Becoming Buffy Podcast

a spoiler & spoiler free podcast that digs deep into the themes, metaphors and foreshadowing of Buffy the Vampire Slayer.

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--ANGLE ON BUFFY as her face takes on a look of recognition. And just a faint smile, but the first smile we've seen in a long time.--

For fans of the comic series, the scythe Buffy finds looked very familiar when they saw it on screen for the first time. On February 20, 2002, over a year prior, Joss had written and published “Tales,” the eighth and final short story in the Tales of the Slayers comic anthology. Set in the 23rd century, it focused on a Slayer named Melaka Fray, a chosen one in a time when vampires (called “lurks”) are returning to the slums of New York City, and the rich-poor divide is even greater.

“In Fray, Melaka is depicted as the latest in the mystical line of vampire slayers, chosen ones born with the strength and skill to fight the forces of evil, over 200 years in the future. However, unlike other vampire slayers, Mel is unusual in that she was one of a pair of twins; her brother Harth somehow inherited the psychic aspects of a slayer's abilities, leaving her with only the strength, agility, and other physical attributes. Prior to Mel, a slayer had not been "called" to receive her powers for centuries.” -Wikipedia

Mel isn’t aware of the history of Slayers because they’ve all died out except for her. She is given the scythe by a demon and ends up finding a building filled with Watcher diaries and etchings of the scythe. She reads about 4 Slayers from the past, one of whom is Buffy Summers, and that’s how she learns about her heritage.

“It's Fray's SCYTHE... it's the scythe Fray will find in the Fray Comic books in the future. For people who are not aware of it... Joss Whedon created a comic book character named Fray, who is a Slayer in the future, who finds this weapon which is odd because we never saw Buffy wield it... and now we have (Jane Espenson, BtVS Writer, May 6th, 2003).”

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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S7. Ep19. "Empty Places"

The title of the episode contrasts the next one, “Touched” in emphasizing how connection is missing from Buffy’s life. “Empty Places” could refer to Xander’s missing eye, Buffy being kicked out of her house, and Sunnydale’s mass evacuation, but most importantly it refers to how leadership/power has led to Buffy being emotionally isolated from her friends and family.

In a series that can divide the opinions of fans, hatred for “Empty Places” is possibly one of the only things that unites us. While the Scoobies’ words and actions are certainly rage inducing, my main issue with the episode is not the extreme act of kicking Buffy out of the home she was dragged out of heaven to pay for, but in the writers' lazy and cheap approach to building up to and executing the Big Fight.

All season long, the show has flirted with Buffy becoming hardened by power, yet it never fully commits. In one episode, she's aloof and hardened, in the next, she's normal, and then in another, she's hardened again, but this time it’s 'justifiable’. It’s almost as if the writers were afraid to fully commit to Buffy being too messy, yet they still needed her to be messy enough for a dramatic fallout with her friends. Instead of a compelling conflict where the Scoobies raise valid concerns about Buffy's leadership decisions, particularly regarding Spike's proximity to the Potentials after being triggered, the situation devolves into a cheap drama. What could have been a moment for the characters to explore the burden of leadership, the fears of the powerless, and the cost of war, instead turns into a one-sided attack that lacks nuance. The worst part is seeing the writers turn our beloved characters into mouthpieces for plot convenience, ignoring the complexity they’ve spent years developing.

Aptly named, “Empty Places” offers no real resolution in the coming episodes -- Buffy is shown to be correct, once again, and the Scoobies never apologize, let alone acknowledge the cruelty of their actions and words. Nothing changes except how we feel about a show that used to handle complexity well.

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CUT DIALOGUE FROM EMPTY PLACES: This scene obviously takes place at the very end of the conflict, when Dawn tells Buffy that she needs to leave. The added emphasis of Buffy looking to her two best friends for support is heartbreaking. The last line of Dawn's is odd--were they kicking her out of the final fight with The First Evil as well?? Talk about a horrible plan:

BUFFY (cont'd)

Guys?

Willow and Xander not answering.

 

BUFFY (cont'd)

I don't... this isn't happening.

WILLOW

You need to rest.

 

She looks at Xander. Maybe not able to finish this. He nods to her.

 

WILLOW (cont'd)

(barely able to say

it)

So maybe we should let someone else

take the wheel until you do.

XANDER

Maybe it's not such a terrible idea.

Letting Faith handle things. Letting

her be the Slayer.

 

Faith is shocked -- she didn't want this. Buffy just stares at Willow and Xander. Not sure this is real.

 

BUFFY

Guys. We have a chance to end this.

All of us. I can't just stay here

and watch Faith lead you off into

some disaster.

