whedon is unsurpassed in developing his creation's world,
giving it a sound, internal logic and making the phantasmagoric and mundane
coexist in a manner that illuminates truths about power, duty, love and
honor, even as it metaphorically encompasses contemporary social issues. The
"Buffy" episode in which our heroine (Sarah Michelle Gellar) and her
classmate Cordelia (Charisma Carpenter) were drugged by members of a
fraternity-cult and almost fed to a reptilian demon was as harrowing a take
on date rape as any movie or series has ever delivered - and this despite
the atypical cheesiness of the monster makeup.

The series inspired a spin-off - WB's "Angel," built around Buffy's
good-vampire heartthrob, played by David Boreanaz. It has also been the
subject of scholarly books, dissertations and collegiate seminars (i.e.,
"Blood, Text and Fears: Reading Around 'Buffy the Vampire Slayer'"), not to
mention so many Web sites and so much chat-room gab that Whedon says it's
impossible to keep anything about it secret - even what's going to happen in
Tuesday's finale. But "the destruction of surprise" is "the only real
downside" to the Internet, he said during a recent conference call with
columnists. He's well aware that the community facilitated by the Web has
been integral to the show's cult status.

Whedon, who salvaged the "Buffy" concept from an under-realized 1992 movie he
wrote, said that he didn't recognize the series' full potential when he
started. "I just sort of had this basic notion of it's tough to make it in
high school; it'll be funny, involving and scary and really get into things
people can relate to," he said. "I didn't know how good my actors would be. I
didn't know how long we'd go or how much they'd grow or what the network
would let us do."

What Whedon and collaborators such as Marti Noxon and David Greenwalt did was
seamlessly fold comedy and horror into a soap opera with all the usual
elements - love triangles, betrayals, personality reversals - but a wholly
unusual emotional honesty. "Buffy" has been and continues to be thoughtful,
silly, poignant, funny, frightening, romantic, hot - sometimes in quick
succession, sometimes all at once. Not every episode is five-star like "Hush"
or "The Body," in which Buffy is staggered to find her mom dead of something
unheard of in Sunnydale, natural causes, or this season's intensely
philosophical "Conversations With Dead People." But there's something fresh
and surprising in every one.

If I had to pick the perfect moment of the show's seven-season run, I just
might have to nominate a sequence from "Inca Mummy Girl," a so-so episode
from the second season. It speaks to the overall strength of the series that
Buffy herself is not even part of it.

Buffy's dainty, socially inept, computer-geek friend Willow (Alyson Hannigan)
has shown up for a costume party at the Bronze, Sunnydale's teen nightspot,
dressed as an Eskimo, complete with harpoon. She watches while the boyfriend
she secretly adores, Xander (Nicholas Brendon), slow-dances with Impata, a
beautiful South American exchange student who is, in fact, a revivified Inca
mummy whose kiss, we viewers know, will suck the life right out of a man and
turn him into a husk. Edge-of-your-seat anxiety is compounded by the sexiness
of the dance, Willow's heartbreak by the absurdity of her costume. The throat
constricts, the mouth edges into a grin, the arm hair rises, the fingers
clinch. It's difficult to recall another series triggering so many emotions
at once.

The current dread-steeped season has steadily built toward Tuesday's episode,
in which Buffy, no longer a reluctant teen but a battle-tempered woman who
grudgingly recognizes the necessity and the human costs of war, will confront
the greatest evil she has yet seen.

If UPN is lucky, the apocalyptic showdown will pull in 5 million to 6 million
viewers, which is what "Buffy" averaged in its best seasons on The WB, but
only about a fourth as many as the top-rated series attract. Its most recent
episode had an audience of 3.6 million and ranked 97th out of 108 prime-time
shows.

"Our viewership has never been as large as the awareness of us," Whedon
acknowledged, adding that the show is "certainly not designed to exclude
anybody. I don't believe in exclusion. But at the same time, 'Buffy the
Vampire Slayer' is not a show that some people are going to switch on, and
that's just the way it is."

He said that doesn't bother him, nor does he worry about whether "Buffy" will
have the sort of long afterlife other cult favorites, such as "Star Trek" or
"The Twilight Zone," have enjoyed.

"The thing we were trying to do was tell epic, timeless stories on a small,
emotional scale," he said. "And that sort of thing, if it's done right,
certainly can live on. Will it? I don't know. I do know the character, as a
concept, has affected the way people think about heroines and heroes and who
can front a show and what boys will watch and a lot of different things.
That's more important a legacy to me than [whether] they're still watching
the episodes."

[PokerKitten]

Not really spoilery so it's okay here:

www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2003/05/19/DD61367.DTL

'Buffy's' demise puts a stake in our hearts

Tim Goodman Monday, May 19, 2003


"Buffy, the Vampire Slayer," rest in peace.

Buffy, you'll be missed. You saved the world. A lot.

The series finale of any great television series -- and "Buffy, the Vampire
Slayer" was great throughout most of its seven-season run -- is almost always
a letdown. There are so many expectations, so many open story lines that must
be closed. And the characters of a beloved series have, for each viewer, a
life and importance all their own, and that feeling isn't always shared by
the people trying to wrap up the finale and so, inevitably, it's emotionally
messy when it should be perfect.

As "Buffy, the Vampire Slayer" ends its run at 8 Tuesday night on UPN, there
is a feeling of enormous loss for the creativity that helped elevate
television for seven years and -- just a smidge here -- a feeling that the
opportunity to go out on a high was missed. The finale is good, but it's not
great; there are question marks left strewn about. But after much thinking
about it, well, maybe the finale is not the point.

It was the journey to Sunnydale and the days spent there that mattered. It
was that crazy, brilliantly conceived idea of having a gutsy, funny but not-
that-bright high school girl live in a bucolic suburb that just happened to
sit on top of the so-called Hellmouth. Buffy was the chosen one, the latest
(last?) Slayer, called upon to kill vampires and other demons. So goes the
premise. But any fan of the series -- and one of the best-kept secrets of
television was that the fan base spanned preteens to card-carrying AARPers --
knew that "Buffy" was never as silly as its title.

