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Web Developer'S Reference Guide

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Web Developer'S Reference Guide

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 This Our Magic World 5

Molière + Baudelaire = Buffy. The 2004 Slayage Conference on Memorial

Day Weekend in Nashville, Tennessee, was the largest scholarly conference
(as opposed to convention) on a single television show ever held. It was
convened a year after the series ended. Over 180 papers were presented;
there were 395 registered attendees (and a few extra students). There were
scholars from television and film studies, literature, history, religion,
philosophy, sociology, classics, women’s studies, communications, even
math, among other disciplines. The papers were cogent; the discussions
were lively. People from several different countries, several different
continents, attended (see David Lavery’s chart on Slayage: The Online
International Journal of Buffy Studies). Those who were able to attend (in
terms of finances and scheduling) represented a much larger number who
wished they could come. And here’s a thought: not to mention millions
of other intelligent viewers, perhaps the fact that thousands of academics
have a passion for the show could be considered evidence of its worth.
Our crew sang, too.

Alyson Hannigan

So what are all of us excited about? Why do we care? Well, I hope the rest
of this book will help to explain. But first I want to say a few things that
are not explicitly addressed later in the book. In the first paragraph of this
introduction I mentioned that Joss Whedon does not work alone. Part of
the occasional snobbery of aesthetic evaluation has to do with the idea of
the control of the creator, the single mind unifying the work of art. Films
are of course made by increasing numbers of people (have you stayed in
the theater to watch the credits roll lately?),4 and film scholars have dealt
with this issue by proposing the auteur theory—the idea that one person,
generally the director in film, is in artistic control. (Of course this may or
may not be ultimately the case, depending on the film.) More recently,
critics have made the same argument for a number of television producers
(The Producer’s Medium, as Robert Alley and Horace Newcomb called it),
such as Steven Bochco or David Kelley.
I would like to propose a slight variation to this way of viewing the
work—a model which I suspect most serious Buffy admirers will find
fairly easy to accept. For years now, when I have thought of the art of a
television series, I have thought of the master builder of a cathedral and
his workers: a cathedral is a creation which is certainly accepted as art, but
which was worked on by many differing people over many years (far more
6 Why Buffy Matters

than the seven seasons of Buffy). Buffy itself—reading about it, listening
to DVD commentaries by those associated with the show—has taught me
to envision the interaction in a much livelier and less one-way top-down
fashion. It seems to me that among the many skills necessary for an artist
of television, this very special medium, is the ability to work dynamically
with a cast and crew of high quality. How else can fine work be done so
fast and for so long? Part of Joss Whedon’s genius is his ability to bring out
the best in those he works with. I would posit this as a necessity for a great
television artist. It struck me only recently that one of the great themes of
the show—the importance of community, trust, friendship—is found not
only in the episodes but also in their creation. The cast and crew of Buffy
were extraordinary, and Joss Whedon set the tone for their collaboration.
Nancy Holder, in her speech at the Slayage Conference, said that while she
and Chris Golden were working on the Watcher’s Guides and visiting the
Buffy set, every single crew member they talked to spoke of how fortunate
he or she felt to be involved in the work on Buffy. Joss Whedon in effect
created a school of writers (cf. a school of painters) who grew more and
more sharply skillful with Whedon’s support—people like Marti Noxon,
who helmed the show in its last two years; Jane Espenson, who also wrote
for Gilmore Girls; David Fury, who now writes for Lost, and Steven DeKnight,
Tracey Forbes, Doug Petrie, Rebecca Rand Kirshner, and more. This is
assuredly not the case in every company of television writers.
Not just writers, but the cast and the rest of the crew were highly talented
professionals involved in active collaboration. There were two highly skilled
long-term Directors of Photography, Michael Gershman and Raymond
Stella. There were thoughtful directors like David Solomon. There was the
“heavily textured” (quoting actor James Marsters) production design of
the versatile and money-saving Carey Meyer, who could turn one set into
fifteen (and created hundreds over the years), but who also would go so far,
for example, as to photocopy the tiles from UCLA buildings in order to give
UC-Sunnydale the right look. Then there were Emmy-winning make-up
artists Todd McIntosh and John Vulich, about whose work guest star John
Ritter said “this is as blue ribbon as you can get in film-making.” There
is the astonishing symphonic scoring of the Emmy-winning Christophe
Beck (now working in movies), the composer of the Buffy-Angel theme, the
Buffy-Riley theme, the score for “Hush,” for “The Zeppo,” for “Restless”
(see the extras on the CD for “Once More, with Feeling”). “Every episode
we treat as a movie,” he once said. And there is the thematically significant
work of costume designer Cynthia Bergstrom, who worked in symbiosis
 This Our Magic World 7

