From The Morgue

Not a praying mantis.

So, Xander falls for a woman who is actually a monster, and yes the show is fully aware they already did this story. They’re having a second go the same reason anyone has a second go – they want to get it right this time.

This episode has some character work to do, too. As we’ve seen, the Willow-Xander-Buffy love triangle (really an unrequited-love-chain I guess?) was resolved in the season one finale, and its end was reiterated in the first episode of this season. This raises some questions – what is going on among the trio now, exactly? We saw that Buffy, Willow and Xander have love for each other at the end of When She Was Bad, and we saw them happily dancing together in School Hard, so we know they are in a good place with each other. But the intense romantic feelings of teenagers don’t untangle easily, and if this show is going to live up to its promise of real emotions then it needs to look harder.

But let’s start with the monster. Inca Mummy Girl (her real name is never revealed) is a complex character. She was an innocent girl chosen for an unpleasant fate, and now she is willing to sacrifice people in order to experience some of the joys she missed before. Her powers are classic Bathory – draining the life from other people to maintain her own youth! It’s really just vampirism in a slightly different form (a form traditionally marked as feminine, in fact, with its emphasis on looking youthful).

The show takes care to portray Inca Mummy Girl with sympathy, but also to point out repeatedly that her murders are horrific and inexcusable. It’s an effective balance, and she remains understandable even when she decisively chooses murder at the end.

So, what’s the monster-as-metaphor this time? The argument she has with her bodyguard points the way – he insists she must accept her fate rather than hurting other people. This is ultimately a monstrous riff on that blinkered teenage selfishness where you think the whole world revolves around you, and anyone (usually a parent) who stops you doing what you want is a monster who is ruining your life! The show is savvy enough to complicate this metaphor, because the people who sacrificed the Inca Mummy Girl were indeed monstrously unfair, and submitting to her fate will indeed ruin her life. So the show cleverly has its cake and eats it too – it criticises that selfishness while also agreeing that teenagers can be right about stuff.

This metaphor works just fine. She is a moral counterpoint to Buffy, who explicitly notes the parallels between them (although Xander has to remind Buffy that she made a different choice when she was faced with death). It also ties her to Xander, who is at the centre of this episode. Xander’s behaviour in season one was pretty awful, although the show tried to make it forgivable. Xander even had a heroic redemption after hitting rock bottom in Prophecy Girl. His post-redemption relationship with Buffy is given a lot of time this episode, and it’s pretty damn healthy. There’s hope for him after all!

But Xander still manifests the fundamental flaw of patriarchy: thinking the whole world revolves around you. (That’s also the fundamental flaw of teenagers, it’s just people who ain’t white male heterosexuals get it knocked out of them faster.) For all his obvious love for Willow – he outright states it, even – he still hurts her, over and over again, by not considering her feelings. And because it’s Willow getting hurt, the show knows you will feel that pain thanks to Alyson Hannigan’s talent for being a wounded puppy. These harmful acts don’t make Xander a villain, far from it – but he doesn’t get to be an uncomplicated hero either.

The climax brings Xander’s and IMG’s respective selfishnesses into collision. Xander is the one who demands the Inca Mummy Girl leave Willow alone – if she’s going to murder anyone, it’s got to be him. It’s his turn to step up to his responsibilities, the same test that Buffy passed, and that Inca Mummy Girl failed. For all is failures with the day-to-day business of not being a dick, when the choices are clear, he chooses well. After saving him from the consequences of his sacrifice here, Buffy gives her endorsement by comparing this to his saving her from her sacrifice in Prophecy Girl. Through Buffy, the show forgives him his weaknesses. The implication is that he will learn to see himself more clearly and do better all ’round. He’ll grow up. It’s a hopeful moment.

Willow, meanwhile, drifts along in the wake of Xander’s journey. She’s not over him, and she’s stuck. She doesn’t even get any dialogue after Xander makes his big heroic stand to save her life. All you get from this episode is that Willow feels unnoticed. However, even though Willow doesn’t get to address this problem, the show solves it for her by having someone notice her. This is quite heartening too – Willow hasn’t been doing anything wrong, after all, and by introducing Oz the show acknowledges this. In the rhythm of the episode the Oz scenes are very strange – why are we suddenly cutting away to some random other person? – but because we have been primed to sympathy for Willow this episode they work, another hopeful moment, and an emphatic expansion of possibilities for our core characters and the show.

