Tema: Hablemos de Buffy TVS y Angel

Iniciado por Synch

Y un dato más: Hannigan y Denisof son padrinos de una de las hijas de Whedon

Ostras, eso no lo sabía. Se hace raro que profesionalmente Hannigan (no así su marido), no haya vuelto a colaborar con Whedon.


Aunque si nos salimos de Buffy todos sabemos que la relación mas estrecha e intima de todos sus actores habituales la mantiene con Amy Acker, a la que en varias ocasiones se ha referido como su musa.

Nathan Fillion también le es alguien muy cercano (y este si, ha aparecido en prácticamente todo lo que ha hecho Whedon).

Acker es una gran GRAN actriz que podría estar en primera línea de Hollywood si quisiese. Todo lo que le he visto hacer lo ha bordado por completo.


Es cómo una gran familia, que bonito.

Con quien parece que Whedon ha establecido una buena amistad recientemente es con Scarlett Johansson...

Iniciado por Branagh/Doyle

Ostras, eso no lo sabía. Se hace raro que profesionalmente Hannigan (no así su marido), no haya vuelto a colaborar con Whedon.


Aunque si nos salimos de Buffy todos sabemos que la relación mas estrecha e intima de todos sus actores habituales la mantiene con Amy Acker, a la que en varias ocasiones se ha referido como su musa.

Nathan Fillion también le es alguien muy cercano (y este si, ha aparecido en prácticamente todo lo que ha hecho Whedon).

Acker es una gran GRAN actriz que podría estar en primera línea de Hollywood si quisiese. Todo lo que le he visto hacer lo ha bordado por completo.


Es cómo una gran familia, que bonito.

Con quien parece que Whedon ha establecido una buena amistad recientemente es con Scarlett Johansson...

Hannigan explotó la vis cómica en HIMYM que ya vimos en aquel fantástico Dopplelgangland y creo que sus compromisos con la serie hacían más difícil su aparición en otras series. Justo entre Buffy y HIMYM, apareció en Veronica Mars (serie tan Jossian, que parece natural que la adorase hasta el punto de que sus piropos le valieron aquel cameo con Kirsten Bell, actriz también tan whedonita) así como Carpenter. Aquellos diálogos les caían muy naturales, era todo muy whedonverse.

Coincido con lo de Acker, es extraordinaria, en Dollhouse dibuja dos personajes distintos (cuando se pone malota/sexy en uno... Bueno, no lo esperaba, no esperaba ese lado en ella y... ) y en Much Ado About Nothing BRILLA, esta brutal.

Lo de Johansson, lo dices por alguna noticia reciente?

Parece que hubo buen rollo sí, dejo este par de vídeos: uno de cuando le preguntan por la entonces posible peli de Black Widow y dice medio en broma, medio en serio, que la hará si la dirige Whedon; y el otro en el que le preguntan por lo mismo y dice que se manda mensajes constantemente con Whedon sobre el tema (debe molar tener a la Johansson en el whatsapp ).

La serie entrará en el Sci-Fi & Fantasy Hall of Fame de The Museum of Pop Culture (MoPOP) junto a Stan Lee, JK Rowling y The Legend of Zelda.

Stan Lee & J.K. Rowling Inducted Into Sci-Fi & Fantasy Hall of Fame

In addition to these two legendary creators, MoPOP has also inducted The Legend of Zelda and Buffy the Vampire Slayer. They praise Zelda as "one of the first 'open world' video games," a franchise that includes no less than 19 installments. Buffy, meanwhile, is described as "a quintessential example of turn-of-the-century genre television." MoPOP praise the series for its ability to blend "monster of the week" supernatural plots with "deeper metaphorical stories about the struggles of daily teen life."

Hace unos meses os hablé de un canal de youtube, Passion of the Nerd, que sube análisis de todos los episodios de Buffy. Lleva 4 años con ello. Ha llegado hace tiempo a la 4a temporada, la primera de las dos polémicas en la serie (contando con que la 1a es considerada como floja, aceptada por ser la primera etc), y sin duda es comprensible, la iniciativa, Adam, el tono general.. Pero a mi me va, no se porque: ese tono apagado, como de que no saben por donde tirar, se indexa fácilmente en las propias tramas y personajes (la serie está casi como está Giles! perdido, sin trabajo, sin referencia de quien es, o que hacer), ese tono apagado me mola y sobre todo tiene episodios cojonudos, señal de que el equipo creativo estaba a tope.

