On Grief and Growing Up in Buffy the Vampire Slayer
The essay, adapted from a keynote address at the Association for the Study of Buffy's 11th Biennial Slayage Conference, explores the profound role of grief in the Buffyverse. It argues that the show is fundamentally about the transition from childhood to adulthood—a process defined by the mourning of innocence and the necessity of change. The author analyzes how characters like Buffy, Angel, and Faith are transformed by grief, often becoming 'different people' or literal versions of their opposites when faced with loss. The piece also reflects on the passing of cast members like Tony Head, noting how the enduring power of the characters allows fans to continue finding solace in them despite their real-world losses.
The Core of the Show
Buffy the Vampire Slayer is, at its core, a show about grief. To the author, it is even more about grief than it is about love, magic, or wit, because being a teenager is about the mourning of childhood and the realization that the world is changing. Angel, conversely, represents the grief of adulthood—a story of futility and the struggle to atone for past actions.
The Impact of Loss
The recent deaths of actors like Tony Head (Giles) and Nicholas Brendon highlight the parasocial yet deep connection fans have with the characters. While the actors are gone, the characters remain as symbols of the roles they played in the narrative—Giles as the ultimate father figure who protected the group.
Character Doubling and Transformation
Using Naomi Alderman's concept of 'character doubling,' the author explores how characters become different versions of themselves when faced with grief. Buffy becomes 'Anne' to hide from her identity; Faith fails to process her guilt and becomes a villain; and Cordelia's perspective is fundamentally altered by experiencing the collective suffering of the world.
The Reality of Death
The episode 'The Body' is cited as a masterpiece of television because it captures the surreal, jarring reality of sudden death. It highlights the necessity of 'playing' the part of the mourner before the internal reality of loss can be fully processed.