#sarah michelle gellar

In regards to the acting coach’s perspective on Buffy season 1 (last reviewing Witch): https://www.youtube.com/watch?v=7tt5L6IeHT4

Witch was actually the very first episode shot.

Many new shows will film a few filler episodes first while the actors are still building their chemistry, so that the first episodes aired will be even better. This was absolutely the reason why Witch was filmed prior to Welcome to the Hellmouth and The Harvest. Might be worth noting in terms of green performances and chemistry. The chemistry is great already, though this is luckily a very fatherly episode for Giles, so it’s not as jostling as that slightly creepy, personal space-intrusive version in Welcome to the Hellmouth shot later. In Nicholas Brendon’s case with his visible waiting for the next line, outside of the unaired pilot, *this* was actually his first episode.

Obviously, this is one of the cases where the pilot was never aired (for good reason–and not just because of replacing Willow and Flutie) and many times those will have scenes redone for airing. Sometimes things are reshot due to replacing an actor, but without reshooting the whole thing. For example, Smallville had a Martha Kent stand-in due to Annette O'Toole being already cast, but only available at a later date.

In Buffy’s case, the unaired pilot was obviously a lost cause. They were still working out how to do major SFX staples of the show like the dusting effect (they tried stop motion before settling on dodgy CGI with no skeletons until season 3), as well. Even the makeup changed a bit over the first season from Julie Benz being the original test dummy for The Lost Boys prosthetics, as can be seen by the white/purple makeup being made more flesh tone. It was her first scene that coincidentally changed the least in the rewrite and performance (except for a costume change) from the unaired pilot to Welcome to the Hellmouth. She also was originally meant to die in what became The Harvest’s showdown, but was kept for another episode (and then a lot more episodes!) by having her run away (note how often Darla runs away from danger!) from Willow’s holy water.

Darla’s costume change became the Catholic schoolgirl look (she was just wearing a floral ‘90s grunge dress before) that got an explanation in 1x07. Darla doesn’t know she’s trying to jealously scare off a Slayer (she doesn’t know until the mausoleum scene) with the dead guy in the gym locker, but she knows Angel is in Sunnydale and has been following a schoolgirl. Darla later mocks Angel for this, but also exposes her insecurity and jealousy, all the way later in Dear Boy on his spinoff. Angel, of course, is Catholic, so that’s another pointed jab. A lot of viewers don’t even pick up on the Catholic schoolgirl uniform, which was worn prior to Darla knowing Buffy’s secret identity, being that meaningful. The other thing viewers don’t pick up on in regards to 1x07 is the in-hindsight meaning of Angel having human blood in his fridge after two decades eating rats and how that potentially affected his ability to socialize with humans and why he knew about delivery day at the hospital in The Dark Age, despite Whistler mentioning blood from the butcher. Something as simple as a costume change got a whole character-building backstory in a later episode. That layer of storytelling was absent in the pilot.

For continuity reasons that weren’t because of anything being performed badly like Buffy’s hair color and the school library becoming a set (Torrance High’s spiral library staircase would’ve clearly become a hazard for Tony Head!), the footage had to all be redone. Buffy had a slightly longer dialog in the library scene, for example, that is actually something of a loss because it goes into more depth about what happened to her in L.A.

Xander’s tour of the school isn’t strictly necessary for the plot, but was a chemistry-building scene, and perhaps a remnant of Joss Whedon’s intent for him to be the every man who wins the fantasy girl who is out of his league, rather than the female protagonist instead winning her unattainable, forbidden fruit fantasy (the male gaze vs. the female gaze).

Whedon was still being talked into having the Angel character at all back then, originally intending for Xander (notoriously known for being Whedon’s not-so-nice “nice guy” self-insert) to be the love interest. David Greenwalt, Marcia Shulman and Gail Berman were Angel’s biggest cheerleaders and the latter two (rather degradingly described as “puddles of drool”) outvoted Whedon during casting. The WB also only agreed to renew the show (they were actually quite disappointed by season 1) if season 2 contained more Angel and the Bangel romance, which was heavily promoted (look at any of the WB’s ad campaigns) and brought in the show’s highest ratings (the entire show’s ratings peaked at Surprise/Innocence).

