Wilcox and Lavery (2002) identify 9 defining characteristics of ‘quality TV’ – can you apply any of these to other television series that you have viewed recently? Are there any other characteristics that you could add to their list?

Wilcox and Lavery (2002) identify 9 defining characteristics of ‘quality TV’ – can you apply any of these to other television series that you have viewed recently? Are there any other characteristics that you could add to their list?

Using the 9 characteristics that Wilcox and Lavery (2002) use to identify 'quality t.v', I can identify Vampire  Diaries as ' quality T.V. Vampire Diaries was first released September 10, 2009. It is a supernatural drama t.v series developed by Kevin Williamson and Julie Plec, based on the novel with the same name written by L.J. Smith. The series is about a teenage girl whose life is changed forever when she meets and starts dating a Vampire. This leads to the discovery that the reality she knew was surrounded by the supernatural; witches, Vampires, spells. The main character faces all these supernatural challenges at the same time she is fighting evil and trying to get through high school and have a relationship. 

Some of the characteristics of 'quality t.v' as described by Wilcox and Lavery (2002) that are applicable to Vampire Diaries is that the show has an ensemble cast, the show has memory, the show has a past, we remember the beginning and how it began but it keeps moving forward and developing both the characters and the overall arc or story. It also 'creates it's a new genre' by mixing in with Gothic Romances, supernatural and drama. 

Like with Buffy, the sexual content is also high. We follow Elena Gilbert through her journey in the show, the clothes she wears are not too provocative but the relationship between her and the Salvatore brothers is highly charged and often fueled with sexual tension. Vampire Diaries is also considered 'quality t.v' because it is literary based on the books by L.J. Smith. The subject matter could also be considered controversial because of the show appeals to a adolescent audience as well as adults. The depiction of what a high school girl does and appears unsupervised by any adults, similar to Buffy. Vampire Diaries also shows a characteristic towards realism, being based on a typical American high school girl, with the usual drama of popularity, relationships and an annoying younger brother. 

The only other characteristic that Vampire Diaries could be identified with would be the fact that within the overall story arc of Elena and her good vs evil battle each episode has it's own arc and within that episode the smaller arc is resolved or leads then into the wider arc that covers the entire season. It grows with each episode, having numerous aspects with the characters individually or as a group.

References

Wilcox, R. & Lavery, D. (2002). Introduction, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.

The Vampire Diaries. Retrieved 31, October 2014. From http://en.wikipedia.org/wiki/The_Vampire_Diaries

Popular Genres: Cult Television PPt. Retrieved 31 October, 2014. From AUTONLINE Blackboard.

What is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle?

What is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle? 

The difference between the terms science fiction and speculative fiction is that Speculative fiction you have a 'what if' situation that can either be real or not but must have a story that revolves around a more scientific arena and also is known as a subset of Science Fiction. It has similar characteristics but because of the way that it leaves a what if quality to the reality defines it as it's own also because it also uses concepts such as supernatural, futuristic and fantastical. Speculative fiction is also known as 'speculative literature' because of it's broad literary content.

Science Fiction is an imaginative genre of fiction that uses imaginative content such as  futuristic settings, space travel. It often explores the consequences of scientific and other innovations and what the reality of what life would be like if such things occurred. 

For example in Brown (2001), he says that science fiction is about the perceived reality, the good vs evil and the abuse of power.A good example of this is Star Wars (first released in 1977), here we see the reality of space travel, living on another planet. Creatures that do not exist except in that reality and what happens in the fight of good vs evil. The story also touches on the reality of what it is like to be a young man facing challenges both in relationships with girls, family and the expectations of society.  I think that The Man in the High Castle is Science Fiction with an element of speculative fiction. As stated by Brown (2001), The Man in the High Castle is an insight into real, fully developed characters that gives us a glimpse of the what if. This was I think that statement allows The Man in the white Castle to belong to both genres. 