Other notes:
* When you appeal to a sympathetic villain with the power of love, the villain is supposed to have a crisis of conscience and repent. Hasn’t Inca Mummy Girl seen any movies! Oh well okay I guess she hasn’t. This is the episode’s biggest swerve.
* Who’s that near-victim? Hey, it’s Jonathan! Like Harmony, he’s another bit player from the unaired pilot who returned in a very minor role in the regular series and ended up becoming an important part of the story.
* This ep was written by Matt Kiene and Joe Reinkemeyer, who were also behind The Pack, another episode that did smart work with the monster-as-metaphor. The Pack had a significant rewrite from Joss Whedon, though, and I suspect this episode did as well.

Vampires can breathe now okay

In the precredits, a new vampire rolls into town and smashes the Sunnydale sign with his arrival. It represents the destructive path he intends for the town – but it’s also a marker that his debut overthrows the current order. Sunnydale stories have been told a certain way, but now there’s a new antagonist in town and all that’s gonna change.

Season two starts in earnest right here. Episode one tidied away the overhang from the first season, then episode two let us catch our breath with the show in default mode. Now, the new era begins. And in a very real sense, that sign getting smashed is also the beginning of Buffy the cultural phenomenon. Across season one we watched the show work itself out and get all its pieces in place. Now the engine is assembled, it puts its foot on the accelerator and starts to race.

Back up a bit. The actual intro for this episode is Buffy being snagged by Principal Snyder and put in charge of parent/teacher night. Snyder marks Buffy as a “bad element”, pairing her with another troublesome student for this chore. This pairing is a weird move, exposing one of the faultlines in the show. Part of the premise of the show is that the teenagers know the truth and the adults don’t – otherwise the adults would take over the whole battle and the show wouldn’t exist any more. To keep Buffy independent, she has to fight in secret, breaking adult rules as she goes. There’s metaphor here of course – teenagers have their important reasons to sneak out of school that boring old people just wouldn’t understand. The trick here is that Buffy’s reasons for sneaking out are laudable and heroic, and if the grown-ups ever did figure that out they would start to appreciate what she’s doing.

And, of course, Sarah Michelle Gellar just doesn’t play Buffy as a troublemaker. Seeing Buffy side-by-side with Sheila just makes it comically obvious how that label is a very unconvincing fit for Buffy. Sure, she skips classes and she burned down a school building or two, but she radiates good sense and consideration. She isn’t a bad kid. It’s obvious. Buffy-as-delinquent is an unsustainable premise, which in turn shines a light on the way that Sunnydale is beset by monsters on a regular basis without anyone noticing. We suspend our disbelief because that’s the way genre storytelling works, but moves like this really rub our noses in it.

But, surprise! Later in this same episode, we find out the show is ahead of the game here. Snyder and the Police Chief discuss a cover story for the vampires, revealing that the town’s authority figures do know the truth, and in fact are actively working to keep the town in the dark. While the show will never really take this conspiracy far enough to absolve us of the need to manage our disbelief – a gang on PCP, that’s the whole cover story? – for the rest of its run the show will give us little handholds like this to make the burden easier. (This also changes the nature of Principal Snyder’s relationship with Buffy. Does he really think she’s just a troublemaker, or does he know the truth about her too? The conspiracy is kept small for now to keep the focus on the high school, but ground continues to be laid for looking at the wider world.)

This doesn’t shore up every aspect of the Buffy-as-unconvincing-troublemaker problem. The same issue was used throughout season one as the basis of conflict between Buffy and her mother. But, surprise! The episode has you covered here too, putting Joyce in the middle of the action and giving her this lovely little speech: “Principal Snyder said you were a troublemaker… And I could care less. I have a daughter who can take care of herself. Who’s brave and resourceful and thinks of others in a crisis. No matter who you hang out with or what dumb teenage stuff you think you need to do, I’m gonna sleep better knowing all that.” In other words, Joyce sees what the viewer does, and sensibly decides that this “troublemaker” label is a very poor fit.

So, what are these monsters that threaten Sunnydale? Our sign-smashing vampire is Spike, and this is the best character intro in the series so far. (It sure beats the way Buffy herself was introduced, also every other regular with the possible exception of Giles.) He steps out of the car, takes a drag from a cigarette, shot from below like a rock star. The show’s visual storytelling has moved up a level – when Spike crashes the Anointed’s gathering the dialogue could be in Swahili and you’d still get every plot beat.

