Willow: It is nice. He's great. We have a lot of fun. But I want smoochies! Buffy: Have you dropped any hints? Willow: I've dropped anvils. Buffy: Well, he'll come around. What guy could resist your wily Willow charms? Willow: At last count? All of them. Maybe more.

© Don Macnaughtan 2004

This bibliography covers some of the huge volume of print and electronic media that have been produced since 1997 on "Buffy" and "Angel." It includes books, articles, essays, primary materials such as scripts and dvds, websites, fiction, games, and many other manifestations of the Buffyverse canon.

Articles from Magazines, Radio, Journals and Newspapers

In this section...


• Buffy/Angel Magazines and Journals
  
• Magazine & Newspaper Articles
  
• Radio Articles
  
• Interviews and Profiles
  
• Articles from Academic Journals
  
• Online Articles



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Buffy Journals and Magazines




Slayage: The On-Line Journal of Buffy Studies

Watcher Junior: The Journal of Undergraduate Research in Buffy Studies

Titan "Buffy" Fan Magazine

Titan "Angel" Fan Magazine



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Articles from Journals, Magazines, and Radio


Destructo-girl Index to Buffy Articles

Abbott, Stacey. "A Little Less Ritual and a Little More Fun: The Modern Vampire in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 3 (2001).

Abbott, Stacey. "Walking the Fine Line between Angel and Angelus." Slayage: The Online International Journal of Buffy Studies 9 (2003).

Adams, Michael. "Slayer Slang, I-II." Verbatim: The Language Quarterly 24.3 (1999): 1-4; 24.4 (1999): 1-7.

Alderman, Naomi, and Annette Seidel-Arpac. "Imaginary Para-Sites of the Soul: Vampires and Representations of Blackness and Jewishness in the Buffy/Angelverse." Slayage: The Online International Journal of Buffy Studies 10 (2003).

Alessio, Dominic. "'Things are Different Now'?: A Postcolonial Analysis of Buffy the Vampire Slayer." The European Legacy 6.6 (2001): 731-40.

Anderson, Wendy. "What Would Buffy Do?" Christian Century 17 May 2003: 43.
"...A truly anti-Christian show could hardly have such an obvious Christ figure as its protagonist. During the show's first season, Buffy went willingly to death by drowning in fulfillment of ancient prophecy (with an assist from Isaiah). She was revived feeling "strong" and "different." However, this quasi-baptismal experience cannot compare to Buffy's second death, at the end of season five, when, realizing that her blood could save the world, she jumped off a platform with her arms outspread in cruciform position. After her friends used dark magic to resurrect her, it turned out that she had been in "heaven."

All quips aside, the show's plotlines and dialogue repeatedly emphasize the transformative powers of love and the fact that Buffy's success and survival as a vampire slayer are thanks to her inner strength and her loving network of family and friends. She forgives their assorted betrayals as they forgive hers. From the first episode to the last, Buffy's humanity is what is most striking. When an enemy taunts that he has stripped away her friends, weapons and hope, she tells him that she still has "me." When the primitive First Slayer challenges her in a dream, insisting that all Slayers are solitary killers, Buffy responds that she is not alone, adding, "I walk, I talk, I shop, I sneeze. I'm gonna be a fireman when the floods roll back ... Now give me back my friends!"

In each season finale, victory over the forces of darkness ultimately derives not from supernatural power but from human (and occasionally vampire) love. This is not an explicitly or exclusively Christian message, but it can certainly be inspiring. As Buffy's friend Willow once suggested, "It's the extra evil vibe from the Hellmouth. Makes people pray harder." The only real problem with the show for Christians and non-Christians is that it ends this month."

Anderson-Minshall, Diane. "Kennedy the Vampire Slayer: Actress Ayari Limon is Ready to Move Beyond Buffy." Curve August 2003: 21-22.

Bacon-Smith, Camille. "The Color of Dark." Slayage: The Online International Journal of Buffy Studies 8 (2003).

Barbaccia, Holly G. "Buffy in the 'Terrible House'." Slayage: The Online International Journal of Buffy Studies 4 (2001).

Bartlem, Edwina. "Coming Out on a Hell Mouth." Refractory: a Journal of Entertainment Media 2 (2003).

Bates, Margaret, et al. "'When Exactly Did Your Sister Get Unbelievably Scary?' Outsider Status and Dawn and Spike's Relationship." Slayage: The Online International Journal of Buffy Studies 16 (2005).

Battis, Jes. " She's Not All Grown Yet': Willow As Hybrid/Hero in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 8 (2003).

Beirne, Rebecca "Queering the Slayer-text: Reading Possibilities in Buffy the Vampire Slayer." Refractory: A Journal of Entertainment Media 5 (2004).

Berg, Robert. The Annotated Buffy. 2002.

Bianco, Robert. "Buffy will Rise from Graveness." USA Today 16 July 2002: 4.
"UPN promises a return to a lighter and funnier Buffy the Vampire Slayer this fall, which begins with the reopening of Sunnydale High, blown up three years ago by Buffy and her graduating friends. This more positive take follows a season widely criticized for being too grim for too long. While creator Joss Whedon is looking forward to taking the show back to its wittier roots, he also believes Buffy accomplished what it set out to do last year: make a more solitary heroine face the inner demons that accompany maturity."