El doble This Year Girl, de Doug Petrie, y Who Are You? de Joss Whedon, es el retorno de Faith y son cojonudos.

Dejo aquí ambos análisis:

This Year Girl



Who Are You?

Atracción tematizada de Buffy en la Comic Con de San Diego:

Buffy the Vampire Slayer scavenger hunt coming to San Diego Comic-Con

Buffy’s slaying days might be over, but the same can’t be said of fans of the show.

Thanks to 20th Century Fox, this year’s San Diego Comic-Con will feature the first-ever Buffy Vampire Hunt through San Diego. Inspired by the beloved series, which starred Sarah Michelle Gellar as Buffy Summers, the hunt will involve participants acting as slayers who must locate various vampire nests across the Gaslamp District and throughout the San Diego Convention Center. At each location, prizes will be waiting, including Buffy Funko figures, posters, T-shirts, comics, and more.

Those interested in participating can sign up at Shop.Fox.com beginning on June 27th at 12 p.m. PST. The hunt itself will take place on Saturday, July 21.

Entrevista a Marti Noxon en el que le preguntan por la sexta temporada, aquella en la que fue showrunner. Ella misma aclara lo obvio, que se dedicaba al día a día, y tenía más poder que antes, pero Whedon seguía ahí:

Marti Noxon on Sharp Objects, Joss Whedon, and Going ‘Toe-to-Toe’ With Jean-Marc Vallée


I’m curious to hear more about the pushback you got to season six of Buffy, where people were really upset about how dark the show got, and why you think there’s more of an appetite for stories about powerful and messed-up women now.

With season six, there was this announcement that I was running the show and Joss was going to take a back seat, but in reality, anybody who knows Joss knows that his idea of taking a back seat is not every single thing, you know?

But I did have way more input over that season and some real muscular influence on the direction of that season in part because I was really vocal about wanting Buffy to make some bad mistakes. My argument was that, when we become young women, especially if we’re troubled or haunted by something, that can lead us to make some bad choices, especially in the area of romance. And people really took me to task online. I finally just disengaged and didn’t participate in that conversation at all.

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Le preguntan si el fichaje de Amber Benson fue cosa suya y lo confirma. En un especial post fin de Buffy, Whedon cuenta que sólo hubo dos personas que no fichó personalmente: Emma Caulfield (ya que inicialmente iba a ser un personaje de un solo episodio, The Wish, así que debió ser fichada -supongo- por David Greenwalt, director del mismo pero más que por ello porque era la mano derecha de Whedon así que ahí tal vez no hubo dudad de si al casting acudía un productor, director o quien) y Drew Goddard (fichado por Marti Noxon cuando ella era la Exec Producer/showrunner de la 6a, de cara a ser guionista de la 7a).

Cruzando entrevistas y demás parece ser que el fichaje de Amber Benson, que debutó en Hush, se debió a que Whedon quería otro tipo de actriz, más delgada, y Noxon (por entonces ya mano derecha del jefe) presionó para que fuera Benson.

A question that has haunted Buffy fandom for years. You were the one who brought Amber Benson on to play Tara, right?
Yes, yes. Oh yes.

Y sobre Xander y la identificación usual con el creador:

I wonder what you think about Xander, and whether or not he’s a good guy — another divisive subject on Buffy message boards. To me, he seems like both a perfect distillation of the male gaze — always watching Buffy and judging her — as well as a stand-in for Joss. It feels like that’s how he’s positioned on the show.

That’s what’s interesting, at least for me as a creator: Every character is you, and in some ways, Xander is impotent male anger. He’s not “super,” and everybody else in the show gets powers, right? He stands on the sidelines feeling left out of the revolution.