with actor Sarah Michelle Gellar. And of course I have not even mentioned
the cast: that none of these gifted people was ever nominated for an Emmy
for work on Buffy seems to me only explicable in terms of prejudice against
genre television. They managed to straddle genres with ease, moving from
tears to laughter to song and dance.
Again, however, it is not just the talent of each individual that matters
here, but the synergy invoked by the central figure—Joss Whedon. And one
can imagine it growing—the more good people were working well, the
more good people would want to join in. The Academy of Television Arts
and Sciences Panel Discussion with Joss Whedon, Marti Noxon, Ray Stella,
Carey Meyer, Nicholas Brendon, Alyson Hannigan, James Marsters (Spike),
and Michelle Trachtenberg (Dawn), makes clear that the energy flowed
more than one way. “The energy that’s on a set, a lot of it comes from the
DP,” Whedon stated, for example. Discussing the musical episode “Once
More, with Feeling,” he gave a specific illustration of the collaboration.
Michelle Trachtenberg noted, “Our writers are really listening to us”;
they considered the actors’ specific strengths. And Joss Whedon added,
“I wrote not just to their talents but to the sets. I wrote Nicky [Brendon]
and Emma’s [Caulfield’s] song as a kind of thirties pastiche because of the
look of that set, being so deco—and sort of also the way her costumes had
been the year before.” Similarly, Bergstrom notes that she costumed Robia
LaMorte’s Jenny Calendar as she did because she knew that Jenny was to be
a gypsy (Golden and Holder 275). And this creative feeling runs, as Holder
noted, throughout the entire crew (even though they called the show “Buffy
the Weekend Killer” because of the extra work involved). In the panel
discussion Joss Whedon said, “You can tell when the dolly grip [“Wayne,”
James Marsters added] is excited about a camera move because it’s part
of the story—he’s not punching a clock, he’s telling a story.” When they
were working on “Once More, with Feeling,” Alyson Hannigan said, “Our
crew sang, too.” And Whedon stated, “I have people with whom I trust my
artistic life.” Clearly, these were the Scoobies of television production. The
success of communal effort so important as a theme in the stories was just
as important in the real life of the series’ creation behind the scenes.
I cannot give my readers the benefit of access behind the scenes for the
series. This book is just the reaction of a woman sitting in front of a television
screen (though I’ve had the help of many kind folk sitting on the same side
of the screen as I do; there are Scooby critics, too). Nonetheless, I have
commented at certain places in the book on the work of the cast and crew
as I have observed it or have been able to learn of it from secondary sources.
8 Why Buffy Matters

I hope someday someone will be able to explore their contributions more

specifically. For here, at least, and with the recognition of Joss Whedon as
the creator and catalyst and air traffic controller, I do want to acknowledge
the nature of their collaboration as a cause of the art that is Buffy.
Don’t get linear on me now, man.

Xander, “Restless” (4.22)

There are, of course, other elements specific to the nature of television art.
Both film and television combine the complexity of sound and specifically
charted sight, and I discuss these in the pages to come. Television is
also temporally unique as an art. Charles Dickens (on whom I wrote
my doctoral dissertation, and whom Joss Whedon names as a favorite
writer—and who does indeed get mentioned a few times in the chapters
of this book) was seen as having an extraordinarily close relationship with
his audience; he gave public readings and wrote directly to his readers in
magazines he edited; and, as noted, he published novels in weekly serial
installments. Great Expectations, like Buffy, came out once a week. But even
his characters did not have as long a relationship with their audience as a
long-running series such as Buffy—and more significantly, a long-running
series with a rare respect for the integrity of the characters. The characters
have continuity, but are not static: as Michelle Trachtenberg said in the
ATAS panel, “The whole life thing? Characters need to progress.” If Great
Expectations is a Bildungsroman (a novel of growth), so is Buffy. And as Marti
Noxon explained, “The emotional reality of the show is what we strive for
every week”; emotional realism has been Whedon’s watchword from the
start. I see films as comparable to short stories and television as comparable
to novels: both are art. But novels and television provide more opportunity
for the growth of character.
The use of time is more similar for the serial novelist and the television
creator than most people realize, too. (I hope someday to write about the
specific similarities of Whedon and Dickens, not just in terms of creative
process, but also in terms of language (see Chapter 8), narrative, social
themes, symbolism, and fantasy elements.) Dickens wrote with a long
arc in mind, but sometimes followed where characters led; Sam Weller
bounded into The Pickwick Papers in much the same lively fashion (and
at about the same narrative point) as Spike bounded into Buffy. Dickens
set up foreshadowing which he then sometimes reworked; for instance,
early in Great Expectations Pip envisions Miss Havisham hanged, but by the
 This Our Magic World 9