References

Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle. (p.v-xii). London: Penguin

Speculative Fiction. Retrieved 31, October 2014. From http://en.wikipedia.org/wiki/Speculative_fiction

Science Fiction. Retrieved 31, October 2014. From http://en.wikipedia.org/wiki/Science_fiction#Other_speculative_fiction.2C_fantasy.2C_and_horror

According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (ie comparing China and Japan)

According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (ie comparing China and Japan)


Animation is a vastly growing genre. It has over-ridden Japanese culture and taken over to be known as a 'phenomenon of pop culture' by the way that it stimulates it's audience to look at contemporary issues in a way that older art forms can not. According to Lent (2000), Animation fitted to Asian societies and their mass media. The animation has helped politically allowing the governments to support their goals, this is seen particularly in countries like China, Vietnam and the Philippines. In Economic terms, Animation has found it's niche in Asia. It has been molded to fit Asian societies through the use of indigenous art style and techniques. I think the use of Asian art helps the Asian community identify and relate better to Animation in a way that Western or European T.V shows could not. Animation or Animae, dominates Asian society. 

In Japan, animation is considered as 'high cultural products'. By 1990, more than half of the releases from Japanese studios was animation. It is known as 'mass culture' in Japan. (Lent, 2000). Chinese animation is also considered 'high' in it's culture. Chinese animation is considered second to Japan in using western themes in it's animation. I think that both China and Japan consider animation a 'high culture' that has taken over their societies, however Japan is the leader in Animation. Being the first Asian country to have its own animation studio and also to be more modernized and ahead of other Asian countries. In saying that some other Asian countries such as Korea and Taiwan where Animation is also popular in their society some times found Japanese animation to expose too much violence and sexual content going as far as to lodge a complaint, which has lead to a more culturally based production of animation from Japan. (Lent, 2000).

References

Lent, J. A. (2000)."Animation in Asia: appropriation, reinterpretation, and adoption or adaptation". Retrieved 10 October, 2014. From http://tlweb.latrobe.edu.au/humanities/screeningthepast/firstrelease/fr1100/jlfr11c.htm

Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or adaptation. Retrieved 21 June, 2006, from AnimeResearch.com

Wilcox and Lavery (2002) identify 9 defining characteristics of ‘quality TV’ – can you apply any of these to other television series that you have viewed recently? Are there any other characteristics that you could add to their list?

Buffy and the Vampire Slayer is said to be representative of quality television.The series engages the social forces that constrict and restrain us. BtVS series challenges gender roles and stereotypes. Buffy stands alone and isn't afraid of what lurks in the shadows. Although she presents a strong capable female who 'kicks ass', her outfits and hair that got blonder with each new season merely serves to sexualise her image, though great for ratings is contradictory to the message they're trying to convey to the audience.Wilcox and Lavery (2002) notes that the treatment of monsters and 'others' leads to suggest the series has an element of racism and questions are raised as to whether the series condones violence. The heroes in the series are able to see the world with a healthy dose of irony. Witty sayings from the show's various characters are often quoted in magazines and websites. For example; "I laugh in the face of danger - then I hide until it goes away." ("The Witch" 1003). Wilcox and Lavery (2002). state "the grace and wit of the language embody one element of the heroism of the characters." (Wilcox, "There"). 

I have watched several episodes of "The Fosters" a family drama series (debuted 2013) and believe it has several of the defining characteristics of quality television such as being 'controversial' - "The Fosters" redefines 'family' and 'marriage' as opposed to the traditional sense and encountered controversy and protests from anti-gay activists who oppose same sex unions and their rights to raise a family due to their sexual orientation. The family is made up of an inter-racial lesbian couple who have entered into a 'same sex' marriage and raising their family of fostered and adopted kids of multiple ethnicity, who each deal with their own issues such as being gay, transgender and so on. Secondly it has that 'Quality shows must undergo a noble struggle against profit-mongering networks and non-appreciative audience.' the show initially met with some resistance, it was even suggested the show would never obtain approval as it didn't fit into the category of the traditional, stereotypical family. It deals openly with LGBTQ themes; in one episode; Jude a 13 year old begins to question his sexuality after developing feelings for a boy at his school. Another character Cole is a transgender boy living in a group home and so on. The creators of the show were fortunate to have been introduced to Jennifer Lopez who supported their efforts to get the show aired. She liked their concept for the show. The drama series has 'a large ensemble cast' with recurring cast and characters.'  and also 'aspires towards realism' as the show is more realistic in it's portrayal of a 'modern day' family that consists of blended families which may include biracial members and/or LGBTQ. Like Buffy the Vampire Slayer, The series deals with issues relevant to adolescence like teenage angst, sexuality, identity and also topics such as ADHD, alcoholism, drug addiction, rape and abuse in the foster care system. 