Not only was Whedon against casting David Boreanaz, comparing him even to the jocks who beat him up in school and talking about how he hated making a spinoff about a white Alpha male lead as a hero, but he was reluctant to have any good vampires at all. Come season 2, Whedon was also pushing James Marsters up against a wall and threatening to fire him because he was getting too popular. Whedon made the remark that Marsters had it easier than him getting laid because of how he looked (that was on Marsters’ second day of work well before School Hard ever aired!). Whedon didn’t like it when he ended up with a good vampire sex symbol the first time, then ended up with two sympathetic vampire sex symbols on his show.

Coincidentally, both characters weren’t meant to stick around and survived intended final death scenes, as well. Angel was never meant to be more than a cryptic messenger for a few episodes (before he became the love interest or a vampire), then wouldn’t have come back from hell if it weren’t for the spinoff (which the WB wanted–it wasn’t just Whedon being finally impressed by Boreanaz’s performance as Grace Newman). Spike was originally intended to be killed by the church organ falling on him. Faith was originally going to hang herself after staking Finch.

For that matter, the original villain of season 2 was meant to be the Anointed One (hence the absurd build-up in season 1 that goes nowhere) until it was apparent that Collin’s actor had grown up too much and wasn’t that successful (cue Spike flash-frying him in a cage), with Whedon reluctant to believe Boreanaz could carry the Big Bad role. Angelus arguably turned out to be the Buffyverse’s greatest villain and Buffy’s most personal. The most subtle foreshadowing was undoubtedly the fact that the production didn’t feel the need to hire Mark Metcalf for a silent performance of the Master in When She Was Bad, so it’s actually Boreanaz (look for his wider mouth shape) beneath the Master’s prosthetics. Buffy’s having nightmares of the Master, but it’s really Angel underneath! When She Was Bad also teases what would happen if it came down to a fight between Buffy and Angel.

Whedon’s intentions being outvoted so forcefully by other writers, producers, the network and audience is mirrored by the likes of Sera Gamble attempting to villainize and kill off Castiel (whose Little Mermaid-esque arc arguably overshadowed the Winchesters and created an unintended third lead, no matter how much he was nerfed of his powers and left out of Monster of the Week episodes due to him making human hunters irrelevant) on Supernatural, only to fail with a massive audience outcry and was forced out of the show herself. Shows occasionally get away from their creators or showrunners.

Greenwalt had to also create the soul/curse mythology (massively to the franchise’s benefit!) to explain how Angel was the first gray-area exception to Whedon’s black & white world-building where vampires and demons are always bad and only there to be allegories for human problems. This is in stark contrast to today’s vampire mythologies that are no longer default-evil and mostly about “choosing boyfriends, the movie”, whereas the Buffyverse ended up taking most of its vampire archetypes from Anne Rice, despite Whedon absolutely hating “that crap”. Ironically, Rice’s vampires are all sexually impotent and murderously evil, despite Louis feeling guilty and eating rats in alleys (sound familiar?). Come the spinoff, it wasn’t just Angel, but characters like Doyle and Lorne (not to mention Wolfram & Hart’s human lawyers) further muddying that original intent. The Buffyverse was straddling two eras of genre fiction in regards to the development of the evil-to-sympathetic/misunderstood-to-good monster.

The pilot definitely felt like it was a better set-up for Xander to not be so easily friend-zoned, but the friend-zoning is complete here in Witch. That one scene here in Witch actually turns out to be a significant one, and it’s especially significant in an episode that was shot first and doesn’t contain Xander’s rival. By the time that Witch was filmed, it appears the writing staff were aware that Xander wasn’t going to be the love interest. The next few episodes also are aware of it, even when Angel doesn’t or barely appears. Earlier drafts for Never Kill a Boy on the First Date and The Pack didn’t have Angel juxtaposed against Owen/Xander (this episode got the heaviest rewrites of all) or the scene of Buffy (wearing Angel’s jacket) and Willow discussing Angel in the Bronze + Xander’s jealousy under the hyena spell at all.