 

Dawn, silent till now, approaches Buffy and tenderly KISSES her on the cheek.

 

DAWN

Then you can't stay here.

Buffy -- and everyone -- is shocked.

 

DAWN (cont'd)

Look, I love you, but you can't be a

part of this. You can't be here. I

don't think... I don't think you can

face this at all. This one you have

to sit out.

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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GILES' CUT LINES FROM EMPTY PLACES: This picks up right after Xander's lines in the last post, and rivals Anya's speech for the most rage inducing. It also corresponds with the cut dialogue from LMPTM where Giles tells Buffy about killing Ben in "The Gift":

BUFFY

(quiet)

Xander. I've paid the price, too,

sometimes.

 

That hangs in the air for a moment.

 

GILES

So how high does the price have to go

before you start saying your way

isn't right?

BUFFY

I still think attacking Caleb's power

base could end this --

 

GILES

Yes. You. Think. But when you act

alone --

 

BUFFY

Is that really something you want to

get into? 'Cause we can talk about

Spike. Or Ben.

 

GILES

If I acted rashly, it was to protect

you. Were you trying to protect

Annabelle? Or Chloe?

 

BUFFY

Stop it.

 

GILES

(more intense)

Or Molly? Or Xander? And it goes

even further back than that, doesn't

it?

 

BUFFY

Giles.

 

GILES

(seething)

You act alone, and people get hurt,

right? People like Jenny

 

BUFFY

Goddamn you, stop!!

 

Buffy SWEEPS a vase (maybe something vaguely African, from Joyce's gallery) off the end table. It SMASHES to the floor. Giles and Buffy stare at each other for a beat.

 

GILES

(calmly)

Do you see? You are not in the best

place you have ever been. You're too

raw. You need to take a break.

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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CUT LINES FROM EMPTY PLACES: These lines from Xander were given directly after Anya's "luckier" speech, and were replaced by him saying that he was trying to see Buffy's point but it was "a little to his left":

 BUFFY

I've gotten you this far.

XANDER

(quietly)

Not without a price.  

 

BUFFY

Xander...

 

XANDER

We follow you without question. Even

when you have no idea what you're

doing. Even when you get mad at us

for not working hard enough at a plan

which doesn't exist, because you

don't know what you're doing. We

keep following you, even then.

(beat)

And we keep paying the price.

 

BUFFY

(quiet)

Xander. I've paid the price, too,

sometimes.

 

That hangs in the air for a moment. (Continues into a cut scene from Giles that will be shared next).

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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WILLOW'S CUT DIALOGUE FROM 'EMPTY PLACES':

"Empty Places" has several chunks of dialogue from the Scoobies during the Big Fight that were severely cut down. The first one is Willow. This excerpt is when we think Willow is going to agree with Buffy and stand against Kennedy:

WILLOW

Back off, stop it. Kennedy

Buffy looks relieved for the support.

 

WILLOW (cont'd)

(to Kennedy/re: Buffy)

It's not her fault. She's completely

strung out.

Whoops. There goes Buffy's relief.

 

BUFFY

I'm a who? I'm not --

WILLOW

Once you've had some rest, I think

you'll be able to --

 

BUFFY

I don't need rest! Willow, I'm fine.

I'm... I'm fine.

 

Willow backs down. Clearly not convinced.

 

BUFFY (cont'd)

And I don't recall any of you

complaining about the way we did

things when we were winning.

GILES

Buffy, the rules have changed. And

I'm not sure doing things the old way

will help you here.

 

BUFFY

The old way. You mean by leading.

 

WILLOW

No, that's not it at all, it's just --

 

BUFFY

Look, I wish this could be a

democracy. I really do. It would be

more fair, I agree. (Scene continues as it does in the episode)

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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According to the DVD commentary, the scene between Faith and Spike was meant to lay groundwork for a possible spin-off featuring the two. The scenes were written by Marti Noxon with the idea of "showing these two people off," according to Drew Goddard.

“Faith is my girl. She’s always been good to me, and she’s been a good friend to me. I love that character, this show, the places we’ve gone, and all the different emotions we’ve experimented with. I feel like she’s a part of me. It was good to be back on Buffy. Sarah is such a doll. We were like reunited high school friends. I’ve gotten letters from girls who have said, “I was being abused for six years. Your character came on, and I realized that if Faith could stand up to these guys trying to bring her down, so could I.” That stuff is really intense—cool success stories from people who just watch this character.” -Eliza Dushku

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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Are you able to turn comments on? I love your analysis and want to be able to comment!