At the end of the episode, Spike casually wipes out the Anointed One. The old way to do bad guys is over. Out goes emotional coldness and ruthless efficiency. In come new villains who are full of emotion, who are driven by their feelings. The Master was all about ironic distance and not really feeling anything any more, but Spike and his crew promise villains who get reckless and wildly out of control. And feeling out of control is something that resonates for teenagers. Now Buffy and her friends have something new to push against, bad guys who are even more messed up and dramatically interesting than they are. In other words: the bad kids.

Other notes:
* There’s a cute scene at the Bronze where Buffy, Xander and Willow dance together. It’s a pointed (and pleasant!) contrast to the dance of cruelty from When She Was Bad.
* Willow rescuing Cordelia is marvellous.
* Back in comments for When She Was Bad, Pearce talked about how a key message from the end of season one was Buffy’s reliance on her friends, which is how she managed to survive. Spike complains about exactly that in this episode: “A Slayer with family and friends. That sure as hell wasn’t in the brochure.”
* This episode’s TV broadcast in NZ infuriated me to the point of writing a letter to the broadcaster. It was screening pre-watershed, and all the violence was being cut from the show, which meant whole sequences became unintelligible. The end of the episode, with the Anointed One being killed by Spike, was impossible to understand and I had to go on to usenet to figure out what the hell was going on. Dumb. I remember getting a reply that seemed to ignore my complaint entirely, which just made me grumpier, but they did change the timeslot for the show a few weeks later.

Angel’s never-to-be-seen-again tan jacket: hot or not?

In terms of the overall 22-episode arc of Buffy season two, this episode is nothing but padding. It’s there to put some space between the last episode, which had the important job of making sure the door hit season one’s ass on its way out, and the next episode, in which the grand story of season two will begin. On the whiteboard for this season, this ep was probably marked “business as usual”.

Which gives us some irony. Business as usual can only mean “just like those season one episodes”, so we have the bemusing spectacle of the show defiantly promising not to do season one over again and then straight away doing an episode that could be right out of season one.

It’s a very standard metaphor-monster-of-the-week. A Sunnydale student resurrects his dead jock brother into a decaying zombie-like form, and then promises to build him a female companion out of parts. Aided by his creepy best friend, the student gets to work graverobbing, but targets Cordelia for the head, which leads to Buffy smashing the crap out of everyone and the zombie jock being destroyed in a burning building.

The metaphor this episode is brutally clear, and utterly in line with the core concerns of the show. It’s about male entitlement and the objectification of women. All three men are guilty of variations on the theme: Daryl feels utterly entitled to a woman and clearly doesn’t consider himself complete without one; his brother Chris promises his brother a woman in the first place, fully endorsing Daryl’s views; and Chris’s creepy friend Eric eagerly evaluates the bodies of women and attacks those he chooses as victims. It’s all utterly typical high school sexism, dialled up into the fantastic realm of Buffy, and while it’s ultimately a pretty forgettable episode it is clearly lining up some worthy targets.

And yes, the first season echoes are plentiful:

• The monster being consumed by a burning school building is precisely the fear Principal Flutie expressed in Welcome to the Hellmouth – pity he’s not around to see it.
• Cordelia wears her cheerleader outfit again, as seen in Witch, and we actually see the football team – Sunnydale seems like a real school again!
• Cordelia gets abducted by the bad guys – twice in one episode. (To be fair, this happens a fair amount in future seasons too.)
• The source of the trouble is Sunnydale’s supreme geek (this time the “reigning champ” of the science fair) – see also Fritz and Dave in I Robot, You Jane and, swerved, Morgan in Puppet Show. (It’s a bit weird how the show keeps going to this trope – don’t they know that geeks are their audience?)

Still, it’s obvious that all these echoes are fairly superficial. While the surface material is very familiar, the changes wrought in the previous episodes have stuck as the characters start being pushed into different emotional places. The flashes of humanity we’ve seen in Giles coalesce into the very funny and very charming sight of him nervously going on a date with Jenny Calendar. Angel and Buffy continue to deepen their relationship, as they talk through Buffy’s behaviour with Xander the previous episode and Angel admits his jealousy. Even Cordelia continues to accrue sympathy as her attempt to thank Xander gets completely brushed off. It’s all small-scale stuff, quietly laying groundwork for major emotional beats down the line, but it’s satisfying to see. This is a different storytelling mode to season one, where mostly the relationships between the characters were simply repeated every episode – now they are all moving.