Just briefly about that: The title may have deterred people from watching.
But that title also meant that people had to look beyond it, not to judge the
show on its face, to open their minds to possibility. Most television works
very hard to keep viewers' minds closed, to provide tried-and-true laughs for
weary working folk who need it and to foist upon us cookie-cutter familiarity
that allows us to know that the cops will catch the criminals and, when the
world gets a little too weird, that someone like Jessica Fletcher will be
there to put the world to right.

"Buffy" was different. One of television's finest examples of a cult hit, the
series -- created by the supremely talented Joss Whedon -- was clever on many
levels and never catered to simplicity or safe predictability. Monsters
substituted neatly for real-life demons -- especially for the core teen
viewers who believe that they are alone in a complicated world. "Buffy" was
smartly written, a wink-wink to the intelligentsia that got past the title
and embraced the concept. It managed, over seven seasons, to be
pop-culturally savvy and teen-speak sophisticated and led, not followed, the
entire way. An amazing feat, although Whedon has missed out on the mainstream
applause given to peers such as Aaron Sorkin, David E. Kelley and Steven
Bochco.

That "Buffy" never won an Emmy represents a tragic lack of vision that has
been discussed here many times. No need to rant about that now. This is all
about appreciation, ultimately, for a series so deftly able to cover so many
emotional bases. "Buffy" could be simultaneously funny, scary, touching, sad
and sexy in a single episode. Whedon started out coyly writing about teenage
isolation or alienation, but he quickly expanded to embrace issues of death,
spirituality, corporate greed, naked ambition, unchecked ego, sexual
orientation, fear of the larger world and, in a strand that ran through seven
seasons, the beautiful, ever-changing bonds of friendship.

The Scooby-Gang -- they, too, will be missed.

You didn't think this was just a show about a girl slaying vampires, did you?
Oh, silly you.

Even in its most simplistic terms -- vamps, demons and monsters versus the
world (thanks for saving us again, "Buffy"), the series was entertaining.
Every episode was good for a spook -- some "thing" was forever jumping out
from the dark.

But combine that with the witty wordplay, the emotional resonance and the
intricate character development and larger themes -- now that's a neat trick,
a rare bit of television indeed.

In its seven seasons, there were few missteps. Last year saw one of the
biggest, as the characters were manipulated to implode and it seemed as if
the writers and producers were exorcising their own personal demons instead
of, in Buffy-speak, "following the narrative flow." Even so, in the midst of
that off- track year, Whedon created perhaps the greatest "Buffy" episode,
the "Once More, With Feeling" musical. It was a fantastic piece of
television.

So how do you conclude a series rife with mythology, peopled with characters
you actually care about and a story arc that cries out for some kind of
two-hour over-the-top spectacle? Well, you do the best you can, apparently.
Tuesday's finale will make most fans happy as long as they understand that
the limitations of the hour can't possibly do everyone justice -- and there's
that undeniable fact that it's just plain sad to see Buffy go.

And yet the humor is there, as expected. A favorite line that gives nothing
away: "There's another one in Cleveland." There are a few surprises, though
nothing truly shocking. There's a low throb of sadness. And yes, there's that
feeling of something being incomplete, an artistic reach that falls short of
closure.

Beyond that, there's this: If you never watched "Buffy, the Vampire Slayer, "
then you missed out. Honestly. It was not only a pop cultural phenomenon, but
it was also that elusive, fervently sought-after creation -- a brilliant
television show.

Here's to everyone's opening their eyes to possibility in , no matter what
the title or the network. And here's to reruns, too.

[PokerKitten]

www.dfw.com/mld/startelegram/living/5883829.htm

All the boys she's loved before
By TODD CAMAP
Star-Telegram Staff Writer

Why can't Buffy ever land a normal boyfriend? If they're not vampires or
demons, they wind up being just creeps or macho jocks. Here's a look at her
loves lost.

Owen Thurman (Christopher Wiehl) Buffy goes out with this poetry-loving hunk
in the aptly titled episode "Never Kill a Boy on the First Date." But his
overly enthusiastic reaction to her slayer duties gets him quickly kicked to
the curb.

Tom Warner (Todd Babcock) This Delta Zeta Kappa frat rat invites Buffy to a
college party, intent on feeding her to a giant demon snake.

Angel (David Boreanaz) The broody vampire with a soul will always be the love
of Buffy's life, even if he goes all dark and bloodthirsty when they sleep
together. After splitting for Los Angeles and his own spinoff series, Angel
makes a rare appearance on Wednesday's series finale.

"Fans will be very happy to see the two characters together," Boreanaz says.
"And what happens . . . they'll be very enthralled, and the way it ends . . .
they'll be very happy, too."

Using my best Buffy-speak: Can you vague that up for us, David?

Billy "Ford" Fordham (Jason Behr) An ex from Buffy's past tries to serve her
up to Spike in exchange for eternal vamp life, his only salvation from
terminal cancer.

Cameron Walker (Jeremy Garrett) A member of the Sunnydale swim team, this
aquatic cutie, along with several of his teammates, transforms into a fishy
beastie after inhaling mystical steam in the school sauna.

Ben Wilkinson (Charlie Weber) This mild-mannered med student is perfect for
Buffy, but his demonic alter ego, Glory, is intent on tearing a hole between
dimensions and destroying the world.

"It was interesting to jump on board of that, like, screaming train," Weber
says of the series. "'Cause it was just a well-oiled machine -- the cast, the
crew, everybody. The entire year I just felt like the new kid."

Scott Hope (Fab Filippo) This guy feverishly pursues Buffy with the
enthusiasm of a puppy dog only to realize he's bitten off more than he can
chew. The show later revealed he was gay anyway.

Parker Abrams (Adam Kaufman) Buffy's first college boyfriend teaches her a
valuable lesson: Guys don't have to be vampires or half-demons to be good,
old-fashioned creeps.

Riley Finn (Marc Blucas)) A gung-ho member of the demon-fighting Initiative,
this macho lug never gets comfortable with the fact that Buffy can kick his
butt.

Spike (James Marsters) Buffy does like the bad boys, but when Spike endures
many a torturous trial to retrieve his soul (even if it wasn't what he
expected), the bottle blond more than proves his love for her. And unlike
Angel, he sticks around to fight the good fight.