Hi there! Thank you so much! I was getting a lot of hate so I turned them on for only people that have followed me for a week. I've opened them back up again so we'll see if it's better this time 😅

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S7. Ep18. "Dirty Girls"

While Drew Goddard is credited as the writer of “Dirty Girls”, according to the DVD commentary, Joss Whedon wrote 80% of the episode, including the cold open, while Marti Noxon wrote the popular Faith and Spike scene. The title is a nod to Faith’s return to the series, calling back to season 3’s “Bad Girls,” the episode where Faith seduces Buffy to the darker side of being a Slayer before ultimately beginning her descent toward evil. It also sums up the show’s feminist roots, which is the subversion of the blonde woman who is killed by the monster after she had sex and became “dirty.”

The introduction of Caleb as the stereotypical preacher-turned-villain and his belief that all women are innately dirty, solidifies the show’s redirection of focus back onto female empowerment. While Caleb is little more than a caricature, his presence serves both as a tangible opponent for Buffy to fight and a symbol of one of the oldest systems to oppress women: religion. As the embodiment of misogyny, Caleb believes women are beneath him yet fears and hates them because his sexual attraction towards them feels like a loss of power. Ironically, Caleb spends the entire episode condemning women as corrupt and calling them whores, yet he allows himself to be merged with a female-presenting First Evil to gain power, effectively becoming the very thing he despises. 

“Misogyny = hatred/fear of women, but more so of the power that women seem to have over men because sex/connection can break men out of their rational self-interest. Sex/connection can make a man do what his rational self tells him is not in his personal interest - care for another beyond caring for himself. Caleb's anger and fear of women is that of the man who thinks the sexual climax is the ultimate loss of power.... He thinks the girls who come to him, influenced by the power of his words, are there to take his power through sexual temptation.” -All Things Philosophical

(Shout out to @allbronzenobrains for the brilliant parallel between Caleb calling girls whores and basically becoming a whore himself!

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In the unedited version, Giles revealed to Buffy in the graveyard that he murdered Ben to stop Glory resurfacing, however this was cut just before broadcast. I so wish this had been kept in, as it adds credibility to Giles' motivations and makes him more than a figurehead grasping for power:

GILES

You want Spike here even after what

he's done to you in the past?

BUFFY

It's different. He has a soul now.

GILES

Yes, and The First seems to be

exploiting it to his advantage.

BUFFY

Exactly. The First's doing this.

Spike's innocent.

Giles pauses a moment, then:

GILES

So was Ben.

Buffy stops cold. The Vamp launches at her and she WHIP-STAKES him to DUST.

BUFFY

Ben?

GILES

(with difficulty)

He was a human being, after all.

Forced, his whole life, to share his

mortal form with a demi-god from a

hell-dimension.

BUFFY

Glory. I know. What does that have

to do--

GILES

Ben was oblivious to the atrocities

Glory committed. No more responsible

for her crimes than Spike is to his,

when triggered.

SLOW PUSH IN as he continues...

GILES (cont'd)

Glory was invincible, impossible to

kill... Ben was not. So after you

defeated her. After you left Ben

lying there. Alive. I made a

decision. One that you couldn't.

BUFFY

Giles...

GILES

I put my hand over his mouth. And as

he struggled, weakly... I smothered

him. Because it had to be done.

(looks at Buffy)

He was a liability.

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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S7. Ep17. "Lies My Parents Told Me"

“Lies My Parents Told Me” was originally intended to air on March 18, 2003, a day before the Angel crossover episode “Orpheus,” but was postponed due to the start of the Iraq War. When it did air, the UPN advertised that Buffy the Vampire Slayer was ending when season 7 finished.

Initially entitled “Mother and Son” by director/writer David Fury, the title was changed when co-writer Drew Goddard pointed out that it was also about Buffy breaking ties with her father figure. The concept of Spike’s trigger being linked to his relationship with his mom was based on “The Manchurian Candidate,” a film where sleeper agent Raymond Shaw is triggered to kill through an association with his mother. Fury drew inspiration for Spike from the incestuous vibes between Shaw and his mother, but also from Lestat’s killing of his own mother in “Interview with the Vampire." Not only that, but Caroline Lagerfelt was cast as Spike’s mom due to her physical resemblance to Sarah Michelle Gellar, and her name, Anne, was used because it is Buffy’s middle name.

The episode's theme revolves around breaking free from the systems and structures that influence our upbringing and shape our morals, such as Buffy's relationship with Giles, Spike and Wood's relationships with their mothers, and Buffy's struggle with the patriarchal forces surrounding the Slayer line. Sadly, the episode sidesteps the deeply compelling conflicts and interpersonal dynamics that have been brewing all season and instead dismisses Giles and Wood's valid arguments by condemning their methodology. The unique pain and perspective of Wood, a black man and son of a murdered Slayer, is rejected because it is vengeful, and Giles' fears that Buffy's leadership is clouded by her feelings for Spike are reduced to a simple struggle for power. This dismissal is particularly stark in Wood’s case, as the show’s lack of engagement with the racial and generational implications of his pain feels especially tone-deaf.