Bianco, Robert. "Buffy, the Season-Finale Slayer." USA Today 25 May 2002.
"Better last than never. In its two-hour season finale, Buffy the Vampire Slayer finally delivers the kind of Buffy-at-its-best episode fans have hoped for all season and seldom received...

In thrilling fashion, tonight's back-to-back episodes provide a fitting, sometimes funny and sometimes shocking payoff to all the plots set up over the past few weeks: Willow's murderous descent into witchcraft, Xander's increasing sense of isolation and Spike's enraged desire to return to his old self. You even get to see Buffy shake off her back-from-death depression -- for good this time, I'm betting, though the show has teased us with that plot point before...

Still, even when Buffy fails, and this season does rank as a relative failure, it fails in interesting ways. Most long-running series stumble because the writers run out of ideas, or the producers or actors exhaust their energy and interest. It's clear Buffy suffered from Whedon's reduced involvement -- and suffered more than the writers may have imagined from the absence of Anthony Stewart Head as Giles, who provided a needed adult voice. But essentially, Buffy faltered because it charted a seemingly viable artistic course that simply didn't work, or didn't work well enough to maintain fan interest...

Happily for fans, tonight's finale doesn't just look back, it also looks ahead, laying the foundation for the season to come. I don't want to spoil any of the show's surprises (and few shows are better than Angel or Buffy at springing a last-second gasper on unsuspecting viewers). But I will tell you this: One of the last things Buffy says tonight to her sister, Dawn, is, "It hasn't been OK, but it's going to be now ... I want to see my friends happy again." News that good is worth the wait."

Bieszk, Patricia. "Vampire Hip: Style as Subcultural Expression in Buffy the Vampire Slayer." Refractory: A Journal of Entertainment Media (Feb 2005).

Bianco, Robert. "The End of Buffy Feels like a Dagger to the Heart." USA Today 29 April 2003: 01.
"Buffy has always been the least guilty of TV pleasures. Granted, as with all cultists, Buffy the Vampire Slayer fans were often forced to defend themselves to the uninitiated. But honestly, defending the show has never been particularly hard, or even momentarily embarrassing.

Simply put, for seven seasons, Buffy has been one of the smartest, scariest, sexiest and wittiest shows on television. Too often dismissed as a teen show or a genre show, Buffy was a well-acted and often brilliantly written comedy/drama that, under its fantasy guise, treated the pains and joys of life with admirable and sometimes shocking realism ... You can get the basic idea of the show from that title that so many adults seemed to find off-putting: Buffy slays vampires. But if you look at the title again, you'll see the show isn't about what she does, it's about who she is. She was called to this role, which allowed Buffy to explore issues of responsibility most other series ignore.

At heart, the vampires Buffy and her friends fought were metaphors for the monsters we all face -- particularly in high school, where every decision seems like life and death, and every problem seems like the end of the world. The unexpected bonus in Buffy was the kids were right. They were facing down the apocalypse. And they did so while chatting in a slangy appropriation of pop culture references that was amusing without ever becoming forced or annoying.

What was amazing, however, was not just how apt the metaphor proved to be, but how adaptable it was. Without ever straying from its basic story and characters, Buffy could swing from outright horror to comedy to heartbreaking family drama. Over the years, it touched upon many of life's toughest issues: separation, rejection, the death of a parent or a lover, the alienation of old friends, the cruelty of a partner who no longer loves you.

But the issues didn't just fly by; they had weight and repercussions. Life didn't come free on Buffy: Mistakes were paid for, and while things were forgiven, they were never forgotten. That's one reason the characters could often be difficult, particularly Buffy herself, who like most saviors, and a good many actors, was best admired from a distance. Feel guilty for liking a show like that? Never. But I'll tell you what I do feel as it departs. Slayed."

Bianco, Robert. "Buffy Returns to Chat up the Dead." USA Today 12 Nov. 2002: 4.
"Dead people have always brought out the best in Buffy. Fighting the living dead is, of course, Buffy's primary mission -- and the source of her show's title. But dealing with death and the dead has also given this remarkable series some of its best episodes, from the heartbreaking loss of a parent in The Body to the heart-stopping horror of the silent classic Hush . Now, as if to verify its rebound from last year's subpar season, Buffy offers another sure-to-be classic outing: Conversations With Dead People. Written by Jane Espenson and Drew Goddard, this startling episode shifts seamlessly from horror to humor while shifting the season's main story arc into gear. Fans of the series will love it, but so will anyone who loves good writing and inventive storytelling."

Bloustien, Geraldine. "Fans With a Lot at Stake: Serious Play and Mimetic Excess in Buffy the Vampire Slayer." European Journal of Cultural Studies Nov. 2002: 427-450.

Bodger, Gwyneth. "Buffy the Feminist Slayer? Constructions of Femininity in Buffy the Vampire Slayer." Refractory: A Journal of Entertainment Media 2 (2003).

Bowers, Cynthia. "Generation Lapse: The Problematic Parenting of Joyce Summers and Rupert Giles." Slayage: The Online International Journal of Buffy Studies 2 (2001).

Bowman, Laurel. Buffy the Vampire Slayer: The Greek Hero Revisited. 2002.

Boyette, Michele. "The Comic Anti-Hero in Buffy the Vampire Slayer, or Silly Villain: Spike Is for Kicks." Slayage: The Online International Journal of Buffy Studies 4 (2001).

Bradney, Anthony. "Choosing Laws, Choosing Families: Images of Law, Love and Authority in Buffy the Vampire Slayer." Web Journal of Current Legal Issues 2.1 (2003).

