Buffy The Vampire Slayer blew up genre TV. Club. With so many new series popping up on streaming services and DVD every day, it gets harder and harder to keep up with new shows, much less the all- time classics. With TV Club 1. 0, we point you toward the 1. TV series, classic or modern. If you watch those 1. These are not meant to be the 1.

• Season 4 promo image. The main three actresses, Alyssa Milano, Rose McGowan, and Holly Marie Combs, as well as Brian Krause appeared in every episode of the season.
• Charmed is an American television series created by Constance M. Burge and produced by Aaron Spelling and his production company Spelling Television, with Brad Kern.
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When it debuted in the spring, on an out- of- the- way and tiny network still struggling to forge its identity, the idea that Buffy The Vampire Slayer would become one of the most influential TV dramas of all time would have seemed laughable. Based on a little- seen movie that garnered bad reviews from most critics, the series arrived with no- name stars as a curiosity on The WB, a network best known at the time for a Southern- fried soap named Savannah. Stranger still, the network decided to hand over control of the show to Joss Whedon, the man who wrote the screenplay for the original feature.

Whedon’s career as a script doctor—he did an uncredited rewrite on Speed that screenwriter Graham Yost credits with putting most of the quotable lines into the feature—had been wildly successful, and he’d written for TV shows as diverse as Roseanne and the original Parenthood. But he’d never been a showrunner, and he was still very young—in his early 3. Yet by the end of its seven seasons, Whedon and Buffy had reinvented the face of television. Watch Die Hard Full Movie. Buffy wasn’t a wildly innovative show that was a bolt of creativity out of the blue, like Twin Peaks.

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Like Hill Street Blues and The X- Files before it, Buffy was really good at synthesis, at pulling together lots and lots of different ideas and strands from the cultural ether and twining them together into something more powerful than its individual elements. Whedon drew on the still- popular X- Files for the series’ genre storytelling, particularly in its early days, and he borrowed a structure that had been primarily popular on the cop show Wiseguy, in which the heroes face off against one primary villain per season, though it was Buffy that gave this idea its most popular name—the Big Bad. Then Marvel comics, cheesy horror movies, and feminist- studies courses were tossed into the mix, and what emerged was indebted to all of those sources but beholden to none of them. Buffy is perhaps most famous for its adventurousness, on both a plot and stylistic level.

The series began as an ultra- low- budget story of a teenage girl who’s a typical high- school student by day and a killer of monsters by night. Played by Sarah Michelle Gellar, Buffy goes on a harrowing hero’s journey over the course of the series, starting out as a cockily confident young woman and coming to realize just how hard it can be to have such great weight placed on her shoulders. Most episodes of the show have a random monster or two pop up in Buffy’s city of Sunnydale, California, having been drawn there by the town’s “Hellmouth,” a magnet for beasts and demons of all sorts. Usually, these monsters stand in as metaphors for typical teenage problems.

Then, Buffy and her friends—sweetly dorky nerd Willow (Alyson Hannigan), dependably doofy guy- pal Xander (Nicholas Brendon), and school librarian/exposition deliverer Giles (Anthony Stewart Head)—do their level best to destroy said monster. Meanwhile, in the background, the season’s Big Bad would be plotting, sending out minions, and building toward whatever scheme he or she would unleash in the season finale.

Once the template was established in season one, Whedon and his writers—including many names who have gone on to acclaim elsewhere, including Marti Noxon, Jane Espenson, and David Fury—almost immediately began picking at it, figuring out how to flip things around to keep the audience on its toes. The show was fond of plot twists, but it almost never used them for their own sake.

Instead, the twists were almost always grounded in character, allowing the show to take all of its characters on long, evolution- filled journeys. Characters began a season in one place and ended it in another, and while the growth was over the top, it was nearly always organic. If someone turned evil, it wasn’t because they stumbled upon a magic spell or something similar. It was because they had suffered or been hurt, because they saw no other way through their pain but to force it on the world around them. That applied to the characters’ romantic relationships as well, which often shifted and twisted and turned.

Characters explored their sexualities, made ill- advised hook- ups, and destroyed each other via breakups. As the characters grew older, the series’ concerns matured with them. Plenty of fans found Buffy’s growing darkness—particularly in its final three seasons—off- putting, but Whedon and his writers used the darkening themes to closely parallel the way Buffy and her friends found a world of uncertain responsibility once they left high school at the end of season three. Yet even as this was happening, the series’ stylistic ambitions were expanding. Whedon stepped more and more behind the camera, directing episodes that included one without dialogue, a musical, and a music- free art film.

The series remained cuttingly funny throughout its run, but the teen soap crammed with gags from the early seasons gave way to something more brooding and operatic, until the final (and weakest) season posited a battle that was as much for Buffy’s soul as anything else. Watching just a handful of Buffy episodes isn’t the best way to understand what made the show so influential and so special, simply because so much of its influence stems from the way it used serialization so effectively. Yet the show’s humor, its blend of dozens of genres, and its episode- by- episode plotting are possible to grasp in just one hour of the show, and even a lackluster episode displays the way Whedon and company had fun blowing up what their audience thought it knew about genre TV.

And the further along a prospective viewer goes, the more likely it becomes that he or she will land on an episode that reveals just how bold the series could be on a visual level, or how thrilling its stylization could be. Here, then, are 1. Buffy- curious, though it seems likely sampling a couple of them will turn those intrigued by the series into devotees, devouring every episode over a few weeks.“Prophecy Girl” (season one, episode 1. The first episode both written and directed by Whedon, the first season finale brings Buffy’s conflict with ancient vampire The Master to a head, complete with numerous terrific quips, a storyline in which the school dance dovetails nicely with the end of the world, and great moments for all of the series regulars, even stuck- up fashion plate Cordelia (Charisma Carpenter). The conflict with The Master is simple enough that newbie viewers should be able to grasp it from this episode alone, and the thrilling fun contained within will likely be enough to give a sense of the series at its early best, when it was still relatively “pure” and before it started unleashing legions of plot twists.“Surprise” (season two, episode 1. The series’ first great romance was between Buffy and Angel (David Boreanaz), a centuries- old vampire who’d been given back his soul by a gypsy curse that made him lament all of the evil he’d done in his vampire days.

In a famous two- parter in the middle of season two, the series took that relationship to the hilt as it pushed the two into conflict with a bad guy named The Judge, who had world- ending aspirations. The script for this episode is by Noxon, who excelled at the kind of soapy relationship twists that kept the series grounded in broken hearts and human pain, and the closer of this episode is a killer, setting up. Yet “Surprise” and “Innocence” are so important to the show’s development, and the cliffhanger at the end of “Surprise” makes it essential to watch both, in order to understand the show and just for the enjoyment of any prospective viewer.