Wilcox, R. & Lavery, D. (2002). Introduction, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.

http://en.wikipedia.org/wiki/The_Fosters_(2013_TV_series)

"The Fosters" trailer retrieved from youtube on 30th October 2014 from:

https://www.youtube.com/watch?v=AUQgRc3pRjE

Pop Genre's Response Do you think comics are a children’s or adult genre/media?

Comics were once labeled reading for strictly children, the themes, succinct dialogue and accompanying art work made them very accessible to youth, shunned as lowbrow because of what was deemed simplistic content. The opinion still subjectively remains, but objectively in contemporary times the notion is no longer true. Comics have now become an all ages medium due to the variety of material within their pages. Earlier in the history of the medium periodicals were released focusing on superhero mythos, morality, heroism and action all as the focus. Roughly until the 1980s when a different breed of comic book came to the forefront, comics that focused on mature themes, with violence or content that would be unsuitable for youth. Frank Miller created the revolutionary ‘The Dark Knight Returns’ focussing on a grizzled and aging Batman, coming to terms with his irrelevance in Gotham, which had become a dystopian society. The tone, adult issues dealt with and brutality, began the transition for the superhero genre as we know it, these ‘childish’ characters being taken entirely seriously, and created a precedent for superhero figures to deal with issues of varying complexity. Then came Dave Gibbon and Alan Moore’s Watchmen. Which truly redefined what was capable in the medium. The Watchmen came about in the 1940s to the 1960s and were a group of civilians who chose to become ‘superheroes’, not granted powers (with the exception of Dr. Manhattan) beyond a mortal human, fighting crime as a valued part of society and becoming part of an alternate timeline where in they assist in America winning the Vietnam War. The country begins moving towards a nuclear war with the Soviet Union, older superheroes retire or work with the government and freelance superheroes have been deemed vigilantes, outlawed and hunted by the government. With a non-linear narrative which discusses contemporary anxieties and deconstructs superheroes. Watchmen took the themes of the genre satirised them and executed comics in such a way that they could be deemed as high art or literature. It is compulsory reading in many college courses and has been named on Time’s List of the 100 Best Novels, not recognised as simply a comic but as a ‘novel’ because of the caliber of writing, this level of acclaim can not be ignored. Even with in Herge’s Tintin adventure ‘The Blue Lotus’, thorough research was done about China, from iconography to culture, to make the work seem as authentic as possible, so when layering his own commentary in the subtext his depictions and critiques would be accurate, satire is a high brow sensibility, so even with in an ostensibly children's work, there is content for older readers. So no, I feel that comics have now transcended their origin and become universal in appeal.

References:

DC Comics. (2014). Watchmen. Retrieved October 14, 2014, from
http://www.dccomics.com/characters/watchmen

Farr, Michael.(1991). In the Blue Lotus. In Tintin: the complete companion (pp50-59). London: John Murray.

Graphic Novel. (n.d.). In Wikipedia. Retrieved October 14, 2014, from
http://en.wikipedia.org/wiki/Graphic_novel

What are some archetypes (e.g. common character types)of fantasy fiction?

The Hero

Is the focal point and the protagonist of the story, they are our looking glass into the world. We aspire to be like them or possess their honourable qualities, they put their own needs aside for the greater good and always consider others before themselves, even to their own detriment in acts of self sacrifice. Trials are placed in front of them which they must overcome, on occasion to much personal loss, but learning and growth always takes place.
heroes come in a varied set of structures, they can be willing or unwilling, accidental or deliberate, a born leader or solitary in nature, an every man or a person of significance.

The Mentor

The mentor is a watcher of the hero, offering advice and help whenever possible, especially when the hero is in peril. Allowing their wisdom to guide the hero along their journey, more than likely before abruptly disappearing, for reasons of occupation or perhaps to help other heroes, but likely because they have served their purpose to the hero. They are almost always old and wise, or at least older than the hero.