Bradney, Anthony. "I Made a Promise to a Lady: Law and Love in BtVS." Slayage: The Online International Journal of Buffy Studies 10 (2003).

Braun, Beth. "The X-Files and Buffy the Vampire Slayer: The Ambiguity of Evil in Supernatural Representations." Journal of Popular Film and Television 28.2 (2000): 88-94.

Breton, Rob, and Lindsey McMaster. "Dissing the Age of Moo: Initiatives, Alternatives, and Rationality in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 1 (2001).

Buinicki, Martin, and Anthony Enns. "Buffy the Vampire Disciplinarian: Institutional Excess, Spiritual Technologies, and the New Economy of Power." Slayage: The Online International Journal of Buffy Studies 4 (2001).

Burr, Vivien. "Ambiguity and Sexuality in the Buffyverse: A Sartrean Analysis." Sexualities 6.3-4 (2003): 343-60.

Burr, Vivien. "Buffy vs. The BBC: Moral Questions and How to Avoid Them." Slayage: The Online International Journal of Buffy Studies 8 (2003).

Burr, Vivien. "'It All Seems So Real': Intertextuality in the Buffyverse." Refractory: A Journal of Entertainment Media 2 (2003).

Buttsworth, Sara. "'Bite Me': Buffy and the Penetration of the Gendered Warrior-Hero." Continuum: Journal of Media & Cultural Studies 16.2 (2002): 185-199.

Callander, Michelle. "Bram Stoker's Buffy: Traditional Gothic and Contemporary Culture." Slayage: The Online International Journal of Buffy Studies 3 (2001).

Campbell, Richard, and Caitlin Campbell. "Demons, Aliens, Teens and Television." Slayage: The Online International Journal of Buffy Studies 2 (2001).

Cantwell, Marianne. "Collapsing the Extra/Textual: Passions and Intensities of Knowledge in Buffy the Vampire Slayer Online Fan Communities." Refractory: A Journal of Entertainment Media 5 (2004).

Case, Sue-Ellen. "Tracking the Vampire." Differences: A Journal of Feminist Cultural Studies 3.2 (1991): 1-20.

Chandler, Holly. "Slaying the Patriarchy: Transfusions of the Vampire Metaphor in BtVS." Slayage: The Online International Journal of Buffy Studies 9 (2003).

Clark, Daniel A., and P. Andrew Miller. "Buffy, the Scooby Gang, and Monstrous Authority: BtVS and the Subversion of Authority." Slayage: The Online International Journal of Buffy Studies 3 (2001).

Clarke, Jamie. "Affective Entertainment in Once More with Feeling: A Manifesto for Fandom." Refractory: A Journal of Entertainment Media 2 (2003).

Cocca, Carolyn. "First Word 'Jail,' Second Word 'Bait': Adolescent Sexuality, Feminist Theories, and Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 10 (2003).

Coleman, Felicity. "The Sight of Your God Disturbs Me: Questioning the Post-Christian Bodies of Buffy, Lain, and George." Refractory: A Journal of Entertainment Media 3 (2003).

Collins, Gail. "Buffy Rides Off Into the Sunset." [Editorial] New York Times 21 May 2003: A30.
"... But for all its science fiction plots and gorgeous young cast members -- who always battled evil wearing great clothes -- the show's core was achingly true to life. The long list of people Buffy lost or killed weighed down on her, and although her wardrobe remained as spiffy as ever, her soul was battered. The series grew increasingly dark, and over the last few years there was a growing sense that she was coming to the end of the trail. But every time she staked a villain, somewhere in the TV ether you could hear all of the cowboys' long-dead girlfriends cheering."

Cover, Rob. "From Butler To Buffy: Notes Towards a Strategy for Identity Analysis in Contemporary Television Narrative." Reconstruction: Studies in Contemporary Culture 4.2 (Spring 2004).

Cover, Rob. "'Not to Be Toyed With': Drug Addiction, Bullying and Self-empowerment in Buffy the Vampire Slayer." Continuum: Journal of Media & Cultural Studies 19.1 (Mar 2005): 85-101.

Curry, Agnes B. "Is Joss Becoming a Thomist?." Slayage: The Online International Journal of Buffy Studies 16 (2005).

Davis, Robert A. "Buffy the Vampire Slayer and the Pedagogy of Fear." Slayage: The Online International Journal of Buffy Studies 3 (2001).

DeCandido, GraceAnne A. "Bibliographic Good vs. Evil in Buffy the Vampire Slayer." American Libraries 30.8 (1999): 44-7.

Diehl, Laura. "Why Drusilla Is More Interesting Than Buffy." Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Dowling, Jennifer. "'We Are Not Demons': Homogenizing the Heroes in Buffy the Vampire Slayer & Angel." Refractory: A Journal of Entertainment Media 2 (2003).

Dunn, Jancee. "Sarah Michelle Gellar: Love at First Bite." Rolling Stone 2 April 1998: 40-45.

Dupey, Cora. "Is Giles Simply Another Dr Van Helsing? Continuity & Innovation in the Figure of the Watcher in Buffy the Vampire Slayer." Refractory: A Journal of Entertainment Media 2 (2003).

Early, Frances H. "Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior." Journal of Popular Culture Winter 2001: 11-28.