R.J. Brooks (Thad Luckinbill) Less a boyfriend and more a momentary
infatuation, this football quarterback turns the heads of Buffy and the women
of Sunnydale with the help of a magical letter jacket.
------------------------------------------------------------------------
-- Todd Camp

[JIG]

Buffy Sails Into Sunset

Author: Michael Hinman
Date: 05-19-2003
Source: CNN
The reality of the end came when "Buffy the Vampire Slayer" executive producer Marti Noxon drove into the Fox Television parking lot and found a man wandering there.

It wasn't just any man, but the creator of the show she has worked on for the last seven seasons. It was Joss Whedon.

"I asked, 'What are you doing?' and he said, 'I don't know,'" Noxon recently told CNN's Andy Walton. "He said, 'It's all gone, Marti,' and we looked in one of the buildings, and sure enough, all of the sets were gone. And that really hit hard, that Sunnydale High is no more. It's in boxes and crates somewhere."

With that, "Buffy the Vampire Slayer" will say good-bye Tuesday night at 8 EDT on UPN with a gut-wrenching finale that could have fans talking for quite some time. But the little series that couldn't back in 1997 has quickly become a iconic success. And that's no accident, Noxon said.

"Joss's master plan was really to create an icon," Noxon said. "Of all the people I've ever met, Joss is the most organized, creative thinker. More often than not, he knew exactly where we were going in the big picture."

Even those who have studied the series can agree with that, like Lynne Edwards, a professor at Pennsylvania's Ursinus College that teaches a course called "Deconstructing Buffy."

"What's neat about 'Buffy the Vampire Slayer' is that on one level, it appears to be pure pop culture: hot-looking girl runs around killing things, kicking, screaming, it's all good," Edwards said. "But on another level, for those of us who were kind of nerdy in high school, we get the literary references, like saying that a girl is so late she makes Godot look punctual."

Whedon was able to plan much of the series far in advance, and used that type of planning to tease the future to audiences. One instance occured in Season 3 during a dream sequence about events that wouldn't actually happen until the fifth season.

"Certain storylines, Joss just knew what he wanted to do, and had plans a year in advance, and we could plant a reference," Noxon said. The Scoobies "were conceived as outsiders. They were conceived as sort of misfits. That certainly was part of the whole mythology that I think people really responded to, was this idea of 'geek on the outside, supergeek on the inside,' special powers and abilities, hidden depths."

Edwards said that the show easily moved from pop culture into reality.

"Young people see what's going on, they see it in their high schools, then they come home and see it played out on television," Edwards said. "Granted, the football player is a demon, but it's all still kind of the same. I'm not even sure you can really call this pop culture any more, because of the way it reflects what's really going on in the world."

The last episode has been especially hard for star Sarah Michelle Gellar, despite the fact that her desire not to return served as one of the catalysts for the show's cancellation this season.

"The whole time I kept thinking, 'When am I going to cry?'" Gellar told the Associated Press recently about filming the last episode. "I remember when it finally came, it was like getting hit with a brick wall."

[PokerKitten]

A wee bit spoilery for non-Americans/Canadians. But not too bad!

www.denverpost.com/Stories/0,1413,36~122~1409936,00.html

joanne ostrow
Buffy's importance stands tall, and it's not over yet
By Joanne Ostrow, Denver Post Media Critic

Forget the damsel in distress thing.

"You know me, not much for the damsel-ing," Buffy said in last week's finale of "Buffy the Vampire Slayer." Buffy is a female hero, as opposed to a heroine. Nobody ever swooped to her rescue. In the end, she handed off to us:Girl Power! After seven smart seasons, Buff's importance shouldn't be underestimated. Besides giving grown-ups a satirical cult classic, she gave a generation of girls a new way to think about themselves.

She taught the industry a lesson in the changing expectations for teen television, giving the horror, drama, and even musical genres freshly blended
life. She helped establish a network (the WB). She led the way in the union of and the Web, resulting in an ongoing effort by fans that has become its own body
of work.

And she kept the world's academics busy.

As written on her tombstone, before she was resurrected last season, she saved the world a lot.

Now Sarah Michelle Gellar can make movies, and series creator Joss Whedon can take a rest. He has said the decision to quit was his. The ratings were down. The time had come.

The series may be gone, with a satisfying ending that keeps the Slayer alive for possible spinoff appearances, but the "Buffyverse" (the universe of Buffy as it's known) lives on, in books, scholarly conferences and college courses.

"Slayage: The Online International Journal of Buffy Studies" offers dozens of essays with titles like "Buffy the Vampire Slayer and the Pedagogy of Fear" and "Buffy the Vampire Disciplinarian: Institutional Excess and the New Economy of Power." A religious humor magazine, The Door, recently named Buffy
"Theologian of the Year."

"In short," the site said, "BtVS is a parable, a postmodern morality play in which Buffy is a Christ figure, her Scooby Gang is the church and the vampires
and demons represent the variety of temptation and moral hazards we all encounter in life."

For a show with a silly, tongue-in-cheek title the WB once confessed was a "barrier to entry" for the un-hip, "BtVS" scaled the heights.

The series forged a groundbreaking online collaboration: Producers and fans deconstructed the episodes each week, tweaked aspects that didn't quite work and wrote tangential plotlines. On-air, the show sometimes tipped its hat to devotees. Fans are currently writing season eight on the Web themselves.

David Lavery, co-editor of "Slayage" and the pre-eminent Buffy scholar, found the finale "completely satisfying. Not in my top-five favorite episodes but
in terms of things that had to be accomplished. It pulled that off beautifully. The most striking thing, of course, was its non-conclusion conclusion. The First Evil had not been destroyed, just defeated."

Lavery relishes the finale's moment when Willow (Alyson Hannigan) cast a spell to empower all the potentials in the world, and the priceless image of a
little girl at bat, first looking apprehensive, then determined.

"She wasn't going to battle an uber-vamp but she was going to stand up to a fast ball," he said. It's an example of how the show was always able to
"combine the real and magical," Lavery said. "People read the metaphors."

The fan fiction is proliferating amazingly, and contributors display "an intuitive understanding of the narrative of the show," Lavery said. "They're
going to keep this going, something that I think is going to surpass 'Star Trek' in its longevity."