Screen Rant rankea los villanos de la serie según poder:

Buffy The Vampire Slayer: Every Major Villain Ranked From Weakest To Most Powerful

1. Glory (5a temp)
2. Dark Willow (6a temp)
3. Angelus (2a temp y Angel 4a)
4. Faith (3a temp, Angel 1a)
5. Sweet (6a temp)
6. Mayor Wilkins (3a temp)
7. Caleb (7a temp)
8. Adam (4a temp)
9. The Master (1a temp + wishverse)
10. Turok-Han (7a temp)
11. The First (3a y 7a temp)
12. Drusilla (2a temp + Angel 2a o 3a)
13. Gentlemen (4a temp)
14. Dracula (5a temp)
15. Spike (2a y 4a, como villano eh...)
16. Darla (1a temp + Angel 2a y 3a)
17. Vampire Willow (3a temp)
18. Amy Madison (6a temp)
19. Ethan Rayne (2a y 4a temp)
20. Mr Trick (3a temp)
21. Anyanka (3a y 7a temp)
22. The Judge (2a temp)
23. Professor Walsh (4a temp)
24. Anointed One (1a y 2a temp)
25. The Trio (6a temp)

Otro artículo reciente, este sobre la relación Buffy-Faith y el subtexto lésbico que en su momento sorprendió a Whedon, por lo que este sería uno de esos casos en los que el análisis surgió sin ser la idea primaria de su autor/autores.

Buffy and Faith's Relationship Taught Me About Queer Thirst

In the summer of 2003, I locked myself in my bedroom and took detailed notes documenting the secret lesbian romance in "Buffy the Vampire Slayer." "Fuffy" taught me that same-sex relationships could be messy, complicated, and real as hell.

Este tiene un año, de cuando el 20 aniversario:

The Enduring Legacy of Buffy the Vampire Slayer, 20 Years Later



There are certain days that separate our lives into “befores” and “afters.” For me, one of those days is March 10, 1997. I was almost 8 years old, flipping channels after another day at my Christian private school, and I happened upon the first episode of Buffy the Vampire Slayer, “Welcome to the Hellmouth.” I was never sure what specifically sparked my interest, which would turn into a lifelong obsession with the series. Buffy the Vampire Slayer, the Joss Whedon series that premiered 20 years ago Friday, centers on the 16-year-old Buffy (played with finely tuned vulnerability and humor by Sarah Michelle Gellar) as she goes through the usual pains of growing up while also being burdened by her destiny: She’s part of a line of young women chosen to be vampire slayers. Rewatching the series as an adult, I realized why my preteen self fell so quickly for Buffy: the opening sequence.

The first few minutes are a simple twist on horror film tropes, which Buffy mined over the course of its seven seasons. It opens on an empty high school at night. The camera careens through the shadowy halls and classrooms, beneath neatly aligned desks. The quiet is broken by a young couple breaking in. Of course, it’s the woman you’re worried about at first. She’s a bundle of blonde anxiety, her eyes roving through the darkness. The man teases her nerves. “There’s no one here,” he assures her. “Are you sure?” she asks. Before he can react, she turns around to reveal a gruesome face and hideous fangs, marring the delicate looks that made us believe she was a victim just moments earlier. She’s actually a vampire, and he’s dinner.

It crystallizes what made Buffy so fresh 20 years ago and still fresh today. The series was at its best charting women in moments of fraught transition — between victim and monster, heroine and villain, girlhood and womanhood — and subverting our expectations along the way. And it’s Buffy, the wonderfully complex lead character, who communicates these ideas time and again.

The 1990s were full of feminist vanguards in genre fiction, from The X-Files’ focused Dana Scully to the aggressive and campily humorous Xena of Xena: Warrior Princess. I may no longer believe any show can be truly feminist (that’s too tricky a criterion to judge), but Buffy was one of the many things in my adolescence that sparked my interest in what it means to be a woman in the world and how necessary feminism is to our survival. Whedon’s interest in feminism was explicit, present in the show’s visual choices, dialogue, and the ways it played with genre.