Threshold guardian

Is an obstacle the hero must overcome at important junctions, they must be fought, outsmarted or in any form dispatched. They are often a trial before the hero reaches his ultimate destination. They may be an ally or an ally to the antagonist but are more often than not indifferent to the plight of either side. The threshold guardian can appear at the stories inception, throughout the journey or right before the final outcome, passing their trials is symbolic, a token of the heroes development as a character, their ability to rise above adversity.

The Herald.

The herald declares events and or gives exposition for the audience and the hero. The herald can come in all shapes and size it can be an individual, a scrap of paper or just anything that will spur the hero into action.

The Shapeshifter

The shapeshifter exists as a symbol of uncertainty or change, a constant shift in allegiance is in place to keep the hero and audience cautious and engaged on the journey and they often can be what incites a sequence of events.

generally shapeshifters are love interests to the hero and their affection towards the protagonist can vary throughout the story, shapeshifters come in multiple molds depending on the nature of the story, a mentor or guardian threshold for example can have the capacity to be a shapeshifter.

The Shadow

The shadow is the villain of the story and is often a direct antithesis of the hero, they are the antagonist to the journey and are in place as the final trial for the hero. To be defeated so the hero can finally overcome their trials and develop completely as a character. People who are obstacles in the tale but align with the antagonist may also be shadows. Shadows are often not wicked for the sake of evil, but can represent the darkness inherent in us and can have attributes that are positive such as charm, which can make them recognisable to us all though there sentiment is detestable, to display our capacity for evil under certain circumstances and mindsets.

The Trickster

The trickster through means of wit, foolhardy behaviour or charm is in place to give the story levity and entertain. They can be wise, funny or extremely deceptive to name a few molds. They are a device between the proceedings to exercise the mind and to add a lighter tone to the story and or keep us aware and on edge, reminding us to not be naive and to expect anything.

References:

Changing Minds. (2014). Vogler’s archetypes. Retrieved October 14, 2014, from
http://changingminds.org/disciplines/storytelling/characters/vogler_archetypes.html What is the ‘shojo’ and how does it often function in anime?

Shojo in the broadest sense translates directly from Japanese to mean ‘girl’. Adolescent girls roughly from the ages of 10 to 18, the term is vague in it’s usage due to wide variance in application and the fact it is strictly not a style or genre but is used as a catch all term to define anything that has qualities which would appeal to this particular demographic. Shojo anime spans across all manner of genre such as science fiction, historical drama to action. Examples of the genre are Sailor Moon, Candy Candy or Vampire Knight. There is a heavy focus on romantic relationships, interpersonal interaction and emotion. With narratives that discuss distinctly female experiences, topics and challenges. The casts tend to be populated by mostly female characters or are developed with a female perspective as the focal point. Earnest, introspective and beautiful girls or women populate the different series. Most anime from Japan is focused on male-centric content, but Shojo caters to females. It’s function in anime is often to engage or give commentary on contemporary experiences privy to most young female audiences with stories that are deemed distinctly feminine in sensibility. With how wide the application of the term is, I would assert there are traditional tropes that accompany the genre that would be parallel to content in the western culture with a female focus. Often glamorising it's characters and celebrating femininity. Princess Mononoke would set a differing precedent. This is most obvious in the character of San. Abandoned by her parents and raised by the spiritual guardian Moro as a wolf, she is a complex character. Her focus is on protecting the forest and the creatures who dwell in it , attempting to assassinate Eboshi of Iron Town multiple times, feeling that with his death will come removal of all humans from the forest. She denies her humanity and see’s herself as a wolf. Not being a damsel in distress but instead a righteous hero for her cause, and not being glamorised in any fashion but distinctly animalistic because of her upbringing, shunning the preening of much shojo content. When dealing with the films protagonist Ashitaka she initially rejects any interaction but finds that his affection lowers her guard and she begins to find her humanity. After the battle for the forest’s spirit head, he can not console her for her hatred of humans and they part ways to live in respective harmony. Even in the traditional romantic conceit of a happily ever after, Princess Mononoke’s San defies convention ultimately shunning romance because of her ethics. The character is as unconventional as possible and deconstructs shojo culture, and it in my opinion is a strong feminist work.