More than a dozen books are due next year, including a 3,000-page lexicon of "Slayerspeak" by Michael Adams from Oxford University Press. Jana Riess, religion book review editor for Publishers Weekly, is writing a self-help book called "What Would Buffy Do? A Vampire Slayer as Spiritual Guide."

Australia's first symposium on "BtVS" is this summer; the fourth international conference in Nashville, Tenn., is slated for next year. English departments
everywhere study Buffy.

"We're just tired of doing Faulkner," Lavery said.

The show's mix of myth, allegory, religious metaphor, post-feminist theory and wit made it an English major's favorite. Never a top-50 ratings hit, it was always a literary standout with a sizable cultural impact.

The central metaphors - that growing up is hell and adolescent girls are plagued by demons - carried creator Whedon into rich territory. Love and loss,
bonding and betrayal, peer pressure and self-actualization. It was all there in the tale of a pretty blond cheerleader by day, the Chosen One anointed to kill vampires by night, in lovely Sunnydale, Calif., a "one-Starbucks town" that happened to be located atop the Hellmouth.

Whedon, who created the show and the 1992 film of the same ironic title, always stressed the classic hero's journey at the heart of Buffy's story. On top of that, he piled references to classic literature (even a poem by Sappho in the original Greek!), Valley Girl lingo and knocks at other teen fictions ("don't go all Dawson on me"). The result was artistry with subtext for
everyone. Plus sex and vampire butt-kicking.

Like all of 's best efforts, "Buffy" stretched the boundaries of the medium.

Thank you, Slayer, for leaving us standing at the edge of the abyss with a good idea of what to do next.

And thank you, Joss, for modeling Buffy on your feminist mother, leaving us all empowered.

[PokerKitten]

The Guardian always was my newspaper of choice!

Michael Hann
Tuesday May 27, 2003
The Guardian

You can admit it without shame: Buffy the Vampire Slayer was a work of genius. Your oh-so-sophisticated friends might scoff, but the broadcast of Buffy's final episode in the US last week (it airs on Sky One in Britain next month) marked the end of a televisual era.
To those lazy enough to trot out the line that the show's sole admirable feature was its having a female hero, quote Laura Miller, writing at Salon.com: "It's commonplace by now to rave about the liberating effect of Buffy's heroism on girlhood ... But if what Buffy's heroism has done to girlhood gets talked about all the time, what her girlishness has done for heroism is even more revolutionary, if less well sung." In fact, Buffy created a new heroic trope because "from the very beginning, she could not keep her mission to herself".

Those who feel challenging must involve a Jeremy (Paxman or Isaacs) are probably laughing. Put them in their place. "With astonishing bravura, Buffy the Vampire Slayer has succeeded in blending the conventions of teenage soap opera with smart, dialogue-driven comedy, a phantasmagoria of supernatural motifs - and even knotty theological debate," you remark, quoting Boyd Tonkin in the Independent. And it goes without saying that the programme's "supernatural structure also triggered metaphysical discussion on a level that left British telly's God slots in the shade".

There will be sceptics who try to tell you Buffy was only a show about vampires for teenagers. Don't listen to them. "What should concern any fan is the end of a daring work of love and imagination, something born of passion instead of a fleeting, this-year's-flavour fame," you say, like the Miami Herald. "And those monsters Buffy battles ... are the demons we wrestle throughout our lives: the desire to fit in, the need to be your own person, the emotional risks of love and sex." The world the show inhabited, too was a cut above, as the Toronto Star noted. It was "a multi-dimensional, deeply recessed and densely layered mythology ... that could engage both supernatural escapism and earthly social constructs such as friendship, love, power, religion and free will".

Oh well, you reflect, remembering the words of New York Newsday: "All great epics come to an end. The Iliad. The Odyssey. War and Peace. Buffy the Vampire Slayer. Just kidding. The Tolstoy book is a ringer. Doesn't belong on this list. Too literal. Not enough monsters."


www.guardian.co.uk/editor/story/0,12900,963826,00.html

[Cyrus]

www.msnbc.com/news/916592.asp?0bl=-0

Britney, Buffy and the Bard of Avon

Is there really
a difference?
Of course, but ...

(click on link for more info)

Nothing wonderfully interesting, but just in case...
Also, if you look on the left side, about half way down the story you can vote if you like Britney, Buffy, or Shakespear the best...
right now the score:

What's your poison?
* 4690 responses
Britney Spears
21%
"Buffy"
49%
Shakespeare
30%

[PokerKitten]

Daniel has come up with another interesting article... different slant. The episodes that never were, really, but should have been!

www.slayage.com/articles/000066.html#000066

Draw Us An Imaginary Line
by Daniel Erenberg


I was just thinking. It's done. There were always episodes of Buffy The Vampire Slayer that I wanted to see, and now that it's all over, I know I never will. I thought I'd share a few of these ideas with you. In addition to this, I'll write in who I would have liked to see write these episodes. And who knows? Dark Horse publishes the comics. We may see these stories yet.

"Xander's Origin Story", written by Joss Whedon

If this story were ever told, it would most assuredly make my best ten episodes list. This episode would do for Xander what "Becoming Part One" did for Angel, what "Fool For Love" did for Spike, and what "Selfless" did for Anya. It would flesh out Alexander LaVelle Harris and give us some insight.

The character of Xander has always been very bottle-up-and-explode, so he's never really revealed any important facts about himself without coupling this fact with a sardonic comment.

I would love to see a Xander origin story loaded with flashbacks. We could learn more about his relationships with Willow and Jesse prior to Buffy's arrival, and we could get a bit more insight into that insane family of his.

The reason I'd have Joss write this is that he is the only writer that's ever really nailed Xander's voice, and I think this is evidenced by how perfect Xander was in "Chosen".

"Out Of Mind, Out Of Sight Part Two", written by David Fury

Come on! I've been waiting on this one for ages. How ridiculously cool would it be to see Buffy fighting an army of invisible assassins?

Clea DuVall would reprise her role as Marcie Ross, leading her invisible assassination squadron against the Scooby Gang in a knock down drag-out battle.

I'd have David Fury write and direct because he handled invisibility so well in his directorial debut "Gone". He would be great at writing the formerly depressed Marcie brutally killing people with glee.