On a visual level, Buffy often took the imagery you’d expect of a show operating within the horror genre — a pretty blonde alone in a darkened alley, Dracula luring his prey with menacing charm, a demon lurking in the shadows — and twisted it into something radical and profound by making women the focal point. The emotional journey of the women involved gave Buffy’s visuals their power and visceral thrill. The show’s refusal to stick to one genre meant Buffy could be a prism for a variety of issues concerning womanhood. It pulled from melodrama, teen soaps, and even musicals to create something that hadn’t quite existed before on television. Its teen soap opera elements in its early seasons unabashedly treated even the most minor joys and tragedies of teen girlhood with the utmost importance. With its beloved season-six musical episode, “Once More With Feeling,” the series tapped into Buffy’s constant burden: having to be strong for everyone else. And using the foundation of the series, horror, Buffy turned the subtext of the transition from girlhood to womanhood into text. For Buffy, the common fear that your first love will swiftly dump you after having sex for the first time translates to him losing his soul and turning into a literal monster. Gods represent the gargantuan responsibility of grappling with adulthood and losing autonomy. Doppelgängers are the roads you never traveled, but still think about at night.

In the world of Buffy, words don’t just matter, they’re everything. The series excelled at using language as a form of empowerment and character development. Take Buffy’s dynamic with the Watcher’s Council, which oversees every new slayer. Her relationship with them was always tense at best, and this tension culminated in season three, when she makes the bold choice to no longer follow their orders. In season five, they make a surprise visit to Sunnydale to test Buffy’s skills until she decides she has had enough. This leads to one of the most triumphant and moving Buffy monologues in the series:

Power. I have it. They don’t. This bothers them. You guys didn’t come all the way from England to determine whether I was good enough to be let back in. You came to beg me to let you back. To give your jobs, your lives some semblance of meaning. You’re Watchers. Without a Slayer you’re pretty much just watching Masterpiece Theater.
This monologue, one of Buffy’s most self-assured moments, isn’t only engrossing for the obvious reason — demanding to be heard by the Watcher’s council figurehead who made so much of her teenage life hell. It also nods to one of Buffy’s greatest themes: how women negotiate power in a world that wants to keep them powerless. It proved, like so much of the series, that women could be architects of their own destiny even when the world around them tried to argue otherwise.

Conversations on the show were similarly evocative. They often played out like verbal boxing matches in which the properly placed insult or clever jab could undo the stature of even the greatest foe. Take season five’s “Fool for Love.” Buffy is off her game after being bested by a run-of-the-mill vamp, so she turns to another vampire, Spike (a deliriously fun James Marsters), to teach her how he was able to kill two Slayers. The entire episode is an amazing tête-à-tête between a more seasoned Buffy and Spike, who has shifted between enemy and reluctant ally.

“Death is your art,” Spike begins. “You make it with your hands day after day […] A part of you is desperate to know what it’s like. Where does it lead you? Now you see that’s the secret. It’s not the punch you didn’t throw or the kicks you didn’t land. Every Slayer has a death wish. Even you …”

It only takes Buffy these three words to undo Spike’s cocky bravado: “You’re beneath me,” she says, echoing a cruel remark he heard when he was human. Buffy has a lot of great moments like this. Dialogue shifts between cutting to tender and back again. Characters reveal more of themselves than they’d like in their clever quips and bitter comebacks. The dialogue of female characters like Buffy, Willow (Alyson Hannigan), and Cordelia (Charisma Carpenter) would often turn on a dime, revealing their hidden depths. Buffy was never content to present the archetypes of women you’d expect — the high-school queen bee, the bookworm, the damaged bad girl. It treasured playing with these tropes until these characters became full-fledged people.

Ask any Buffy fan about the titular character’s romantic life, and you’ll get a host of arguments about the two most important relationships she had on the series — first love Angel (a broody David Boreanaz) and archetypal bad boy Spike. The show tapped into the fertile territory of love, desire, and the growing pains that come with trying to connect, but the best decision it ever made was ending with Buffy being single. Unlike most of the shows Buffy is compared to, this series was daring enough to say that its lead heroine’s romantic journey wasn’t her most important. Adulthood for Buffy was marked not by romantic entanglements, but her relationship with her own identity and destiny.

For many, Buffy’s journey was at its strongest during her years in high school. It was when Buffy dealt with many of the touchstones of teenage-dom, heightened and filtered through horror — competition with other women, losing first loves, elders doubting her abilities. But my favorite seasons are some of the later ones, namely four through six, when she more explicitly begins her journey from girlhood to womanhood. Most teen shows don’t survive the transition to college and beyond, but Buffy was audacious enough to truly let its characters grow up and fail. The ugliness of adulthood was elegantly wrought over the course of these seasons. Season six, perhaps the show’s most divisive, sees Buffy return from the dead against her will. She’s ripped from a heavenly dimension by the friends who can’t survive without her, forcing her back to the toil of mortal life: dealing with what her mother left behind, working terrible jobs that paid little, struggling to put one foot in front of the other. You wouldn’t expect a show as fun and frothy as Buffy to get this dark, but season six became an incisive portrait of depression in the aftermath of great loss.

