I’ve been taking a break for a month from creative writing, due to a heavy travel schedule. But now the schedule has lightened up so it’s time to get back into it.
Also, time for a “Buffy” re-watch.
Like Charlie Jane, we came to “Buffy” late. Our first episode was Season 3, the episode where Spike comes back to town and he’s bereft because Drusilla dumped him. It was one of the show’s best episodes by far, and a great choice for first. Genre TV often doesn’t work out that way — you’ve been hearing people rave about some fantastic program and you pick an episode at random and you dive in and it turns out to be one that even the show’s die-hard fans think is a steaming turd. (“Brain? What is brain?”)
A friend says “Buffy” shows that if you mix two or more cliches, you can get something fresh and original. Vampires, vampire hunters, Chosen Ones, and high school emo are all cliches. But a show about an emo high school girl vampire hunter? Brilliant!
Giles’ character was terrific. He was a cartoon English expat at first. I know expat Brits, even a couple who live in Southern California. None of them resemble Giles. None of the English people I know in England are like Giles. No English people anywhere in the world are anything like Giles. But as “Buffy” played out we saw that Giles’ manner was a conscious persona, compensating – perhaps overcompensating – for a dark past.
Still: Tweeds? In Southern California? Maybe you could get away with that in winter but even then you have to pick your days.
Oh, hell, Giles was a cartoon. But he was great anyway.
Spike turned out to be compensating in the opposite direction. His Cockney accent sounded fake because it was.
But back to Charlie Jane: The more I read about her writing philosophy, the higher her novel climbs on my to-be-read list.
[10 Vital Storytelling Lessons I Learned From Buffy the Vampire Slayer / Charlie Jane Anders / io9]