"Elegy For Tara", written by Marti Noxon

We never really got a full episode where Willow grieved for Tara. We got the conversation with Cassie and the visit to the gravesite with Xander, but this didn't seem enough to me. Tara was her lover for two and a half years, and after only nine episodes, she was flirting with that tart Kennedy.

When Willow broke up with Oz, she moped around for episodes on end. Just look at her in every single scene she's in from "Wild At Heart" to "Something Blue". She's grieving the loss of her boyfriend who just left town harder than for her girlfriend who was just brutally murdered.

I'd have Marti write the episode because she's great at making Willow sad (see "Wild At Heart" and "New Moon Rising").

"Season Six/Season Three Buffy/Angel Crossover", written by David Greenwalt.

We really missed out on a crossover during season six. My reasons for wanting to have seen this are two-fold.

The first reason is that each show had a ridiculously depressed teenager of opposite genders. Dawn and Conner would have been PERFECT for each other. Both of them were going through sexual changes (Conner with the homeless girl in "A New World", and Dawn with the vampire in "All The Way"), and they would have been fascinated by one another. They could have had a long distance, brooding relationship. It would have made for a brilliant cross-show character arc.

The second reason is for Cordelia and Anya to meet up for the first time since season three. They've practically traded places. Both are now newly more compassionate, and, on top of these character changes, Anya is now Cordelia's ex-boyfriend's fiancée. Interesting also that Anya is no longer a demon and Cordelia now is. Strange stuff and compelling stuff.

"Helpless, Part Two", written by David Fury

Once upon a time, David Fury sold Joss Whedon on the idea of the Cruciamentum, a test created by the Watcher's Council to test the Slayer's resourcefulness by putting her up against a vampire?without her powers. Buffy went through the Cruciamentum in "Helpless", the twelfth episode of the third season.

But there is another Slayer, remember? I would love to see the Council attempt to put Faith through the Cruciamentum. It would have made a great late season three episode, and Quentin Travers would have gotten his ass whipped.

Someone write this fanfic!

"Summer Break", written by Jane Espenson

Maybe this would work better as a comic: a series of what was missed during those long summer breaks.

Bitchy Buffy with her father in LA
Buffy waitressing in LA and Nighthawk and the gang patrolling in Sunnydale
Cordelia leaving for LA and the gang getting set for college. Not to mention Xander's road trip/male stripping debacle
The sudden emergence of Dawn, and Giles's continuing separation from the group.
The gang dealing with Buffy's death, and the BuffyBot running the day-to-day slayage
Willow's rehab in England with Giles and the coven, and Xander rebuilding Sunnydale High School
I'd have Espenson do it because she's equally deft at writing depressing ("Earshot", "After Life") and funny ("Superstar", "Storyteller"). Plus, I'd love to see her write for Nighthawk.

[PokerKitten]

I got tired of waiting for Hallows to post this

NY Times article:

www.nytimes.com/2003/06/08/arts/television/08NUSS.html

Sick of 'Buffy' Cultists? You Ain't Seen Nothing Yet
By EMILY NUSSBAUM


here do we go from here? That's the question the Buffy ensemble asked in one of the finest episodes of "Buffy the Vampire Slayer," the musical episode, a highlight of the much-disputed Season 6 — or at least, much-disputed by the type of person who knows lyrics from an episode of "Buffy the Vampire Slayer," which season they're from, and who sang them.

Because let's face it: there are fans, and there are fans. And for seven glorious seasons, Buffy has consistently attracted the second type: your scholarly theoryhead, your web geek uploading fan fiction, your cocktail party evangelist. Just because our show has been staked through the heart — the series finale was shown a month ago, with all the requisite media mourning and top-10 lists — doesn't mean that our fanhood has ended with it. At last, we can start living in the past.

For neophytes, Buffy's death is even better news. Over the years, the series' internal mythology became so dense it was a challenge to watch without a native guide. For those who never got "Buffy," the show's demise is a chance to get in on the ground floor.

If it's sad to have one's favorite show go off the air, the secret truth is, it's also a relief. A television cult can't really start in earnest until the show has ended. (See: "Freaks and Geeks." No, really, see it.) For all its pleasures, appointment is also a lot of pressure. There's the anxiety of raised expectations, the friendship-threatening debates over the proper plot arc, the misfiring VCR's, the leaked plot spoilers. Now everything is spoiled, and we can settle in and enjoy — treat the story as one big, satisfying narrative. Few shows reward rewatching as much as "Buffy," a series which might appear campy at first sight, but over time reveals as many layers as Tony Soprano's Oedipal complex.

There are two ways to wallow in a dead show: DVD's and reruns. Syndicated "Buffy" reruns appear on FX, and they're certainly a good stop-gap — an after-work treat at 6 and 7 p.m. There's a delirious rush to these reruns: you can scarf up an entire season in two weeks or so. You can witness alterna-slayer Faith pop into town on Monday, become morally ambiguous on Thursday, evil the next Tuesday and redeemed in a month or two. But there's a downside, too: editors far more evil than Faith have trimmed several minutes out of each episode, to make space for more commercials. Not only can these trims throw off the rhythms of the show — splitting up scenes meant as mini-climaxes for each episode's four acts — but the best jokes often go missing. This week's FX schedule features "Fool for Love" (6 p.m Tuesday), a standout episode from Season 5 featuring the platinum-haired vampire Spike. But its eerie centerpiece, a sequence in which the show's four most evil vampires — Spike, Drusilla, Angel and Darla — stride together in slow-mo through the carnage of the Boxer Rebellion, has disappeared.

That's what DVD's are for. In fact, people have been known to purchase DVD players for Buffy's sake alone. And next week, when the Season 4 DVD is released, those people will be four-sevenths of the way to the complete set. (We'll also have some intriguing extras, like a commentary by the show's creator, Joss Whedon, on the dream imagery of the poetic season finale "Restless." ) Using such tools, viewers can delve into "Buffy" the way we dig into a novel like "Great Expectations" (which was also originally distributed in installments) — without the cliffhangers, the larger themes rise to the surface

Take "Fool for Love." Out of context, the episode simply reveals the origins of Spike, the strutting vampire who began as Buffy's enemy and then fell in love with her. But the episode also provides both foreshadowing and vivid retroactive continuity — recasting Spike's earliest appearances on the show. In Season 2, Spike strode on the scene as punk rock incarnate, all leather jacket and Cockney accent. "Fool For Love" reveals that as a human, Spike was a shy Victorian nerd, a wanna-be poet rejected by an upper-class lady he worshiped from afar. His tough guy accent is a working-class pose he adopted after he become a vampire. For all his Fonzie bravado, Spike is revealed to be as much of a wounded outsider as the rest of the characters.