References:

Anime News Network. (2014). Shojo. Retrieved October 14, 2014, from
http://www.animenewsnetwork.com/encyclopedia/lexicon.php?id=3
Studio Ghibli Wiki. (2014). Princess Mononoke. Retrieved October 14, 2014, from
http://studioghibli.wikia.com/wiki/Princess_Mononoke



What is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle?

Science fiction is the apex and speculative fiction is a sub-genre directly beneath it, there is obvious ambiguity in the definitions. The term speculative fiction is most often used by writers in the context of expressing dissent with the limitations of science fiction as a genre or to defy the conventions and the pigeonholing of certain works of fiction with in genres like ‘thriller’ or ‘mystery’. This can also apply to an author’s need to not be defined as a ‘science fiction author’ because of all of the negative stereotypes that are incurred especially from the critically minded, the genre being mostly labeled as low brow and allowing for the traditional framework of the genre to be broken in favour of something akin to a modernist direction. Phillip K. dick as a struggling writer advocated this sentiment, constantly trying to break out of the rigid mold. And because of the caliber of it’s deconstruction it is obvious why The Man in the High Castle won a Hugo award. Initially The Man in The High Castle could be either but as the narrative unfolds the themes of world history, totalitarianism and eastern philosophy come into view and ideas like the I-ching are brought to the forefront, depicting the outcomes of differing ideas in the dystopian world that has come about make the story speculative fiction. Taking a world we are already familiar with, our own reality and posing ‘what if?’ questions to create wildly different realities as a way of exploring certain themes and ideas. Setting up well known historical events and taking an alternate course of action such as Hitler being saved by a catholic priest or the idea of Nazi Germany and Imperial japan winning the second world war and the consequences of these important events.

References:

Dick, P.K. (2001; 1962). The Man in the High Castle. London: Penguin

Speculative Fiction. (n.d.). In Wikipedia. Retrieved October 14, 2014, from
http://en.wikipedia.org/wiki/Speculative_fiction

How does Buffy deconstruct traditional literary notions of good and evil?

Heroes and villains are as old as storytelling itself directly being placed in opposing positions within a narrative. Their behaviours are routinely constant in one direction or the other, this is not akin to the behaviour of actual human beings who are defined by shades of grey, are morally complex and vast, unwilling to be constrained by simplistic definition, and are constantly able to act in positive or negative ways. ambiguous. Joss Whedon’s well-read understanding of literature allowed him to break convention and bring diverse and complex characters to his narratives. Who through differing judgment regardless of their place in the spectrum act in good and bad ways, not simply being defined by their purpose in the plot but their characteristics. One example is the fact Buffy is a hero and Angel is a villain but they grow to be fond of one another. Braun (2000) states the “Tangle of psychological and sexual roles and moral positioning does not lead to easy analysis, but it does reflect the complexity of real human personalities and relationships.” and asserts through Klein's theory that this pattern of traditional thinking comes from infancy as we are raised to deal with good and bad behaviour from our loved ones and those that we are close to. The idea that even though both are on opposing sides of the spectrum when it comes it mission but inherently have the capacity to express both qualities with in them and thus can understand one another's urges and sentiment. Only enlivens the narrative and makes the characters more interesting and engaging because they become relatable and flawed.

References: Braun, B. (2000) The X-files and Buffy the Vampire Slayer: The ambiguity of evil in supernatural representations. Retrieved October 14, 2014 from
http://www.findarticles.com/p/articles/mi_m0412/is_2_28/ai_64688900

How does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.

How does Hill define reality TV? Describe his definitions in the context of a contemporary Reality TV show.