Overall then, a pretty solid placeholder. The show knows what it’s doing now, and even its wheelspinning is funny and charming and thematically on point. There are much worse ways to fill out a season than this.

Other thoughts:
* the character of Jenny Calendar continues to be developed in the most excellent ways possible. The fascinating and diverse female ensemble on this show is great, with the male contingent both outnumbered and outshone.
* I have no further thoughts. There isn’t even really a 3/4 swerve this time. This was a perfectly acceptable and unremarkable episode of Buffy. Next!
* EDIT: I forgot to note the writer – Ty King & Joss Whedon are credited together. Okay.

This is the episode with the dance.

Buffy returns to Sunnydale after a summer away, and finds the vampires are stirring again too. Buffy reconnects with her gang of friends but something is amiss – she is carrying some bad psychology after the events of season one. Finally the vampires trick Buffy into leaving her friends unguarded so they can kill ’em to raise the Master from the dead, but Buffy still turns up in time to save them. The end. The primary focus here is Buffy’s emotional journey: she’s not over the nasty events that closed last season – she accepted her role and her fate, and she died (and got better).

The show, too, seems like it’s not over season one. The episode spends its whole runtime threatening to revive elements of season one that we thought we were done with. The love triangle is explicitly revived, with tension playing out between Willow, Xander and Buffy in pointed emotional setpieces. Buffy’s dad is back along with those family tensions. The Anointed One, minor figure on the villain side last season, is driving the plot as the opposing force. Even the Master is brought back, despite his death, and his return to prominence is threatened. (A nightmare about his return marks the point where Buffy transitions from “unhappy” to “outright unpleasant to be around”.)

This episode is like a mirror image of “Prophecy Girl”. Both episodes are weighted with the narrative of season one. “Prophecy Girl” was threw that narrative on the ground so hard it smashed, but this episode threatens to pick up all those broken pieces and start carrying them again. Essentially this whole episode is about television narrative expectations – that change can never be trusted, that shows find safe story structures and then hide there forever. If television has its way, then season two of Buffy will be much the same as season one. That’s how it works. Buffy Summers will be trapped in reiterations of season one forever.

Buffy, however, gets to push back. (Her name’s in the title after all.) She needs to break out of season one and force this show to allow real change. She’s not happy about it, though. She has no illusions about any of this – the Slayer path promises her misery, and while she made her choice, she still resents it. Given all this, her attempt to break free takes the form of some bad behaviour. And so we get the dance.

The dance. For my dollars, one of the best scenes in the whole run of the show, and probably the cruelest. In one mesmerising turn, Buffy crushes all three of her closest friends. Willow and Angel can only watch as she dances seductively with Xander, but Xander himself gets the worst of it, a nightmarish punishment for his behaviour in season one. But it’s not only her friends she’s destroying. Here, Buffy is destroying herself. She’s directly attacking the version of her that we saw the previous year, and trapping herself in cruelty that she can’t take back. It’s devastating and definitive. As of that moment, season one is dead. There’s no return possible.

But there’s still a whole vampire plotline to resolve of course, and that can’t happen until Buffy is pulled out of her destructive spiral: tearing down the old must eventually give way to rebuilding into a new form. And the tool the show uses to jolt Buffy across the line is, of course, Cordelia. As was established late last season, her role is truthspeaker, and so she is the only one who can call Buffy out for her bad behaviour and give her a new course.

Here the show brings in a second concern – if the show is rebuilding, what form will it take? Specifically, is this a show where a bunch of ordinary people help the Slayer with impunity, or is it a show which takes its threats seriously? (Notably, this also counts as unfinished business from season one – Buffy faced the Master alone, without help from her friends, who had other battles to fight. So does she need her friends helping her at all?)

Buffy goes to fight the vampires alone, telling her friends that they are a burden, and she can’t protect them – the show will kill them if it can. This, of course, is the trap. Buffy cannot do this alone. She needs her friends, so her friends are part of her fight, and yes, she won’t always be able to protect them. That’s the deal she makes – the deal we make – with the show. If we are to have Buffy the Vampire Slayer, then we have to accept this package: real emotions, real threats.

Yes, it’s the problem of Jesse again, emphatically re-emphasised for the start of season two. This is a show where threats are real, and it’s a show where emotions are real. And the risk of holding both those two ideas is that your show will descend into misery – in the same way Buffy descended in this episode. The show accepts this risk, and in the episode’s conclusion it points the way forward. Buffy crushes the Master’s bones into dust, but more importantly, in the next scene Willow and Xander welcome her with friendship despite her behaviour to them. Here the show for the first time presents a possible answer to the problem of Jesse: the past can be overcome, because people love each other.