Epps, Garrett. "Can < i>Buffy's Brilliance Last?" The American Prospect 13.2 (Jan 28 2002): 28-31.

Erickson, Greg. "Revisiting Buffy's Theology: Religion: 'Freaky' or Just 'A Bunch of Men Who Died'." Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Fifarek, Aimee. "'Mind and Heart with Spirit Joined': The Buffyverse as an Information System." Slayage: The Online International Journal of Buffy Studies 3 (2001).

Fossey, Claire. "'Never Hurt the Feelings of a Brutal Killer': Spike and the Underground Man." Slayage: The Online International Journal of Buffy Studies 8 (2003).

Fudge, Rachel. "The Buffy Effect or, a Tale of Cleavage and Marketing." Bitch 4.1 (1999): 18-21.

Gilleland, Michael. "Latin in Buffy and Angel." Laudator Temporis Acti 24 July 2005.

Gilstrap, Andrew. "Death and the Single Girl: Buffy Grows Up." Pop Matters 2002.

Graeber, David. "Rebel Without a God: Buffy the Vampire Slayer is Gleefully Anti-authoritarian -- and Popular." In These Times 23.2 (Dec 27 1998): 30+.

Graham, Paula. "Buffy Wars: The Next Generation." Rhizomes.net 4 (2003).

Greene, Richard, and Wayne Yuen. "Why Can't We Spike Spike?: Moral Themes in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 2 (2001).

Gross, Joe. "Metaphor-Driven Buffy Ends a Remarkable Seven-Year Journey." The Oregonian 20 May 2003: E8.

Gross, Terri. "Interview with Joss Whedon." Fresh Air 8 Nov. 2002.

Halfyard, Janet K. "Love, Death, Curses and Reverses (in F Minor): Music, Gender and Identity in Buffy the Vampire Slayer and Angel." Slayage: The Online International Journal of Buffy Studies 4 (2001).

Harts, Kate. "Deconstructing Buffy: Buffy the Vampire Slayer's Contribution to the Discourse on Gender Construction." Popular Culture Review 12.1 (2001): 79-98.

Haslem, Wendy. "'I Think Every Home Should Have One of You': The Serial Killer Disguised as the Perfect Husband." Refractory: A Journal of Entertainment Media 2 (2003).

Heinecken, Dawn. "Fan Readings of Sex and Violence on Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 11/12 (2004).

Hertz, Todd. "Don't Let Your Kids Watch Buffy the Vampire Slayer (But You Can Tape It and Watch After They Go To Bed)." Christianity Today 16 Sept. 2002.

Hinton, Sofrina. "Confluence: The Quest for Self in Buffy the Vampire Slayer." Phase Five 1.2 (2002).

Hudson, Jennifer A. "'She's Unpredictable': Illyria and the Liberating Potential of Chaotic Postmodern Identity." Magazine Americana: The American Popular Culture Online Magazine (March 2005).

Introvigne, Massimo. "Brainwashing the Working Class: Vampire Comics and Criticism from Dr. Occult to Buffy." Slayage: The Online International Journal of Buffy Studies 7 (2003).

Jarvis, Christine. "Real stakeholder education? Lifelong Learning in the Buffyverse." Studies in the Education of Adults 37.1 (2005): 31-46.

Jarvis, Christine. "School Is Hell: Gendered Fears in Teenage Horror." Educational Studies 27.3 (2001): 257-267.

Jenkins, Alice, and Susan Stuart. "Extending Your Mind: Non-Standard Perlocutionary Acts in Hush." Slayage: The Online International Journal of Buffy Studies 9 (2003).

Jensen, Jeff. "The Goodbye Girl." Entertainment Weekly 7 March 2003: 14-21.

Jensen, Jeff. "Let 'em Eat Stake." Entertainment Weekly 14 June 2002: 75.
"Back before it was a cult/critics' darling, Buffy the Vampire Slayer was just a TV series with a ridiculous title based on a 1992 film flop. In fact, while producing the 12 episodes of the show's first season (Buffy premiered on The WB in January 1997 as a midseason replacement), creator Joss Whedon was confident there wouldn't be a second season. "So confident," he says, "that I wrapped up the entire story at the end of season 1, so that if there was never another episode of Buffy, those 12 would tell the story that needed to be told." Yet, as she does so often, Buffy cheated death -- and now that improbable second season is being released on DVD. Recently, Whedon chatted with EW about Buffy season 2 and the specifics of vampire sex."

Jowett, Lorna. "New Men: 'Playing the Sensitive Lad'." Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Jowett, Lorna. "Masculinity, Monstrosity and Behaviour Modification in Buffy the Vampire Slayer." Foundation 31.84 (2002): 59-73.

Karras, Irene. "The Third Wave's Final Girl: Buffy the Vampire Slayer." Thirdspace 1.2 (2002).

Kaveny, Cathleen. "What Women Want: Buffy, the Pope & the New Feminists." Commonweal 7 Nov 2003.

Keck, William. "Buffy Revamps." Entertainment Weekly 28 July 2002: 128.
"No more downer days in Sunnydale. Look for Buffy the Vampire Slayer creator Joss Whedon to inject a little Prozac into the UPN drama when it returns for season 7 this fall. "Last season was about getting everyone so depressed they wanted to kill themselves, and next season's about bringing [the show] back to life," says Whedon. "I want to get back to where we started and to the theme, which is girl power."