Hill (2005) defines reality television as a mix of styles and formats that rely on prescribing ‘factual programming’. These styles include hand-held camera techniques, unscripted dialogue and nonprofessional actors and this all adds to the real-life quality that the audience believes or wants to believe is true (Hills, 2005). Reality television has focused on anything from food to people and pets. There are many different styles of reality television such as game shows (who wants to be a millionaire, the price is right), talk shows (the tonight show, the daily show), documentary (Cathy come home, Bear Grylls) and lifestyle (Martha Stewart). Hills (2005) states that reality television has changed and progressed over time and that the expansion of the genre has produced hybrids, for example the amazing race is a mix of documentary and game show. One of the many reasons that reality television has proved to be popular is because of the exposure of personal lives, this is especially relevant when looking at shows like the real housewives or keeping up with kardashians, with the real housewives the audience get to witness the drama and gossip between the woman and men that the show is centered on and the breakdown and making of new and old friendships and relationships. The real housewives have become a huge franchise that includes housewives from Beverly Hills, Orange County, and New York. The women of the show tend to be wealthy business owners who are mothers and housewives. The focus of the television series is on their personal and professional lives that are depicted through a documentary style that allows the audience to watch their lives. The entertainment value of housewives has a big demand for viewers, and a reason for this is that some viewers might find it hard to differentiate the difference between what’s real and what is being set up or dramatized.

References

Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television (pp. 14 – 40). Oxon: Routledge.

Wilcox and Lavery (2002) identify 9 defining characteristics of ‘quality TV’ – can you apply any of these to other television series that you have viewed recently? Are there any other characteristics that you could add to their list?

Wilcox and Lavery (2002) identify 9 defining characteristics of ‘quality TV’ – can you apply any of these to other television series that you have viewed recently? Are there any other characteristics that you could add to their list?

Wilcox and Lavery (2002) identify ‘quality TV’ through 9 defining characteristics. I believe that these characteristics relate to many series other than Buffy the Vampire Slayer, such as The Sopranos, Twin Peaks, and Breaking Bad. Two specific series that I have watched which I believe fit many of the characteristics are True Blood and Seinfeld. The characteristics that I will cover for True Blood are a large ensemble cast, being controversial and mixing new genres with old genres. For Seinfeld I will discuss a large ensemble cast, having memory and that it aspires towards realism.

True Blood is set within a fictional world where vampires and other supernatural creatures exist. The story focuses on waitress Sookie Stackhouse and her surrounding family and friends who deal with the co-existence of vampires. True Blood consists of a large ensemble cast that includes Sookie, Bill Compton, Eric Northman, Sam Merlotte, Tara Thornton and Lafayette Reynolds, along with a broad cast of rotating and supporting characters. True Blood explores controversial themes such as discrimination, religion, and violence against minorities and it is through these contemporary issues and themes that True Blood combines several genres into its storyline which include urban drama supernatural fantasy, horror, and romance.

Seinfeld, a television series recognized as being ‘a show about nothing’, centers on the lives of four New Yorkers who go about their daily lives with often-unfavorable outcomes. Seinfeld consists of a large ensemble cast, and along with the leading characters of Jerry, George, Elaine and Kramer there is regular recurring roles of Newman, Susan, Frank Constanza, J. Peterman and Puddy. This ensemble cast adds dimension and enriches the content with the diverse personalities of all the characters. During the 9 seasons, many references are made to the eccentric nature of the characters, for example, Jerry as a germaphobe, George’s neurotic insecurities, Elaine’s lack of social etiquette in being ‘too honest’ and Kramer’s exaggerated personality, and this brings about the fourth characteristic of quality television: having a memory. The storyline requires the audience and the characters to remember interconnected storylines that relies on references, in-jokes and the presence of recurring characters. An example of this is in the final episode which depicts that none of the main characters grow or improve as individuals which eventually leads them to dire consequences, where the four are sent to prison for ‘doing nothing’ instead of helping an overweight man getting carjacked. All recurring supporting characters appear and describe the wrongdoings done to them by Jerry, George, Elaine and /or Kramer. Also one of the final scenes, sitting in a prison cell, Jerry and George start talking about the buttons on George’s shirt, which is an acknowledgement to the very first episode where they are debating George’s shirt buttons.

Through the use of original realism, (many of the episodes are based on real life experiences of the writers) the roles of recurring characters and themes, Seinfeld managed to break the boundary of conventional television and become a classic example of quality television.

References

Wilcox, R. & Lavery, D. (2002). Introduction, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.