Only 25 minutes were presented of a full-length pilot script (dated January 1996) that even contained Angel (back when they hadn’t even decided he was a vampire yet and you’ll notice the bigger Angel episodes were all the last episodes written and shot with scenes dropped into earlier scripts that didn’t contain him before) as a mysterious motorcycle guy who stakes a vampire outside of the auditorium showdown. Boreanaz even mentioned shooting the motorcycle scene in the 20th anniversary special that probably confused anyone who hadn’t read the unaired pilot script (which is only a minute fraction of the franchise’s older diehards who even know where to get a hold of it!)!

Despite Boreanaz being already cast with a cut scene, it is only Mercedes McNab who is in both the unaired pilot (yet not Welcome to the Hellmouth) and Not Fade Away. Boreanaz is the only actor in both Welcome to the Hellmouth and Not Fade Away. He’s also in the most episodes by a far margin. Angel is in 167 episodes, with Willow coming in at 147 and Buffy only 146.

I still say the best spinoff they could possibly ever make would be all the Chosen Slayers getting deactivated, then Buffy and a Shanshu’d Angel (IMO, this plot really would only work with Angel, because it actually matches his story arc, not Spike’s, to want a human life and fatherhood) have a daughter who grows up not knowing the truth about her parents (and half-brother!) until it’s forced to come out.

I would particularly note that the first thing that happens to newly-called Slayers is their prophetic dreams. If ever there was a way to start breaking secrets to this new heroine that also serves as flashback exposition featuring the old shows, this seems custom-built for it. It’s exposition for the audience that never saw the old shows as well as an introduction to a key Slayer ability, but most importantly, it’s personal family revelations that go far deeper than historical flashbacks of unrelated persons or monsters that mean nothing personal.

These would be scandalous secrets for a baby Slayer, given Buffy was the rule-breaking Slayer who is most famous for having romantic relationships with the very creatures she’s supposed to slay. Angelus would be the worst family secret of all! This story has all the makings of an existential crisis before acceptance. That would also be a good place to drop in Connor’s history. Buffy never actually got to react to that bombshell either, so that would be an interesting drama with her, as well.

Buffy and Angel both tended to feature heavily in prophetic dreams, so it also just feels right to continue that.

If there’s some reason why David Boreanaz (who, let’s face it, is really not getting younger and SEAL Team can’t go on forever) can’t or is unwilling to appear, one could have an explanation that Wolfram & Hart has had him trapped in a holding dimension for years as punishment.

You could even build an arc around that with Buffy or the daughter trying to find him. Basically, a kind way of explaining Angel’s absence if necessary and Buffy unfortunately having to mirror her single mother (which was a fear of hers), despite it being no fault of Angel’s. It would be yet more cruelty for him to miss out on yet another child growing up, which would be a dramatic plot point itself. It could actually become a story where he does matter quite a lot, despite initial absence or mystery.

An even bigger shock than mom having Slayer superpowers and a world full of supernatural forces would be a reveal that dad is a 394+-year-old (depends on if you count hell–in a modern-day spinoff, Angel is rapidly approaching 400 years!) ex-vampire.

The most interesting and fitting story you could ever do with a maturing Buffy would be having her be a mother and trying to have a normal life.

This would also give Sarah Michelle Gellar a starring role that allows her to be age-appropriate, yet also having a younger generation that the original audience can still care about because she isn’t completely divorced from the two previous shows in the way that an unrelated Slayer spinoff would be. It allows the core storylines of *both* shows to truly matter, far more than a Buffy Steele-Gunn offspring would.

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Just a a few notes about my pitch for a continuation that works with the real ages of actors and their availability… I should also note that Xander (played by Nick, anyway–Kelly might work for a flashback) is a character who could never appear in live-action again, so maybe he could be used as another event that contributed to Buffy’s retirement besides pregnancy.

If the Shanshu and conception were directly post-NFA, any offspring would be 16 years old right now. IMO, if there were any plans to give SMG a series with her in a major supporting role, this just means that the space for how long between NFA and the Shanshu or how long Bangel got to be with each other widens for however many years it would take to revive the franchise.