It’s good they have an answer in mind, because this season is going to get rough.

Other thoughts:
* Buffy’s dance as an act of self-destruction jibes nicely with the tendency towards martyrdom that Pearce has identified in his rewatch, and also feeds into the discussion between Alasdair and myself about whether Buffy in Prophecy Girl was choosing life or choosing death… All in the comments on the “Prophecy Girl” entry. I’ve been getting some great comments on these posts you guys, well worth trawling back through and reading them.
* Part of Buffy’s brand is making pop culture references (itself a bit of a 90s phenomenon) – reinforced by the cheeky decision to open season two with two characters playing a film-quote game.
* Speaking of which, check out the sheer confidence it takes to launch your second season with a whole episode of your lead character as an unappealing bitch. This is the show’s gambit to win over new viewers? I’m not sure how exactly Whedon is doing it, but he’s making unsafe choices and getting them past head office, and it’s exciting to watch.
* Jenny Calendar is back! Her character gets rounded out with a view little dialogue bits – imagining her at Burning Man sure puts her claim of being a “technopagan” into context! But I like the subtle moment where she says “Hey kids”, a phrase Giles would never utter, giving her relationship to the others a different flavour without compromising her status as a senior figure.
* “We got to wear robes” says Willow about the burial of the Master’s bones. I love it.
* Following what Ben has suggested in comments, I intend to track writers during season two and see if anything interesting (to me) emerges. This episode was written by Joss Whedon. Ok then.

Joss Whedon has spoken about the origins of Buffy the Vampire Slayer many times: “I had seen a lot of horror movies, which I love very much, with blond girls getting killed in dark alleys, and I just germinated this idea about how much I would like to see a blond girl go into a dark alley, get attacked by a monster and then kill it.” (source)

That reversal of expectations, where the victim is revealed to be anything but, isn’t in the TV show. In “Welcome to the Hellmouth” Buffy’s true nature is introduced piecemeal, dropping clues to the audience then revealing the truth in dialogue, but not actually showing her in action until the back half of the episode. Instead the episode begins with a swerve on that originating set-piece, a reversal of the reversal: the boy goes into the dark place with the weak, vulnerable blonde girl, but it turns out she is not the victim, nor the slayer, but in fact she is the monster. These choices seem odd to me – Whedon had the chance to bring this potent scene to life, and passed it over. I can see why, primarily because the character arc here is Buffy figuring out that her Slayer life has followed her to Sunnydale, and it’s hard to tell that story if she fights a vampire in the precredits sequence. Still, there are ways to square that circle, and I think this stands as one of the show’s biggest missed opportunities.

As I’ve worked through season one, I’ve usually referred to the creative force behind Buffy the Vampire Slayer simply as “the show”: “the show is trying to do this”, “the show did that”, etc etc. I’m deliberately murking up the relationship between showrunner Joss Whedon and the final content we see on our screens. There are lots of complications and compromises and improvisations involved in the journey from vision to final form, and a large team is needed to make a TV show possible. In fact, I feel like pretending that the show itself has creative agency is quite truthful – large collaborative projects take on their own shape under the accumulation of conflicting interests, systemic needs and unexpected pressures. Choices emerge from the morass without any obvious author, like a planchette moving across a ouija board. You can still see the forceful vision of the showrunner, the distinctive rhythms of the director, the unique choices of the screenwriter, but these are just ingredients in the whole.

I was curious, then, to take a look at the first takes on the concept of Buffy, which are relatively undiluted Joss Whedon. Buffy originated as a screenplay that long-haired Whedon shopped around for a while before some producers took it up. His dissatisfaction with the final film is well-known, but that original script could tell us something about what he saw in this concept.

There are plenty of places to find it online – here’s the one I referenced. It’s an interesting read. It obviously isn’t the TV show, because the structural demands of film force it to resolve things that you don’t close off if you’re going to make a TV series out of it. It also doesn’t quite fit the TV show’s backstory – Buffy is older and not a virgin, and she doesn’t burn down the gymnasium. However, it does show some of what we’ve been told to expect. Buffy starts out as a Cordelia-type popular girl dating a jock and screwing up her nose at the weirdo social outcasts, and she discovers she can sense vampires and she has the strength and speed to fight them, but it’s pretty devastating for her social life.