In a series defined by rich character development and meaningful relationships, LMPTM sacrifices both in service of its narrative conclusion.

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'LMPTM' is a tough episode for many of us to watch, mostly due to the breakdown of Buffy and Giles' relationship. It's difficult for me because it's not necessarily out of character for Giles to lie to Buffy or go behind her back in extreme situations, however what is out of character is the coldness with which we see him execute it. The writers had a unique and compelling storyline, yet the execution falls flat because the emotion behind why Giles betrays Buffy is missing/not conveyed well enough. By making Giles appear only as a hardened authority figure who needs to be cut off, the show weakens the audience's connection to the characters/story, and turns Giles into simply another man wanting power.

I created this edit as a way to try and convey a more nuanced view of Giles' actions, and to bring a bit more warmth, compassion, and clarity to a complex character that deserved far more than this sad ending to his arc.

I think I succeeded, but I also just feel sadder. 😭

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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S7. Ep16. "Storyteller"

Originally intended as an experiment to see how audiences would respond to a show centered around Andrew, (I suspect he would have been included in the series they were developing with Faith, Spike, and Wood, although nothing has ever been confirmed) “Storyteller” functions as a buffer between “Get It Done” and “Lies My Parents Told Me”, and is the last comedic episode of the series.

Tom Lenk named this as his favourite episode, saying, "I just got to make such an ass out of myself. It was so much fun. Dancing in a toga on a hillside singing with unicorns was pretty embarrassing. I don't do that sort of thing ever in my down time. So, I just had so much fun doing it.”

Continuing the season’s theme of power through the eyes of both the powerful and the powerless, the writers use Andrew’s fantastical and overinflated view of himself and the world around him as an example of self-deception. By likening himself and the rest of the Trio to gods, Andrew adopts the First's/Nietsche's perspective that those in power are above right and wrong and can do as they please. His narrative as the storyteller and not the participant is yet another example of Andrew’s refusal to be accountable for the murder of Jonathan—if life is a story, then everyone is simply playing the part scripted for them and can’t be responsible for their actions. This thinking is akin to depressed and demoralized Buffy singing to Sweet in season 6 about how “life’s a show and we all play our part,” before kissing Spike and saying, “this isn’t real, but I just want to feel.” Season 6 showed Buffy choosing and excusing the fantasy to escape both the consequences and the responsibility of her situation.

Here, having learned from her mistakes, Buffy embodies Sartre’s idea that everyone is responsible for their choices and that in choosing, we are able to move forward into our authentic self. In confronting Andrew in the same way/place that he killed Jonathan, Buffy forces him to come face to face with who he is, and in doing so, gives him the opportunity to end the fantasy and embrace the truth.

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S7. Ep15. Get It Done

After several episodes exploring side stories and individual character arcs, ‘Get It Done’ refocuses on the season’s central conflict, with Buffy struggling with the limitations of her power and her fears that she will not be enough in the coming fight. Although the episode is difficult to watch due to its problematic depictions of race, culture, suicide, and assault, it sets the stage for 'Chosen' by highlighting the flaws in the current Slayer system and providing hints for the solution.

Buffy's harsh response to Chloe's death and to the rest of the gang is a direct result of her own fears and the pressure from Giles, that she “grow up” and be a general. While Giles is conveniently not here, it’s interesting to watch Buffy embody the Watcher’s authoritarian style of leadership that sees people as tools rather than equals.

Despite method and tone, Buffy is correct in calling out Willow and Spike for allowing their fears to control them and suppress their power. In a scene meant to highlight her growth from season 6, Buffy jumping into the shadow realm shows her ability to face the darker parts of herself, hoping and trusting that her friends will do the same. The shadowmen, puppets, and realm all represent Buffy’s struggle to reconcile with her shadow self as it’s revealed that her power comes from the essence of a demon. Buffy recognizes and accepts the darkest parts of herself yet insists on balance—rejecting more power to retain her humanity.

Ultimately, the gang emerges victorious, but at a great cost to their relationships: Buffy's leadership motivates the Scoobies to action, yet erodes trust, Willow uses her power by taking it from others against their will, and Spike accepts the darker aspects of himself, while downplaying his past victims.

In the end, ‘Get It Done’ shows a broken system with too much power, leading to fractured relationships. The answer is not more power, but better connection. Not domination, but balance.

