With Buffy Summers you can say that the second time was the charm because the character that Sarah Michelle Gellar played in the series 'Buffy the Vampire Slayer' (1997-2003) had already had a first and discreet life, under the face by Kristy Swanson, in 'Buffy the Vampire Slayer' (Fran Rubel Kuzui, 1992), a mediocre film written by Joss Whedon that reflected a good part of its creator's intentions, but that fell halfway.
Produced by 20th Century Fox Television initially for The WB, the Warner Bros. network aimed at adolescent audiences, the serial fiction did manage, and in what way, to establish a unique universe in which Buffy was the key piece around which everything was spinning. Whedon had one thing very clear: he wanted to break down prejudices and stereotypes, surprise the viewer, and nothing else occurred to him than to create an atypical heroine. Here, the blonde teenager, destined in other times to lead the cheerleading squad and be the easy target in need of protection from the manly protagonist, became a powerful woman, empowered and protective, capable of facing the most unexpected dangers, kill a bunch of vampires and corner the monster of the week – be careful, because we are talking about a time when there were still 22 episodes per season -.
And Buffy was all that, but at the same time she was a teenager in high school and then at university trying to find her place, a young woman with a good handful of insecurities, who hid all her exhaustion behind irony and cynicism, a girl who, at times, was childish, and shied away, as best he could, from the responsibility granted by the powers, as we learned with Sam Raimi's 'Spider-Man', five years later!, despite the fact that the comics had years developing similar stories.
The thing had something of a trick because despite physically and ideologically fitting into the group of the most popular students, Buffy ended up in the clan of the misunderstood, along with Xander and Willow, arousing the interest of the majority of students who are not the star of the show. Institute. And so, year after year, the viewer attended a story that addressed the adolescence (high school) and maturity (university) of a character who had to face issues such as friendship, youthful loves, sex, the death of loved ones. dear ones, the absence and, be careful, his own resurrection -what madness about the musical-. There was an intention to do a 'reboot' of the fiction, but Whedon's fall from grace – there is hardly an actor or actress who speaks well of him – has buried the project.
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