Like the villain Warren, like Buffy's best friend Xander, Spike's riddled with angry nerd damage. His cocky banter conceals his anxieties about female rejection. Even his leather jacket turns out to have been a kind of costume, ripped from a slayer he killed. Confined to a wheelchair in Season 2, implanted with a brain chip that prevents him from biting in Season 4, unrequitedly in love in Season 5, as the seasons pass, Spike's aggression is revealed as overcompensation for his fears that he's less than a man. Often this metaphor is made explicit. In "The Initiative" (Season 4), when Spike finds himself unable to bite Buffy's friend Willow, the incident is presented with morbid cheekiness: first as a terrifying date rape, then as a metaphor for sexual failure. ("Doesn't this happen to all vampires?") By the time Season 7's "Lies My Parents Told Me" rolls around, the episode's Freudian revelations make perfect sense

Now that the show is over, fans can explore such connections with a sense of perversely satisfying closure. In "Fool for Love," Buffy is looking for a way to avoid her death, to keep her expiration mark a long way off, "like a Cheeto." But there's more than one way to achieve eternal life.

[twistedspike]

Ok so we've seen the good articles for the ending of Buffy we've seen the interesting ones even if we don't agree with them.
Well you ain't seen one like this.
This article appeared in our local evening newspaper last night. I never laughed so much. ;D

End is Nigh for Buffy the Vampire Slayer
By Lyndsey Hunt - Express and Star.

The screen phenomenon of Buffy the Vampire Slayer today meets it's death as the show producer swops blood for ballet.
Joss Whedon will wash his hands of the cult series and embrace his next challenge of writing a classical ballet. Whedon aged 38, has turned down huge sums of money to continue the show or even write a spin-off featuring some of the stars.
Despite being flooded with pleas by fans begging him to keep the show on the telly he is adamant that a change of direction is just what he needs after the gruelling Buffy schedule which took its toll physically and emotionally. He said "The schedule was punishing. My body was telling me it was time to stop".
The show was such a hit that producing ever more episodes " nearly killed " him, he added.
Whedon who penned the series for 7 years said inspiration struck during a visit to England.
" I went to see the Royal Ballet Company in London and I was hooked. Since then I have become utterly obsessed with ballet. Network bosses have asked me to come up with a spin-off vampire series but that can wait. I plan to write a classical ballet "
Buffy began her morbid life in 1992 as a feature film. The lead roll was then played by Kirsty Swanson but the film, directed by Paul Reubens, failed to impress at the box office.
But Whedon saw the potential in the story and developed it into the 144-episode series which made Sarah Michelle Gellar a household name.
She made the role off Buffy her own and her portrayal of a girl who descends from an ancient order of slayers to sabotage a global vampire take over won her much acclaim.
The climax of the final series will be screened at 8pm today on Sky One.


Have you ever read such BS. I don't think this person has ever seen an ep of Buffy in her life. Do you think Joss was taking the piss LOL. ;D

[PokerKitten]

Lol, yeah... but he has talked about ballet before ;D Don't you just love lcoal papers?!

[Incogni2]

LMAO, does this mean Angel and Spike may be in tu-tu's this fall!

[twistedspike]

Nah not tu-tus......but tights would be nice we all know that James has a nice package. ;D

[PokerKitten]

www.eonline.com/Gossip/Kristin/Archive2003/030627.html

Which Shows and Stars Rocked Your World? Results Are In!
by Kristin | June 27, 2003

The results are in for this year's Tater Tops Awards, where tube fans and couch potatoes get the chance to weigh in on 's best and worst. Nearly 50,000
of you voted, and once again, you've proven you are masterful tube connoisseurs--not to mention that you have an affection bordering on obsession when it
comes to a certain fair-haired Slayer and multicolor-haired spy.

This year, Buffy the Vampire Slayer received the most wins--eight total, including Breakout Star, Favorite Funnygirl and Show You'll Miss the Most. Coming
in at a close second is ABC's Alias with a total of six wins, including Best Fight and Best (mmmmmm) Kiss. See, told ya you had good taste.

Breakout Star, Male
20.64% Tom Lenk (Andrew), Buffy the Vampire Slayer
20.54% David Anders (Sark), Alias
19.95% Gregory Smith (Ephram), Everwood
19.58% Milo Ventimiglia (Jess), Gilmore Girls
19.29% Mark Feuerstein (Jake), Good Morning, Miami

Breakout Star, Female
27.60% Brittany Snow (Meg),
American Dreams
18.66% Gina Torres (Jasmine), Angel;
(Zoe), Firefly
18.18% Sarah Wynter (Kate), 24
17.83% Emily VanCamp (Amy), Everwood
17.73% Emily Procter (Calleigh), CSI:
Miami

Best Fight
36.67% Sydney vs. Evil Francie (Jennifer Garner, Merrin Dungey), Alias
18.76% Faith vs. Angelus (Eliza Dushku, David Boreanaz), Angel
18.57% Buffy vs. Caleb (Sarah Michelle Gellar, Nathan Fillion), Buffy the
Vampire Slayer
18.45% Karen vs. Lorraine (Megan Mullally, Minnie Driver), Will & Grace
4.18% Irulan vs. Alton, The Real World: Las Vegas
3.37% Jack vs. Penny (Kiefer Sutherland, Penny Johnson Jerald), 24

Best Chemistry
39.96% Sydney & Vaughn (Jennifer Garner, Michael
Vartan), Alias
32.54% Buffy & Spike (Sarah Michelle Gellar, James Marsters), Buffy the
Vampire Slayer
14.83% Joey & Rachel (Matt LeBlanc, Jennifer Aniston), Friends
7.88% Josh & Donna (Bradley Whitford, Janel Moloney), The West Wing
4.80% Nate & Brenda (Peter Krause, Rachel Griffiths), Six Feet Under