Klein, David. "Emmy-worthy Buffy Musical Slays This Critic." Electronic Media 8 July 2002: 6.
"It's always been easy to underestimate Buffy. Particularly if you're a normal adult. I am nowhere near the right demographic for Buffy the Vampire Slayer, and indeed, through the first five years of the show, I managed to see exactly zero episodes. And that was just fine with me. Then one night as I was flipping past Buffy I saw that some strange musical episode was beginning. Buffy - wonderfully played by Sarah Michelle Gellar - was belting a Broadway show tune in the middle of a graveyard, plunging wooden stakes into backup-singing vampires as she sang of her existential despair ("I'm just going through the motions, walking through the part") - and it was absolutely captivating."

Kryzywinska, Tanya. "Playing Buffy: Remediation, Occulted Meta-Game-Physics and the Dynamics of Agency in the Videogame Version of Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 8 (2003).

Kuykendal, Dorothy. "Fighting the Forces (Review)." Extrapolation Fall 2002: 352-355.

Lavery, David. "Apocalyptic Apocalypses: The Narrative Eschatology of Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 9 (2003).

Lavery, David. "'Emotional Resonance and Rocket Launchers': Joss Whedon's Commentaries on the Buffy the Vampire Slayer DVDs." Slayage: The Online International Journal of Buffy Studies 6 (2002).

Lavery, David. "'I Wrote My Thesis on You': Buffy Studies as an Academic Cult." Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Lavery, David. "'A Religion in Narrative': Joss Whedon and Television Creativity." Slayage: The Online International Journal of Buffy Studies 7 (2003).

Leon, Hilary M. "Why We Love the Monsters: How Anita Blake, Vampire Hunter, and Buffy the Vampire Slayer Wound up Dating the Enemy." Slayage: The Online International Journal of Buffy Studies 1 (2001).

Levy, Sophie. "'You Still My Girl?': Adolescent Femininity as Resistance in Buffy the Vampire Slayer." Reconstruction 3.1 (2003).

Locklin, Reid B. "Buffy the Vampire Slayer and the Domestic Church: Revisioning Family and the Common Good." Slayage: The Online International Journal of Buffy Studies 6 (2002).

Marshall, C. W. "Aeneas the Vampire Slayer: A Roman Model for Why Giles Kills Ben." Slayage: The Online International Journal of Buffy Studies 9 (2003).

Millman, Joyce. "Getting Buffy's Last Rites Right." New York Times 20 April 2003: 8, 18.

Millman, Joyce. "A Vampire With Soul, and Cheekbones." New York Times 12 Jan. 2003: 11.
"Spike was originally intended as disposable slayer bait, but his deliciously snarky, seductive villainy clicked with the show's creator, Joss Whedon, as well as with viewers; James Marsters is now in his fourth season as a regular. And no character better embodies the ambitious, unpredictable nature of ''Buffy'' -- which veers from drama to comedy to horror, usually in the same episode -- than Spike. He has been a bad boy, a lover, a hero in black leather and goofy comic relief. He has a romantic's vulnerability (before becoming a vamp, he was an earnest, awful Victorian-era poet) and a rock star's swagger (authoritatively displayed in the show's celebrated 2001 musical episode). Spike is dead, but he hasn't disengaged from life. And in Marsters's agile, richly textured performance, you sensed Spike's soulfulness long before he had a soul."

Millman, Joyce. "We Like Spike." New York 9 Dec. 2002: 18.

McClelland, Bruce. "By Whose Authority? The Magical Tradition, Violence, and the Legitimation of the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 1 (2001).

McNeilly, Kevin, et al. "Kiss the Librarian, but Close the Hellmouth: 'It's Like a Whole Big Sucking Thing'." Slayage: The Online International Journal of Buffy Studies 2 (2001).

Melton, J. Gordon. "Words from the Hellmouth: A Bibliography of Books on Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 4 (2001).

Mikosz, Philip, and Dana Och. "Previously on Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 5 (2002).

Miller, Laura. "Bye-Bye, Buffy!" Salon.com 20 May 2003.

Millman, Joyce. "Lessons In Being Human." New York Times 23 Sept. 2001: 2.21.
"In the heartbreaking 1998 episode ''Innocence,'' Buffy lost her virginity to Angel on her 17th birthday, after which they learned that the Gypsy curse had a part two: Angel was doomed to lose his soul and turn evil again the moment he felt perfect happiness. Long story short: Angel went all post-sex monstery, Buffy dispatched him to hell in a planet-saving ritual and the leader of the pack was gone, leaving Buffy with a taste of forbidden fruit she has yet to shake. Angel was eventually released from hell after 100 hell-years of torment. (I know this sounds dumb, but if you can't suspend your disbelief, then these are definitely not the shows for you.) He wasn't bad anymore, but by then, he and Buffy realized it was over.

''Angel'' and ''Buffy'' illustrate the storytelling freedom of the fantasy genre; both are remarkably fluid shows, at once character-driven dramas, crackling comedies and deftly imagined creepshows. But where ''Buffy'' is all gothic romance and girl power, ''Angel'' is 40's private-eye noir juiced with modern graphic-novel angst. Like Batman, Angel is a dark knight rescuing innocents from the big-city monsters who eat dreams and corrupt souls.