None of this would work without Buffy herself. That Sarah Michelle Gellar has never had a role that lived up to her skill afterward is one of pop culture’s greatest sins. Her performance — equal parts yearning and guarded, steely and open, warm and painfully human — meant that even the most outlandish moments in the series were anchored by true pathos and humanity.

As much as I love the series, its imperfections were never lost on me. Rewatching Buffy as an adult is a study in how much I’ve grown and what I expect of television today. The blinding whiteness of Buffy (which took place in Southern California, so there is no excuse) reminds me that no one who looked like me was ever truly a part of the world Buffy inhabited. I get angry when Spike tries to rape Buffy, a character choice that felt out of sync with the fabric of the series. I’m troubled that every female character on the show has an unsatisfying, often unhealthy sex life (sometimes it feels like it’s not the Hellmouth, but a sexually realized woman that is the biggest nexus of trouble). I grow annoyed every time Xander opens his mouth to shame Buffy for her choices, seemingly forgetting all the times she saved him and the world itself.

Despite all these issues, every time I hear the theme song kick in, I remember with startling clarity how deeply the show spoke to the girl I once was and still speaks to the woman I am today. Its larger cultural influence is inarguable. The show spawned a generation of leather-clad, crime-fighting virtuosos who delivered comebacks between roundhouse kicks. Yet, Buffy was never merely a Strong Female Character. She was too complex, too flawed, too human for that. There have been many well-crafted lead female characters in genre fiction to debut in the 20 years since the show’s premiere, but none as expertly acted, beautifully layered, and memorable as Buffy the Vampire Slayer.

Estaba viendo este vídeo sobre 10 teorías de los fans de Family Guy y citan a Buffy Concretamente el episodio Normal Again

Min 8:45:

Viendo Rick & Morty, por 1a vez, he visto el sexto episodio de la 1a temporada, que me ha recordado tanto a Bewitched, Bothered and Bewildered, de la 2a temporada y a la vez he recordado que hace unos pocos meses unos amigos me hablaban de Rick & Morty, y de un episodio, el cual me sonaba la premisa... Así que busqué en Google y supe el episodio al momento, Total Rickall, pues la conexión con Buffy era obvia:

Spoiler:

tema Dawn

Sus creadores hablan aquí de ello (creo):

CS: What is the process for exploring science fiction concepts? Do you actively see elements in say, “Star Trek,” and think, “Let’s explore that with a ‘Rick and Morty’ lens?”

Justin Roiland: It’s less active, conscious searching. It’s usually more discussions in the writers’ room about one story or another that elicits a connection in one of our brains going, “Oh, that reminds me of an episode of ‘Buffy’!” or whatever. Then we’ll go, “Okay, what happened in that episode?” “There’s a character who shows up and the audience doesn’t know who they are, but the cast and everyone on the show love this character. They’ve been around for the whole show, but they’ve never existed on the show before.” That was something we learned as we were working on the parasite episode in season two. Mike McMahan pointed out, “Yeah, there’s this Buffy thing.” The big difference there is that this character on ‘Buffy” was a very benevolent, good force that was sort of using the cast to protect itself, I guess. I need to watch ‘Buffy.’ It’s on my backlog. But that’s Mike McMahan. He’s this encyclopedia of sci-fi books, movies and tv shows. He’s just insane. He knows everything. We were just so excited about doing the concept of something similar, but different in that our is a parasite. It makes you think you’ve known it forever. It’s for nefarious purposes. They just spread and take over a planet if you don’t contain them and figure out who’s real and who’s fake. That’s one very specific example of how sci-fi tropes or sci-fi concepts in general will come up in the writers’ room very organically. I feel like there’s a few times, like the “Inception” thing. That was kind of a joke. We were thinking about “Nightmare on Elm Street” and then we found out that “South Park” did an episode.

Un Top 10 más, va, este de Fotogramas, aunque en orden cronológico.