Worst Chemistry
34.30% Cordelia & Connor (Charisma Carpenter, Vincent Kartheiser), Angel
28.82% Evan & Zora, Joe Millionaire
19.19% Carter & Susan (Noah Wyle, Sherry Stringfield), ER
15.66% Willow & Kennedy (Alyson Hannigan, Iyari Limon), Buffy the Vampire
Slayer
2.04% Emmett & Ted (Peter Paige, Scott Lowell), Queer as Folk

Best Baddie
29.87% Ron Rifkin (Sloane), Alias
26.57% Nathan Fillion (Caleb), Buffy the Vampire Slayer
20.12 Lorenzo Lamas, Are You Hot?
15.64% Michael Rosenbaum (Lex), Smallville
7.79% Fred Savage (Michael), Law & Order: Special Victims Unit

Favorite Funnyguy
24.62% Sean Hayes (Jack), Will & Grace
22.93% Tom Lenk (Andrew), Buffy the Vampire Slayer
19.52% Matt LeBlanc (Joey), Friends
12.39% Zach Braff (J.D.), Scrubs
10.90% Andy Hallett (Lorne), Angel
9.64% John C. McGinley (Dr. Cox), Scrubs

Favorite Funnygirl
29.19% Emma Caulfield (Anya), Buffy the Vampire Slayer
25.16% Megan Mullally (Karen), Will & Grace
19.48% Lauren Graham (Lorelai), Gilmore Girls
16.16% Jennifer Aniston (Rachel), Friends
6.56% Kim Cattrall (Samantha), Sex and the City
3.44% Wanda Sykes, Wanda at Large, Curb Your
Enthusiasm

Biggest Tearjerker
41.24% Jen dying, Dawson's Creek series finale
30.07% Spike's love confessional to Buffy
11.25% Carrie looking over NYC skyline--minus the World Trade Center, Sex
and the City
10.70% Emily dying, Alias
6.74% Toby with newborn twins, The West Wing


Best Guest Star
44.39% Eliza Dushku, Buffy the Vampire Slayer, Angel
19.50% Paul Rudd, Friends
13.04% Matthew Perry, The West Wing
11.95% Ethan Hawke, Alias
6.82% Aisha Tyler, Friends
4.31% Scott Foley, Scrubs

Best Show of Skin
39.75% Jennifer Garner, Alias (Super Bowl episode)
33.59% James Marsters, Buffy the Vampire Slayer
15.51% Mark-Paul Gosselaar, NYPD Blue
7.20% Queer as Folk cast
3.95% Simon Baker, The Guardian

Star You'll Miss the Most
38.14% Sarah Michelle Gellar, Buffy the Vampire Slayer
18.71% Joshua Jackson, Dawson's Creek
13.17% Emma Caulfield (Anya), Buffy the Vampire Slayer
12.69% Katie Holmes (Joey), Dawson's Creek
9.49% Charisma Carpenter (Cordelia), Angel
7.80% Lara Flynn Boyle (Helen), The Practice

Show You'll Miss the Most
61.05% Buffy the Vampire Slayer
29.40% Dawson's Creek
3.37% John Doe
3.07% Firefly
2.31% Miracles
.80% Veritas


Drama Queen
33.58% Sarah Michelle Gellar (Buffy), Buffy the Vampire Slayer
21.74% Jennifer Garner (Sydney), Alias
16.72% Maura Tierney (Abby), ER
14.84% Lauren Graham (Lorelai), Gilmore Girls
8.14% Lauren Ambrose (Claire), Six Feet Under
4.99% Penny Johnson Jerald (Sherry), 24

Drama King
37.51% James Marsters (Spike), Buffy the Vampire Slayer
19.82% Victor Garber (Jack), Alias
16.51% Kiefer Sutherland (Jack), 24
10.65% Michael C. Hall (David), Six Feet Under
6.11% Michael Chiklis (Vic Mackey), The Shield


Drama You Can't Live Without
39.35% Buffy the Vampire Slayer
32.49% Alias
10.76% CSI
9.44% 24
7.95% Six Feet Under

[PokerKitten]

From SFX Magazine: Buffy Special.
http:www.sfx.co.uk

Is there Life After Buffy?
Some have done movies, one writes and directs (clever Amber), but which Buffy stars have their best years ahead of them?
Words: David Golder.


[Nicholas Brendon: Poor Nick Brendon, poor lovely Nick Brendon. Apart from Buffy his CV is distressingly thin. During Buffy's run he appeared in such non Oscar-bothering fare as Psycho Beach Party and Demon Island. And post-Buffy? A small role in a pilot called The Pool at Maddy Breaker's.
10 years down the line?: He was once rumoured to be up for Spider-Man, and we hope he can find something to prove there's more to him than Xander. Sadly, we have a horrible feeling that he'll be the first one to sign up when Joss Whedon proposes Buffy: The Middle-Age Years in years to come.

Emma Caulfield: She scored a surprise success with Darkness Falls, but she doesn't seem to have anything high-profile in the pipeline. Surely Hollywood beckons.
10 years down the line?: With accent on youth in Hollywood these days, can the 30 year-old Emma Caulfield catch up? And she told SFX she may even finish her degree at 40, so it's a guess as to whether she'll even be acting then.

Anthony Head: It may not be any more than a cult hit over here, but Buffy has reinvigorated the former Gold Blend man's career this side of the pond. Ripper may be little more than a pipe dream at the moment (get on with it Whedon!), but Head's done alright, taking lead roles in the BBC's Sex In The City-for-middle-aged-men drama Manchild, the psychological thriller Reversal and he can be seen in next year's brilliantly titled Antonio Banderas movie, And Starring Pancho Vanilla As Himself.
10 years down the line?: Well Judi Dench can't continue forever as M. What about that? And what about a return to the Gold Blend couple? Where are they now? Head's career post-Buffy really depends on whether Joss Whedon can ever be arsed to get Ripper off the ground. If so, that could run, and run, and run.