"Angel'' also received a delicious infusion of gay sensibility last season with the addition of the Host (Andy Hallett), a green, clairvoyant disco-demon who runs a karaoke bar. There's always been a smidgen of gay camp in ''Angel,'' from Cordelia's diva sass to the writers' penchant for having Angel fight shirtless whenever possible. But the flamey Host brings all that out front, calling Angel pet names like Angel Cakes and ''big hunk of hero sandwich.'' Indeed, the neatest joke on ''Angel'' is the way David Boreanaz, a big hunk of hero sandwich if there ever was one, plays against his beefy looks. Slow on the uptake about modern mores, wearing the bewildered gaze of a man who fell asleep on the subway and woke up past his stop, Angel is eternally unhip."

Millman, Joyce. "Small-screen Masterpieces." Daily Variety 30 Aug. 2002: 7-10.

Milner, Andrew. "Postmodern Gothic: Buffy, The X-Files and the Clinton Presidency." Continuum: Journal of Media & Cultural Studies 19.1 (March 2005): 103-116.

Mitchell, Penni. "Fans Slay Network." Herizons Spring 2003: 11.

Moss, Gabrielle. "From the Valley to the Hellmouth: Buffy's Transition from Film to Television." Slayage: The Online International Journal of Buffy Studies 2 (2001).

Ndalianis, Angela and Felicity Colman, ed. "Special Issue on Buffy the Vampire Slayer." Refractory: A Journal of Entertainment Media 2 (2003).

Nevitt, Lucy and Andy William Smith. "'Family Blood Is Always the Sweetest': The Gothic Transgressions of Angel/Angelus." Refractory: A Journal of Entertainment Media 2 (2003).

Nussbaum, Emily. "Must-See Metaphysics." New York Times Magazine 22 Sept. 2002: 56-60.

Nussbaum, Emily. "Sick of Buffy Cultists? You Ain't Seen Nothing Yet." New York Times 8 June 2003: 24.
"Where do we go from here? That's the question the Buffy ensemble asked in one of the finest episodes of ''Buffy the Vampire Slayer,'' the musical episode, a highlight of the much-disputed Season 6 -- or at least, much-disputed by the type of person who knows lyrics from an episode of ''Buffy the Vampire Slayer,'' which season they're from, and who sang them.

Because let's face it: there are fans, and there are fans. And for seven glorious seasons, Buffy has consistently attracted the second type: your scholarly theoryhead, your web geek uploading fan fiction, your cocktail party evangelist. Just because our show has been staked through the heart -- the series finale was shown a month ago, with all the requisite media mourning and top-10 lists -- doesn't mean that our fanhood has ended with it. At last, we can start living in the past.

For neophytes, Buffy's death is even better news. Over the years, the series' internal mythology became so dense it was a challenge to watch without a native guide. For those who never got ''Buffy,'' the show's demise is a chance to get in on the ground floor.

If it's sad to have one's favorite show go off the air, the secret truth is, it's also a relief. A television cult can't really start in earnest until the show has ended. (See: ''Freaks and Geeks.'' No, really, see it.) For all its pleasures, appointment TV is also a lot of pressure. There's the anxiety of raised expectations, the friendship-threatening debates over the proper plot arc, the misfiring VCR's, the leaked plot spoilers. Now everything is spoiled, and we can settle in and enjoy -- treat the story as one big, satisfying narrative. Few shows reward rewatching as much as ''Buffy,'' a series which might appear campy at first sight, but over time reveals as many layers as Tony Soprano's Oedipal complex."

Olsen, Ted. "Buffy's Religion." Christianity Today 8 July 2002: 10.

Owen, A Susan. "Buffy the Vampire Slayer: Vampires, Postmodernity, and Postfeminism." Journal of Popular Film & Television 27.2 (1999): 24-31.

Pateman, Matthew. "You Say Tomato: Englishness in Buffy the Vampire Slayer." Cercles: Revue pluridisciplinaire du monde anglophone 8 (2003).

Paule, M., and L. Davison. "Superheroes and Superlearning: Enriching the Lower School Curriculum with Buffy the Vampire Slayer." Media Education Journal (2004): .

Petrova, Erma. "'You Cannot Run from Your Darkness.' / 'Who Says I'm Running?': Buffy and the Ownership of Evil." Refractory: A Journal of Entertainment Media 2 (2003).

Playdon, Zoe-Jane. "'The Outsiders' Society': Religious Imagery in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 5 (2002).

Postrel, Virginia. "Why Buffy Kicked Ass: The Deep Meaning of TV's Favorite Vampire Slayer." Reason Online Aug/Sep 2003.

Potts, Donna L. "Convents, Claddagh Rings, and Even the Book of Kells: Representing the Irish in Buffy the Vampire Slayer." Simile: Studies in Media & Information Literacy Education 3.2 (2003): .

Rambo, Elizabeth. "Lessons for Season Seven of Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 11/12 (2004).

Reed, Joseph W. "For a Newer Rite Is Here: Buffy the Vampire Slayer." Refractory: A Journal of Entertainment Media 2 (2003).

Riess, Jana. "The Monster Inside: Taming the Darkness within Ourselves." Slayage: The Online International Journal of Buffy Studies 11/12 (2004).

Ros, Giada Da. "When, Where, and How Much Is Buffy a Soap Opera?" Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Rosenfeld, Lawrence B., and Scarlet L. Wynns. "Perceived Values and Social Support in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 10 (2003).

Rust, Linda. "Welcome to the House of Fun: Buffy Fanfiction as a Hall of Mirrors." Refractory: a Journal of Entertainment Media 2 (2003).