I strongly believe that the best option for the franchise would be a back-to-the-suburbs story exploring age-appropriate Buffy facing motherhood, rather than trying to turn Buffy into a war general surrounded by nothing but subordinates (horribly alienating future for her) with a lack of equals or a grounded setting à la the season 8 comics. If you want to introduce the Buffyverse to a new audience whom you can’t expect to watch 24-year-old shows until they’re interested enough by the revival, you’re going to have to ground characters in a relatable reality.

As for how a new Slayer would be called after deactivation, I firmly believe the line is through Faith now anyway, so it would just take her dying for a minute à la Prophecy Girl for a new Slayer to be called. I would definitely want Faith in the show!

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I feel like SMG’s concern was less wanting to reprise the role entirely, but more concern that she’d be expected to play the same exact role in her 40s. This is giving her a role that fits a woman (and a mother in real life) who is in her 40s and is a major supporting role rather than he young lead whose story is being centered on.

As for the Angel situation, SMG might actually be more willing to return if she could beg DB to come back for perhaps an initially-limited role and the scenario is one I believe she’d actually support, as it fits with her preferences!

While it might seem that Buffy as a single mother retreads the original, Angel is obviously nothing like the Hank situation (not to mention Joyce and Hank being completely clueless), so the circumstances of the father would be quite different from Buffy’s own situation, while also feeding into her own stated fears about her future.

This also brings up all the conversations in Bad Eggs, The Prom and the Chosen cookie dough analogy (children are mentioned again) to the forefront. Unlike with the other options, it was something that came up repeatedly. Admittedly, it was always by Angel due to his infertility and the human life he most desired; all of which ended up being an important part of *his* story.

However, a part of Bad Eggs that is woefully underrated is that Buffy was disappointed when Angel told her vampires can’t have children. She immediately covers it up with a babble speech and then starts making excuses for why Slayers are unlikely to have that kind of future. Young Buffy did not disregard it because she didn’t want children ever at all, but because the person whom she saw that future with was someone who couldn’t have them.

Enter Nikki Wood, where Buffy learns that at least one Slayer was definitely a mother, which she was clearly surprised by.

That’s another reason why I can see Buffy, if she got her hopes up with post-Shanshu Angel and conceived, would do anything to be a good mom by not being all about “the mission”. She would never want her child to be raised without parents. And I think she’d be doubly sensitive to that, not just because of Nikki, but because of Hank leaving and Joyce dying.

Buffy also became surrogate mother to Dawn, who was made out of her (in a sense, she is her real mother), so Angel’s situation with Connor actually had a direct mirror in Buffy’s situation with Dawn.

But those conversations were also not just about wished-for children that couldn’t be conceived, but also asking Buffy to think about what she wants for her future if she took out the belief that Slayers don’t live long enough to have one.

This show would be the answer to what happens to a Slayer when she does live long enough to have the future she barely wanted to get her hopes up for before.

Buffy (ditto Angel) is the character for which this story actually has a ton of setup in the shows themselves. These characters talked about it! And the circumstances are really nothing like Joyce and Hank, even if the initial setup plays into both Buffy and Angel’s worst nightmare scenarios about parenthood: being a single mother and not getting to raise the miracle child you thought you’d never have. That kind of bittersweet writing that shirks too-good-to-be-true wish-fulfillment is a cornerstone of what makes it a Buffyverse storyline.

If the daughter’s family lied to her about their history to keep her safe and protect her from knowing what goes bump in the night (making them the polar opposites of Hank and Joyce in regards to knowing all too well–especially Angel’s experience of being the worst thing you could bump into at night, rather than utterly clueless), that would certainly be a conflict. Especially if she found out in a particularly shocking way (say, prophetic dreams).

And if Angel (I’d like to imagine he has the company of ghost!Wesley and maybe Illyria and Spike) has been taken for punishment by Wolfram & Hart, it might really confuse her if she doesn’t know that he didn’t just leave or some other excuse Buffy covered it up with.

Wolfram & Hart would also probably love the irony of Angel getting what he most desires (to be human and a father), only to punish him with it by wasting his remaining years separated from all that he loves.

Ethan Hawke and Julie Delpy during the New York premiere of “Before Sunrise” at Village Theater East (1995)

Neve Campbell 90s fashion icon

Scooby-Doo (2002)