Ninguna sopresa, los 10-15 de siempre, y 9 de Whedon;

-Innocence
-Becoming 1&2
-The Wish
-Graduation Day 1&2
-Doppelgangland
-Hush
-The Body
-The Gift
-Once More With Feeling
-Normal Again

(le añadimos Passion, The Zeppo, Restless y Chosen y ya están los que casi siempre se reparten esos Top 10)

Los de La casa de EL han hecho un podcast sobre la serie Buffy cazavampiros
Hablan de la serie original temporada a temporada y con spoilers a tutiplen, por encima del spin off y un poco de los comics.
https://www.ivoox.com/casa-el-103-bu...7460752_1.html

Oootro top de temporadas de Buffy. Pocas sorpresas:

1. 3a temporada
2. 2a temporada
3. 5a temporada
4. 4a temporada
5. 1a temporada
6. 6a temporada
7. 7a temporada

Buffy the Vampire Slayer seasons 1-7 ranked, from worst to best

Una vez finalizada la temporada 12 de Buffy (5a en formato cómic) los derechos de explotación regresarán a Fox, presumiblemente para organizarse de cara al anunciado reboot. Falta ver si se marcan un Star Wars/Disney y se cargan lo visto en las temporadas 8-12 o lo mantienen.

After Dark Horse's Buffy The Vampire Slayer Comic Ends, Fox Will Own the Rights

FOX recuperará de Dark Horse la licencia de ‘Buffy cazavampiros’

Anoche al llegar a casa de madrugada se me ocurrió poner SyFy y estaban poniendo varios seguidos de la temporada 5,The Body entre ellos, me los trague todos. Ahora me ha dado mono de comprarme la serie completa pero me da pereza la calidad de los dvd, la versión que estaban poniendo se veía cojonuda y lo mismo al verla en DVD da bajón. Aunque por otra parte se que nunca la editarán en Blu-ray en España y no contemplo pillarme una edición Blu Ray de fuera porque le tengo cariño al doblaje en castellano, es cojonudo y mira que soy de verlo todo en VOSE.
Es la serie de mi infancia-adolescencia y la primera a la que me enganche y tendría que tenerla para ver algún capítulo de vez en cuando.
Además he visto la edición de coleccionista de Digipack por 50-70€.
Creo que iré a por ella porque lo del Blu-ray aquí es una batalla perdida no?

Artículo sobre Glory:

NOT YOUR SHERO: GLORY FROM BUFFY THE VAMPIRE SLAYER

Ea Synch, observa cómo la música le sigue el juego a los códigos de terror clásicos y a la farsa de la chica desvalida protegida por su novio

Siempre he creido que esa escena recoge perfectamente el espiritu de lo que es esta serie

Además es lo primero que se ve,antes de los creditos del primer capítulo

Iniciado por killbillito

Siempre he creido que esa escena recoge perfectamente el espiritu de lo que es esta serie

Además es lo primero que se ve,antes de los creditos del primer capítulo

Claro, es lo que le comentaba a Synch ayer. A ver si se pasa y me cuenta.

Iniciado por Branagh/Doyle

Ea Synch, observa cómo la música le sigue el juego a los códigos de terror clásicos y a la farsa de la chica desvalida protegida por su novio

Iniciado por killbillito

Siempre he creido que esa escena recoge perfectamente el espiritu de lo que es esta serie

Además es lo primero que se ve,antes de los creditos del primer capítulo

Lo ingenioso de esa intro, que efectivamente resume la premisa inicial con la que Whedon planteó la serie (la rubia en un callejón y asesinada por el matón de costumbre), es que se retuerce en si misma y además es honesta.

Honesta porque no nos engaña: el tipo, que probablemente tenía intenciones de semi delincuencia o probablemente sexuales al entrar ahí con su chica, tiene esa pose porque alguien que hace eso, a esa edad, normalmente va ligado a esas maneras. Y ella actúa como actúa porque debe engañarlo a él, hacerse pasar por una víctima tontita, rubia y llena de miedo. Así que Whedon ahí es, como de costumbre, muy listo y no nos engaña él, ni siquiera la escena, sino la propia Darla.