Rutenberg, Jim. "Hold the Tears in Vampire Slayer's Death." New York Times 28 May 2001: C7.

Rutkowski, Alice. "Why Chicks Dig Vampires: Sex, Blood and Buffy." Iris: A Journal About Women 45 (2002): 12-15.

Scheidel, Brett. "Driving Stakes, Driving Cars: California Car Culture, Sex, and Identity in BtVS." Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Schilling, Mary Kaye. "Vamping It Up." Entertainment Weekly 9 Nov. 2001: 18-19.
"A funny thing happened on the way to this week's episode of Buffy the Vampire Slayer. Although TV's cult hit has always been a genre-busting anomaly -- combining elements of horror, gothic romance, soap opera, satire, and slapstick -- you could be fairly certain the characters wouldn't break into song. But now Buffy's going Broadway, and it's all Stephen Sondheim's doing, really. The legendary lyricist-composer (West Side Story, A Little Night Music) is a god to Buffy creator Joss Whedon. "I know the words to every one of his songs," admits the self-described musical geek. "Well, except Passion, which I've excised from my brain. It was just wrong." ... As it was, the musical homage (airing Nov. 6) took a grueling six months to make: three months banging out the score on a piano Whedon learned to play just a few years ago ... and three months of voice and dance lessons for the actors, not to mention all the lip-synching, choreographing, shooting, and editing. "It was a nightmare," says an exhausted Whedon. "The happiest nightmare I ever had." The resulting 35 minutes of music (11 full songs, plus fragments and an overture) and 13 minutes of dialogue -- adding up to a longer-than-normal episode -- is classic Buffy, a seamless blend of hilarity, high drama, and self-mockery."

Schlozman, Steven C. "Vampires and Those Who Slay Them: Using the Television Program Buffy the Vampire Slayer in Adolescent Therapy and Psychodynamic Education." Academic Psychology 24.1 (2000): 49-54.

Sharpe, Matthew. "Is Buffy a Lacanian? Or, What Is Enlightenment?" Refractory: A Journal of Entertainment Media 2 (2003).

Simkin, Stevie. "'Who Died and Made You John Wayne?': Anxious Masculinity in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 11/12 (2004).

Simkin, Stevie. "'You Hold Your Gun Like a Sissy Girl': Firearms and Anxious Masculinity in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 11/12 (2004).

Simpson, Craig S. "Myth Versus Faux Myth." Chronicle of Higher Education 47.37 (2001): B15-B16.

Sinker, Mark. "Reading the Vampire Slayer (Review)." Sight and Sound May 2002: 31.

South, James B. "'All Torment, Trouble, Wonder, and Amazement Inhabits Here': The Vicissitudes of Technology in Buffy the Vampire Slayer." Journal of American and Comparative Cultures 24.1/2 (2001): 93-102.

South, James. "On the Philosophical Consistency of Season 7." Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Spah, Victoria. "Ain't Love Grand: Spike and Courtly Love." Slayage: The Online International Journal of Buffy Studies 5 (2002).

Spicer, Arwen. "'Love's Bitch but Man Enough to Admit It': Spike's Hybridized Gender." Slayage: The Online International Journal of Buffy Studies 7 (2002).

Stengel, Wendy A F G. "Synergy and Smut: The Brand in Official and Unofficial Buffy the Vampire Slayer Communities of Interest." Slayage: The Online International Journal of Buffy Studies 4 (2001).

Symonds, Gwyn. "'Bollocks!': Spike Fans and Reception of Buffy the Vampire Slayer." Refractory: A Journal of Entertainment Media 2 (2003).

Symonds, Gwyn. "'A Little More Soul Than is Written': James Marsters' Performance of Spike and the Ambiguity of Evil in Sunnydale." Slayage: The Online International Journal of Buffy Studies 16 (2005).

Symonds, Gwyn. "'Solving Problems with Sharp Objects': Female Empowerment, Sex and Violence in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 11/12 (2004).

Tabron, Judith. "Girl on Girl Politics: Willow/Tara and New Approaches to Media Fandom." Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Tassone, Janelle. "Buffy: The Evolution of a Valley Girl." Refractory: A Journal of Entertainment Media 2 (2003).

Taylor, Charles. "The WB's Big Daddy Condescension." Salon.com 26 May 1999.

Thompson, Jim. "'Just a Girl': Feminism, Postmodernism and Buffy the Vampire Slayer." Refractory: A Journal of Entertainment Media 2 (2003).

Thompson, Rachel. "Staking it to the Man." Herizons Summer 2002: 22-26.

Tom, Emma. "Buffy Slays the Stuffy in Schoolroom Stand-off." The Australian 10 August 2005.
"Buffy the vampire slayer is usually pretty good at looking after herself. Thanks to a handy arsenal of martial arts skills and pithy one-liners, she has vanquished demonic mayors, lipsticked hell-gods and - just to keep things interesting - the original evil. But as the debate rages about whether postmodernism is replacing nits and dunny smoking as schools' biggest scandal, Buffy's name is repeatedly being taken in vain. The time has come to assemble the Scooby gang and help her fight back. Federal Education Minister Brendan Nelson is the latest Buffy basher. He reckons too many kiddies are studying the slayer instead of Milton "and stuff like that". Apparently this means Byron, Thomas Hardy, T.S. Eliot, Patrick White, Socrates and Aristotle (a rather diverse bunch to lump into one category, but presumably the nation's top education official knows what he's on about)."