Charisma Carpenter: A small part in the no-brainer of a comedy called The Groomsmen was Carpenter's only outside role during her time on Buffy/Angel, but now she's flown the Angel nest, she's secured her first lead, as a daydreaming New York City girl in the comedy drama See Jane Date.
10 years down the line?: Can Charisma Carpenter prove to the world there's more to her than superficial self-preening? Or is life handing out prizes on a tacky afternoon game show beckoning? It would hurt so much if Cordelia's career eclipsed Charisma's.

Alyson Hannigan: Like Sarah Michelle Gellar, Alyson Hannigan has become stuck in franchise hell. Career-wise, it's okay to have you name attached to one series, but two?!
10 years down the line?: Is there any serious hope for an actress mainly known for shoving a flute up her holiest of holies? We can hope, and saying no to American Pie 4 would be a move in the right direction.

David Boreanaz: The dark hunk's much-vaunted break into feature films, 2001's Valentine didn't make an impression (hands up who's seen it?), but can a lead role in the new Crow film show the world there's more to David Boreanaz than nocturnal goth dramas? Erm...
10 years down the line?: It's a tough call. Either he could become a big name in Direct-To-Video thrilers, a la Michael Biehn or, if he's lucky, he could, like David Hasslehoff, stumble across another series that could cement him as a top telly star. At the moment, the jury's out.

Sarah Michelle Gellar: Typecasting can be a right bastard. But when you've got a role that requires you to do comedy, heavy drama and action, then that's your CV on public display. "Give the girl an Emmy!" we all cried, sensing we had another Meryl Streep in our midst. So what does she go and do? Scooby bleedin' Doo! Apart from the inevitable and desperately unwanted sequel, she's got the lead role in next year's Romantic Comedy as the object of affection of a guy who woos the ladies by nicking romantic ideas from famous films.
10 years down the line?: Scooby-Doo VIII most likely. But if she's got any sense, a few less gigs with hubby Freddie Prinze Jnr might be in order, and hooking up with, say, Steve Buscemi could see her become an indie queen. Anything else would be a waste of her talents.

James Marsters: Big he may be in Buffy fandom, but James Marsters is still unknown to the wider world. A small part in the House On Hanuted Hill remake was his big movie moment, and with his move to Angel, he's not rid himself of the bleach just yet.
10 years down the line?: Well, presuming that Joss Whedon doesn't milk his cow any drier by spinning off Spike once Angel puffs into the ether, it's likely that Hollywood may have woken up to our favourite bleached blond Limey vampire. It's not too hard to imagine Marsters in any Bradd Pitt or Ben Affleck role. Place your bets on Marsters. This boy will go far.

Amber Benson: During and around Buffy, Amber Benson did a fair bit of stuff. Hollywood, Pennsylvania, The Prime Gig with Vince Vaughn, Taboo with Nick Stahl, not to mention the film that she wrote and directed, 2001's Chance. Since then she's written an internet drama, several Buffy spin-off comics, and filmed the indie comedy Latter Days.
10 years down the line?: One thing is for sure that in 10 years time Amber Benson will still be around. As writer, director or quirky, Sundance-friendly actress, there's no way she'll slip away and be rediscovered working as a dentist's assistant in Idaho.

Michelle Trachtenberg: Still only 18 (bless), Buffy's youngst cast member had a pretty impressive career before Buffy. She's got a cool, business-like head and has already started filming a new DreamWorks film with Smallville's Kristen Kreuk and the Warrior Princess herself, Lucy Lawless, called The Ugly Americans.
10 years down the line?: Trachtenberg is an avowed indie loyalist and might well go that route of finding interesting and challenging movie roles. Unless, that is, Joss comes a-calling in a few years when, having fallen on hard times, he asks her to sign up for Dawn The Vampire Slayer. It could easily happen.

[Cyrus]

What Women Want: Buffy, the pope & the new feminists

commonwealmagazine.org

This is one of those philosophical things, and I think may be too long for one post, so I'll just put the link on here. Interesting read.

[twistedspike]

;D Ok hot of the press of one of the UKs * cough * respectable tabloids the Daily Star sunday. LMAO!!

SEX ROMPS OF BUFFY THE VAMPIRE LAYER

There is a picture of Mercedes McNab with the words underneath it " Sex Shock : Mercedes "

hit Buffy the Vampire Slayer should have been called Vampire Layer because so many people were having sex on the set.
Sizzling Mercedes McNab who played Spike's girlfriend Harmony, has revealed they were humping like mad in trailers.
But she never joined in because they did it behind her back and she has only just found out about it.
Mercedes 23, who also stars in Buffy spin-off Angel, admitted feeling totally peed off: " I just found this out. I had no idea while I was on the show that apparently there was a lot of sex going on during filming.
" Apparently some people were hooking up off camera. I couldn't believe it. "
Mercedes claimed she knew nothing about the hanky-panky. " I would love to gossip about it but I don't know anything.

CHARACTER

" Was I that oblivious ?
Where was mine? "
But she added. " If you're on location with a group of people and you're playing a character who is supposed to be in love, I guess things are bound to happen. "

Thought this might cheer you all up LOL.

[nightnurse]

;D LOL, and thanx Twistie...I thought that girl was only acting the part of Harmony...is she really this dim-witted in RL too?!

[PokerKitten]

Buffy Goes SouthPark... and look out for lurking Spike ;D

www.slayerverse.de/tanet/net_buffy_us/?navi=news.php&id=3834

[PokerKitten]

I reported this in Prattle, but it will go *poof* soon, C4's poll for the 100 Greatest Musicals saw OMWF reach number 13. Which is pretty amazing. I believe it was the only show to make it into the chart. Here is what they say about it on the site:

13. Buffy The Vampire Slayer - Once More With Feeling

In probably the most unusual Buffy episode ever made, our feisty, undead-kicking heroine finds herself doing battle with a music-making demon named Sweet. Before you can say "underworld", she (and the rest of the cast) have broken into song and are belting out their most private emotions. Despite the huge popularity of this one-off episode, star Sarah Michelle Gellar is known to have hated this brief dalliance with the world of musicals and the experiment was not repeated.



But the clips they showed were Spikeless, and Tony Head talked about it but looked mildly embarrassed (but hot!).

All of the results are HERE