It’s a fun expression of the bimbo vampire slayer concept, but I think the script does have one major flaw: the female characters are pretty empty. Buffy’s mother (who bears zero resemblance to the TV show’s harried but engaged version) and her popular-girl friends have nothing much to say, and nothing much going on beneath the surface. Obviously the point is that Buffy acquires new dimensions when she engages with the unpopular vampire-slayage path, but it’s unfortunate that her friends are depicted as such empty caricatures of people.

In fact, for a film with such a central interest in female power, there is a notable lack of interest in female relationships. Buffy’s important relationships are all with men – with her jock boyfriend, with her burner love interest, with her mysterious watcher, with her vampiric nemesis. Even the school principal has a more meaningful and multi-dimensional relationship with her than her mother and friends.

All of which makes me think about vampires. Buffy is conceived as a vampire slayer, and though the show expands to imagine many other kinds of critter, they are the iconic monster against which Buffy stands. The show was always aware of the metaphorical dimension of its monsters, but it was never entirely clear what vampires stood for. Partly this was because they weren’t meant to have just one meaning – different vampires could be used to represent different concepts (or just to provide an action sequence in an otherwise quiet episode, for that matter). However, the film script really points the concept of Buffy at one reading above others: that vampires are a metaphor for the sexualised power of men, which is to say, vampires are rape culture.

The film isn’t a strong coherent feminist statement of course. For example, Buffy’s internal journey is expressed primarily through realising that her current boyfriend is a sexist jerk and she should switch to a new boyfriend who is not a sexist jerk. Still, throughout the film it’s clear that the physical threat of the vampires is being mirrored by social threats from society in general: “She’s had sex!” says the random younger student at the football game when he sees Merrick is watching Buffy; “You’re a dyke!” says the motorcyclist whose come-on is rejected and whose bike is commandeered; “I’ve always wanted you!” says the vampire footballer as he prepares his killing blow. Men watching and desiring Buffy and conceiving of her in sexual terms is presented, over and over again, as an oppressive force that is threatened by Buffy’s power. The two sides come together in Lothos, the vampiric big bad, who uses the same kind of language to speak of the Slayers he has killed in the past: “The names, the faces, they all melt together. After a time, there really is no difference. One more pathetic bitch, begging for me to suck on her clotted heart.” Lothos is a big speechifying dick, basically.

I think this take on vampires-as-rape-culture makes a lot of sense in thinking about the TV show, and indeed, I am hardly the first person to frame it in this way. It’s one more point of reference I’ll try to keep in mind as I keep watching, anyway. I don’t think it was ever a deliberate interpretation but it doesn’t need to be – the nature of vampires and their associated imagery is such a good fit for the pervasive harms of rape culture that the linkage comes through regardless. TV shows are cultural products and reproduce that culture, even (especially) when they want to interrogate it. Rape culture sits under the whole series, like the spirit at the seance, slowly spelling out its name.

Other thoughts:
* Movie Buffy can sense vampires through menstrual cramps. It’s a vivid, interesting idea, but I honestly can’t tell if it’s a good idea or not.
* There’s a great Whedon 3/4 swerve in the death of Merrick the Watcher. You know it’s coming – the setup is exactly like the death of Obi-Wan in Star Wars! But how it plays out is a definite surprise.
* The weird slang that became known as Whedon-speak makes sense here. It’s the same valley girl caricature depicted in Clueless. Buffy transitions out of it as the movie goes on, to the point of saying to her friends “what language are you speaking?” – but Whedon obviously liked the rhythm of this hyper-stylised form of expression, and Buffy in the TV series keeps using it.
* The other pure-Whedon thing to look at is the original pilot for the TV series. Easily findable on Youtube (such as here) but I didn’t find much to say about it. Although it is interesting to imagine an alternative universe where Riff Regan carried on as Willow.)
* Two links relating to Buffy & rape culture, but both of them are about stuff much later on in the series – Gem told me about this episode of the F word podcast analysing the season 6 episode “Seeing Red” which has a controversial plot development; and Phil Sandifer writing cogently on the same subject. Phil’s epic Doctor Who analysis, the TARDIS Eruditorium, is transparently an influence on these Buffy posts. He’s deep into some fascinating stuff on Alan Moore and Grant Morrison in the comics world, too – basically, I strongly encourage you to check out his work.