Y digo que se retuerce en si misma porque la premisa va sobre Buffy, claro, la rubia que no sólo no es débil, sino que estará 7 años o 12 si contamos cómics, dando caña. Pero en esa intro la rubia es una vampiro, bastante vieja (más fuerte y tal aunque ahí, cuestiones del éxito del personaje + los excelentes dos showrunner iniciales de Angel + el propio Whedon, regresó más tarde en Angel como personaje cojonudo) y como vemos, juguetona.

Así que la premisa aquí la vemos desde el punto de vista del chaval aunque aquí él cree ser el chulo malote y no sabe que la chica rubia es la malota, y letal

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En cuanto a la BSO, pese a que aún no estaba Beck (que joder.. que ACIERTO de fichaje, Hush, Restless, Gift, la parte instrumental del musical + la co-musicalización de las canciones de Whedon), ayuda porque te lleva, precisamente, hacia ese supuesto y ahí si que es algo tramposa si atendemos a la omniscencia del narrador pero, hay narrador? No, así que simplemente la música responde a lo que imprime la escena, y esta, aunque sea por lo pre-concebido, sugiere misterio, terror, incluso un punto slasher y la probabilidad de que el chico tenga intenciones raras y, en natural empatía con el personaje débil, la rubia, sentimos temor.

Sin duda esa intro es ya la primera estaca, la idea de Whedon de subvertir las expectativas del género e incluso de la TV. Qué serie

Un nuevo artículo sobre la sexta temporada. Es curioso la redefinición que está sufriendo la misma en los últimos tiempos. Es lo habitual cuando un film o temporada tienen críticas negativas de los fans, el tiempo pasan, llegan nuevos fans y el asunto se reescribe desde otro punto de vista, con la perspectiva del paso del tiempo.

En mi caso, es curioso, me gustó bastante-mucho en mi primera vez viendo la serie completa, casi que era mi 2a? temporada favorita pero en mi última vez ya no me gustó tanto, pese a tener el musical (que en el cómputo de temporada debe contar, claro, pero es una total excepción de Whedon, precisamente cuando en dicha temporada no estuvo tan activo), Normal Again, un gran inicio y final de temporada... Pero la sección intermedia me pareció floja, la adicción de Willow mal llevada (y primer fracaso en las metáforas de la serie) y en general la serie parecía algo perdida aunque ese tono tiene su punto. Hoy en día sería mi quinta temporada favorita (3-5-2-4-6-7-1).

NOT GUILTY: SEASON 6 OF BUFFY THE VAMPIRE SLAYER

Otro fan de Buffy: Kit Harington (Jon Snow). Lo cual tiene su gracia dado el fusilamiento de cierto momento al final del 6x02 de Game of Thrones vs cierto momento al final del 6x01 de Buffy

Kit Harington Thinks a Gay Actor Playing a Superhero Would Be “Incredibly Powerful”

“No, I love it,” Harington replied diplomatically. “I mean, I was not as obsessed with Roswell as Buffy and that sort of thing. I was actually obsessed with Buffy—Buffy I loved.”

Articulo sobre los 24 mejores episodios de miedo en series. Entra uno de Angel y otro de Buffy (Hush, claro). Incluso la foto que ilustra el artículo es de Hush

The 24 Most Terrifying TV Episodes to Watch This Halloween

Angel, “Rm w/a Vu”

The Buffy the Vampire Slayer spin-off was still trying to find its voice early in season one when the great Jane Espenson penned this effective hour that presented Cordelia with a tough question: Would she stay in a haunted apartment if it was rent-controlled? The excellent character actor Beth Grant plays a ghost who haunts Cordelia’s new pad, and there’s some great imagery here, such as a face coming through the wall and Grant’s first appearance in the mirror. It’s an episode that sneaks up on you, revealing that Angel could play with different tones and themes than fans may have been expecting.

Buffy the Vampire Slayer, “Hush”

The most effective horror is often not about what is said, but what is seen. Who could guess that one of the scariest hours of TV history would be largely silent? In “Hush,” Buffy and the rest of the Scooby Gang cross paths with the Gentlemen, a nightmarish group of well-dressed demons who steal your voice before they cut out your heart. Written and directed by Joss Whedon, “Hush” is a stand-alone masterpiece, the rare hour of an episodic series that someone could watch and love never having seen the rest of the show. Available to stream on Hulu.