end of the story Dickens had decided to burn her. At least she got to live
long enough for redemption, when apparently she had been slated for an
ignominious death; so, too, Spike. Whedon notes (in the “Surprise” DVD
interview), “We try and leave things open for characters … We tend not to
tell everything about a character till we need to because it leaves openings
like this,” this being the connection of Jenny Calendar to the gypsy clan
which had cursed Angel. (Dickens left things open, too—thus we will
never know the resolution to The Mystery of Edwin Drood, since he died
without having written it out.) Part of what is necessary for television art
is the ability to balance the long narrative plan with the ability to respond
to sudden opportunities or stresses, whether they be internal (e.g. wanting
more of Emma Caulfield’s Anya) or external (the fact that Seth Green, Oz,
was moving on to movies). Dickens had to react, too; he made changes
sometimes based on the complaints of readers; and, in fact, his career
expanded when the graphic artist with whom he was to have created The
Pickwick Papers died, and Dickens then made the words more central to
the project than the pictures. So the ability to flex with the changes is as
important to the serial artist as the long view.
In the commentary for the pilot, “Welcome to the Hellmouth,” Joss
Whedon mockingly notes, “By the way I did notice in that last scene that
Cordelia says that she’s always wanted to live in LA, and the fact is she did
move to LA four seasons later for the spinoff, so as you can see this is all
one big, brilliant master plan and nothing happens by chance.” Fans talk of
retcon—retroactive continuity (see Kaveney 2004, 82)—giving information
that explains an earlier event, especially seeming plot contradictions
or lacunae. With some elements, as Jane Espenson says, “The only way
to make it happen is after the fact” (“Writing,” 107); the text is indeed
unified afterward, not by plan. But with other elements it is not so clear:
Espenson adds, “In Doppelgängland, [Willow] notices that her vampire
self is ‘kind of gay.’ When we started plotting the Tara arc in Season Four,
Joss said, ‘Were we planning this back then?’ And even he didn’t know for
sure” (“Writing,” 107). Then there are elements of foreshadowing which
are clearly intentional before the fact. In the ATAS panel discussion, in
speaking of the painful death of Tara by very non-magical gunshot wound,
Whedon stated that in both the fourth and fifteenth episodes of the sixth
season (and he knew the numbers of the episodes) there were references to
the danger of guns, foreshadowing Tara’s demise. (In the last episode of the
fifth season when Buffy calls Willow her “big gun,” Willow replies, “No—I
was never a gun.”) Whether or not the elements are planned beforehand
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i

DESIGNING
KNOWLEDGE
ii

ii
iii

DESIGNING
KNOWLEDGE
Emerging Perspectives in
Design Studies Practices

Edited by
Bonne Zabolotney
iv

BLOOMSBURY VISUAL ARTS

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Bloomsbury Publishing Plc

First published in Great Britain 2024

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but can accept no responsibility for any such changes.

A catalogue record for this book is available from the British Library.

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ISBN: HB: 978-1-3503-1984-4

PB: 978-1-3503-1987-5
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LEGEND OF ROUTES
PALAU IS.
••••••••••• Antonio d, Abrlu (1511)

- •• _ Moeillon (1521-22)

- - Droke (1579-80)

____ COYlndi.h (1588)

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(lS96 -97)

++++++01 Noort (1600-01)