Tomlinson, Martin. "A Question of Faith: Responsibility, Murder, and Redemption in Buffy the Vampire Slayer." Chrestomathy 3 (2004).

Tozzi, Lisa. "In Slaying Terrorism, It's Good to Be Better Than Buffy." New York Times 4 Aug. 2002: 7.

Tucker, Ken. "Buffy the Vampire Slayer." Entertainment Weekly 21 Dec. 2001: 122.
"In a calendar year's worth of emotional episodes that saw the death of Buffy's mother, the death and resurrection of Buffy herself, and a musical production that put most contemporary Broadway efforts to shame, the Slayer's fiercest battle continues to be against that old TV shibboleth, Industry Respect. No matter; wise, stern creator Joss Whedon still forces us to go where we may not want to venture, but are ultimately always glad we did: Alyson Hannigan's Willow gone witchcraft-crazy; James Marsters' Spike gone soft for Buffy; Nicholas Brendon's Xander and Emma Caulfield's Anya picking out wedding china patterns. Oh, the horror, the exquisite horror!"

Tucker, Ken. "Character Flaws." Entertainment Weekly 14 June 6 2002: 79.
"The "good guys" did bad things in the finales of 24, Buffy, and West Wing. Ken examines TV's trend toward imperfect heroes ... Buffy creator Joss Whedon and this past season's guiding hand, fellow exec producer Marti Noxon, are, as a young character in their scripts might say, all about the remorse thing. "Willow has killed a human being -- how will she be able to live with herself?" asked Anthony Stewart Head's Giles, and indeed, that act was truly shocking for being committed so purposefully, so cavalierly, by a character many of us cherish. How Whedon and Co. convince us of Willow's redemption is a huge obstacle to overcome next season as far as I'm concerned -- it's gonna take more than a spray of counterspelling pixie dust or a well-written speech to redeem she who fans are already calling the Dark Willow."

Tucker, Ken. "Flights Of Fantasy." Entertainment Weekly 4 Oct. 2002: 135-137.
"Lordy, does Joss Whedon ever love to tell a story, spin a yarn, get off a good 'un. Along with David Chase (The Sopranos) and J. J. Abrams (Alias), Whedon does what too many feature filmmakers these days do not: entrance us with elaborate narratives in which small, precise details add up to a coherent philosophy -- a worldview."

Turnbull, Sue. "Moments of Inspiration: Performing Spike." European Journal of Cultural Studies 8.5 (2005).

Turnbull, Sue. "'Not Just Another Buffy Paper': Towards an Aesthetics of Television." Slayage: The Online International Journal of Buffy Studies 13/14 (2004).

Turnbull, Sue. "Teaching Buffy: The Curriculum and the Text in Media Studies." Continuum: Journal of Media and Cultural Studies 17.1 (2003): 19-31.

Turnbull, Sue. "Who Am I? Who Are You?" Metro 137 (2003): 66-71.

Udovitch, Mim. "What Makes Buffy Slay?" Rolling Stone 11 May 2000: 60-66.

Ulaby, Neda. "Buffy Studies: End of TV Series Clouds Future of Odd Academic Discipline." All Things Considered 13 May 2003.

Vint, Sherryl. "'Killing Us Softly'? A Feminist Search for the 'Real' Buffy." Slayage: The Online International Journal of Buffy Studies 5 (2002).

W, Nicole. "Buffy Not So Great at Slaying Stereotypes of Lesbian Relationships on TV." AfterEllen.com: Reviews and Commentary on Lesbian and Bisexual Women in Entertainment and the Media April 2002.

Wandless, William. "Undead Letters: Searches and Researches in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 1 (2001).

Wilcox, Rhonda V. "'There Will Never Be a Very Special Buffy': Buffy and the Monsters of Teen Life." Slayage: The Online International Journal of Buffy Studies 2 (2001).

Wilcox, Rhonda V. "'Every Night I Save You': Buffy, Spike, Sex and Redemption." Slayage: The Online International Journal of Buffy Studies 5 (2002).

Wilcox, Rhonda V. "T.S. Eliot Comes to Television: Buffy's 'Restless'." Slayage: The Online International Journal of Buffy Studies 7 (2002).

Williams, Rebecca. "'It's About Power': Spoilers and Fan Hierarchy in On-Line Buffy Fandom." Slayage: The Online International Journal of Buffy Studies 11/12 (2004).

Williamson, Milly, and Dee Amy Chinn. "The Vampire Spike in Text and Fandom: Unsettling Oppositions in Buffy the Vampire Slayer." The European Journal of Cultural Studies August 2005.

Winslade, J Lawton. "Teen Witches, Wiccans, and 'Wanna-Blessed-Be's': Pop-Culture Magic in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 1 (2001).

Wisker, Gina. "Vampires and School Girls: High School Highjinks on the Hellmouth in Buffy the Vampire Slayer." Slayage: The Online International Journal of Buffy Studies 2 (2001).

Zacharek, Stephanie. "Modern and Mythical Sexuality in Buffy the Vampire Slayer." Salon.com 9 Nov 2002.

Zacharek, Stephanie. "The Hills Are Alive with the Sound Of... Vampire Slaying!" Salon.com 7 Nov 2001.

Zacharek, Stephanie. "Willow, Destroyer of Worlds." Salon.com 22 May 2002.



since 1 August 2007