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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K.D. Aubert portrays Nikki Wood in this episode (and in "Lies My Parents Told Me"). Nikki was originally portrayed by April Weeden in "Fool for Love” and was also the stunt double for Kendra Young in "What's My Line? Part One" and Alonna Gunn in "War Zone."

(In an interview with Billy Doux Weeden talked about not being able to return for the role)

B: I understand that the "Subway Slayer" is returning this season, and that you auditioned for the part in September, is that right?

AW: Yes. I received a call from the casting director at Buffy saying that they were bringing the character back. I was told to come in and audition on September 13. I thought I was a shoo-in because I had already established the character. There weren't many lines. Then I got a phone call from casting stating that there was "a certain maturity" about me now, and that I didn't get the part.

B: But you played that same part just two years ago.

AW: Yes, I know. It was a blow for me not to get called back. I do kind of understand, seeing that the slayers are teenagers, but the character in "Fool for Love" was older than that. I cried for weeks; I was very disappointed, because I'm trying to get my acting career off the ground and this might have put me on the map. They did say that they would try to find me something else on the show.

B: I know that I'm disappointed that you won't be reprising your role as the Subway Slayer and I'm certain other Buffy fans are going to feel the same way. What would you like to tell the fans about this?

AW: Well, it would be great if everyone wrote to the casting people and told them that they should have brought April back! (laughs)

"She was a stuntwoman," says Espenson regarding the first Nikki. "She wasn't an actress. She was cool but we really thought we needed an actress for this, as fabulous as the stuntwoman had been."

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer

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S7. Ep14. First Date

Known as the episode featuring Ashanti, “First Date” serves as both a nostalgic throwback and a setup for the conflict between Wood, Spike, Buffy, and Giles. The title has multiple meanings, referencing Buffy and Xander's dates, as well as Spike and Buffy's feelings for each other, and the Oedipus complex that drives Wood's actions from this point forward.

Initially, the Wood arc was planned to conclude at episode 10, with the character functioning as Buffy's love interest before meeting his demise, but SMG liked him and requested that the character remain on the show. This is why the four episodes before “First Date” don’t feature Wood at all, as the writers were rethinking the character’s arc and came up with his backstory as the Slayer’s son. "That evolved," Espenson says of the Wood backstory. "We didn't know that. I would guess it was around episode nine or ten that we thought of that. It just happened to work out great. It was as if we planned it, but we had not, except possibly subconsciously."

One of the most frustrating aspects of the episode is the growing rift between Buffy and Giles. As the last remnant of the Watcher's Council, Giles embodies a patriarchal leadership model that Buffy must eventually reject, but his concerns about Buffy's blind trust in Spike's self-control around young girls are justified. Spike's ability to be triggered by the First undermines Buffy's claim that his soul and free will can prevent him from attacking others, and her refusal to acknowledge her personal feelings towards him, which puts the girls under her command at risk, reinforces Giles' concerns about her leadership. And Giles’ beratement of Buffy’s personal choices is both ignorant and insulting to her constant sacrifice and hard work.

Sadly, what could have been a nuanced debate becomes a simplification of both characters, with Giles seeming regressive and cold while Buffy appears naïve and selfish. What could have been a layered moral argument about the limits of redemption and the burden of power/leadership, becomes an argument staged for dramatic convenience.

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One of the things about ‘Buffy’ that contributes to its immersive feel and rewatch-ability, is its recurring side characters. Although not always fully fleshed out, these characters add another layer of realism, as well as another lens through which we view the main cast. 

Even though we don’t see many interactions between Willow and Amy until Season 3, it’s still interesting to note the parallels between them. Both are outcasts with low self esteem, both have a propensity for magic, and both have awful mothers with high expectations. In fact, 'Gingerbread,' (the episode where the theme is persecution, fear of outsiders and paternal abandonment) is also the episode that Willow’s mother is introduced and Amy turns into a rat. Amy’s reaction to MOO trying to burn her at the stake, is a reflection of the trauma she’s experienced from her own mother, and the anger she feels from not being accepted for who she is.

Willow and Amy’s draw to dark magic is inevitable, as both seek power and control of their own lives, however that is where their stories cease to align. In season 7, Amy’s desire to “take her [Willow] down a peg or two” is reminiscent of Dark Willow’s speech about/to Buffy, showing that while Willow has moved past her anger and need for power, Amy is still stuck in the vicious cycle of jealousy, resentment and rage. In the end, Amy has become the thing she once hated; her mother.

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💛 Becoming Buffy Podcast is a rewatch podcast that focuses on the themes, metaphors and foreshadowing of Buffy the Vampire Slayer