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 “Your boyfriend assaulted me and threatened me!” he barked. “You can see the marks on my neck
for yourself, Aimee.”
“After you pushed him and needled him and tried to make him look inferior at every opportunity,”
I growled. “But he’s not inferior to you; he’s ten times the man you’ll ever be. This is simply a way of
getting back at me, of hurting me, because I don’t want anything to do with you. Admit it!”
“I’m worried about your safety,” he said, a scowl marring his face. “If he’s violent toward another
man, he could do so much worse to you.”
I laughed coldly.
“It’s one thing for you to push me around, isn’t it, Gregg? You just met someone who decided to
push back.”
“That’s not true!” Gregg shouted, looking almost hurt. Then his voice lowered. “I care about you,
Aimee. You shouldn’t be with an uneducated Neanderthal like that.”
“He is neither of those things, you arrogant hypocrite!”
He bristled. “How am I a hypocrite?”
“All the times you treated me badly, you bullied me, told me I had a fat ass, told me I wasn’t as
smart as you. You cheated and you treated me like a doormat. Well, I let you. But Kes has never ever
treated me like that.”
“I respect you . . .” he began.
“That’s a lie and you know it! But Kes does respect me, something you have never been able to
do. For God’s sake, Gregg, you had an affair with Lulu when we were together. How is that showing
me respect?”
He was silent for a moment.
“He’s still not good enough for you,” Gregg said sullenly.
I tried to speak gently.
“That’s not your decision, Gregg. It never was.”
“I’m only trying to protect you,” he continued.
“No, you’re not. You’re trying to save face.”
Gregg grimaced, but he still wasn’t backing down.
The gloves were coming off. Nice, sensible Aimee was taking a back seat.
“You know this won’t turn out well for you,” I said, my voice cool. “I told you that I wasn’t
interested in getting back with you several times. Each time you refused to take no for an answer.
How do you think that’s going to sound when word gets out?”
“That’s blackmail!” he snorted.
“It’s the truth! And what about when I say why we broke up, because you were having an affair?”
“You can’t prove that!”
“You really want to drag Lulu into this? You want me to say that the day you dumped me she was
sitting outside in your car? You know how that will look, Gregg. This is a small community.”
“I can’t believe you’re being such a bitch!”
I looked at him sadly. “Is that what we’ve come to after four years together, Gregg?”
He looked down, and I could tell that I’d shamed him. I softened my voice again.
“Drop the charges, because I know you’re going to regret this if you don’t.”
He looked away, unable to meet my eyes, and I knew that I’d won.
“I do care about you, Aimee,” he said quietly.
 When he finally looked at me, his eyes were sad and defeated. I felt the smallest twinge of pity for
him.
“I cared about you for four years, Gregg. But I’m with Kes now. I love him, that’s not going to
change.”
“You said you loved me,” he murmured, his voice despondent.
I nodded slowly. “Not the way I love him.”
“I’ve really lost you, haven’t I?”
I nodded again.
Gregg’s shoulders sagged and he looked beaten.
“You’ll drop the charges?” I persisted.
He nodded quickly, and I turned to leave.
“Aimee,” he called after me.
I looked over my shoulder at him.
“At school . . . ?” he began.
“I’ll never mention this,” I said honestly. “I can be a professional with you if you can be a
professional with me.”
He looked grateful. “Thank you.”
“Bye, Gregg. See you in school.”
But he called after me again.
“I . . . I do wish you well, Aimee.”
I blinked at him in surprise, then smiled.
Half an hour later, I drove Kes home. He was quiet: too quiet.
I kept throwing worried glances at him, but he just stared out of the window.
When I pulled into the parking lot, he was out of the car immediately.
“Can we . . . I don’t want to go inside yet,” he said stiffly.
“We could go for a walk. Find somewhere to grab a coffee?” I suggested.
I held his hand as we headed down the sidewalk, but even though he was touching me, he seemed
a million miles away.
“Kes,” I said softly, “please talk to me.”
His eyes closed briefly, but he remained silent.
“Gregg has dropped all the charges,” I reassured him again. “He won’t try anything else; I made
sure of it.”
That raised a small smile.
“Yeah? My girl is badass.”
But the smile faded quickly.
I sighed. “We both have really terrible taste in ex’s, but we’re moving on now.”
Kes didn’t reply.
I led us toward the river and found an outdoor coffee cart that also sold cakes and cookies. I
loaded Kes’s coffee with sugar, ordered myself a cappuccino with extra foam, and bought us a muffin
each—triple chocolate.
Then I found a bench where we could sit and watch the water.
Kes sipped at his coffee, his eyes distant, secrets and shadows hidden inside.
“They locked me up,” he said quietly.
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