More Than Just Who's Got the Power:
Buffy and Bridging Gender Fault Lines

By Kendra Washington

"It's about power. Who's got it. Who knows how to use it..."
-Buffy, Season Seven "Lessons"

She's strong. She's powerful. She's able to bridge large fault lines of gender in a single bound! Yet scholarly essays about Buffy as a role model for women tend to fail at recognizing her power as a paragon of morality and woman warrior. Although critics claim it has feminine weakness, B:TVS is a great example of a television series bridging through gender fault lines because of its heroine's actions and beliefs in ethics. The remarkable quality about Buffy is not that she has empowered herself and others in a Nietzschean sort of way, but how she has wielded that power for ethically good ends. Beyond that, Buffy is able to escape the trap of pragmatism and follows specific ethical standards in order to reach those ends.

Each season, creator Joss Whedon and his staff were able to bridge those fault lines to varying degrees of success. They were able to consistently write engaging stories about Buffy's strength over the stereotypes of gender during the show's first three seasons. After Season Four of Buffy, writers tended to portray Buffy in misogynistic or less than heroic situations- with a much less successful attempt of playing reverse psychology on the audience. Despite that lost message, there were hints that offered hope for Buffy continuing to uphold herself as a bridge of strength between the gender gap. That reflection of Buffy's strength has continued even beyond her own series and lives on in the spin-off show of her vampire soul mate, Angel.

Nowhere was the clarity of Buffy as a moral female action hero better than through Seasons One to Three of Buffy. The original premise of Buffy was simple. As Joss Whedon has said in many interviews, "[Buffy] was my response to all the horror movies I had ever seen where some girl walks into a dark room and gets killed. So I decided to make a movie where the blonde girl walks into a room and kicks butt instead," ( Early 58 ).

Turning the fault line on its head, Whedon made it Buffy's inherent nature to be a rebellion of women being marginalized as heroes in sci-fi action stories. As a self-proclaimed feminist Whedon remarked many times that the point of any story was to show, not just tell the audience his main point. It just so happened to be that female empowerment was "the very first mission statement of the show, which was the joy of female power: having it, using it, sharing it," (nypost 2001).

At first, the problems that Buffy faces in Season One are conflicts between what she wants as a teenage girl versus her duty as the chosen slayer. Often this conflict would manifest itself in social clashes for Buffy, particularly for want of a love life.

A perfect example of this is in the Season One episode, In Never Kill A Boy On the First Date. In that episode Buffy is forced to choose between going on a date and slaying a vampire of prophecy named the "Anointed One." Her moral dilemma has serious ethical consequences. She could go on the date but at the cost of the "Anointed One" helping its mentor vampire, the Master, killing the entire population of the town. If she just performed her Slayer duties, Buffy is cut off from her own wants to have a normal life.

The pressure escalates when Angel, ensouled vampire and Buffy's future boyfriend, comes to let Buffy know, "Some serious stuff happening tonight. You need to be out there," (NKABOTFD 1997). Add to that minion vampires stalking her Watcher, Rupert Giles, (watchers are mentors and guides to slayers, we later learn that there is an entire council of watchers) and the "Anointed One" on the loose- innocents will die if Buffy doesn't help. Buffy clearly works in a utilitarian approach by agreeing to slay the "Anointed One", suppressing her own desires for the greater good of innocent people who would be killed without her.

Buffy even continues her work when she realizes that Owen is only with her because the rush he feels when he's in danger. Her decision to exclude him from her life comes because of a greater good- making sure he doesn't get hurt or killed or turned into vampire himself. At the end of the episode Giles and Buffy reflect:

GILES: (Regarding Owen) Seems like a nice lad.
BUFFY: Yeah. But he wants to be danger man. You, Xander, Willow, you guys... you guys know the score, you're careful. Two days in my world and Owen really *would* get himself killed. Or I'd get him killed. Or someone else.

For Buffy, the need to protect the innocent people of the town rises even above Buffy's desire for self-preservation. At the end of the Season One, she faces another deadly moral dilemma. An iron-clad prophecy states that if Buffy fights the Master, she will be destined to die. Initially, she immediately refuses to fight any more vampires and tries to quit her duties as a slayer. But after minions kill a bunch of Buffy's classmates, she again realizes that saving the world from vampires and other demons is more important.

More important than the harm that comes from her death. Buffy also makes herself accountable and independent of her own actions, realizing someone else fighting in her place won't produce as good an end. In the Season One finale Prophecy Girl, Giles tells her:

GILES: Buffy, I'm not gonna send you out there to die. Now, you were right. I-I've waded around in these old books for so long, I've forgotten what the real world is like. I-it's time I found out.
BUFFY: You're still not going up against the Master.
GILES: I've made up my mind.
BUFFY: So have I.
GILES: I made up my mine first! I'm older and wiser than you, and just... just do what you're told for once! Alright?
BUFFY: That's not how it goes. I'm the Slayer.

Accepting this responsibility to others, the writers have firmly established in the first season Buffy isn't a pragmatist warrior looking for whatever works. Buffy has her own power to slay vampires, but wields that power based on ethical moral standards. The dilemmas she faces as Buffy started her second season only get harder. The majority of the action in this season revolves around her boyfriend Angel reverting to his demonic alter-ego, Angelus. Vampires in Buffy's world are ethic-less people, because they are without the souls that give them the ability to see right from wrong. Buffy is placed in a difficult position.

Angel is not in control of his demonic alter-ego, Angelus. Slaying Angelus, means that Buffy would also be in effect killing Angel (Angelus is the demon that preserves Angel's body as an immortal vampire). That means Buffy would be killing a not just a loved one but one who works to fight evil as Buffy does. Even more complex is when at the last moment, Angel's soul is restored and she must send him to hell with soul.

But because his alter-ego, Angelus, has opened a portal that would destroy the whole if left open- Buffy needs to kill specifically Angel in order to close it. Left open, the portal would destroy the innocent people of the world. As she retells Giles and her witch friend Willow later on (Faith, Hope and Trick 1998.):

BUFFY: When I killed him, Angel was cured. Your spell worked at the last minute, Will. I was about to take him out, and, um... something went through him... and he was Angel again. He-he didn't remember anything that he'd done. He just held me. Um, but i-it was... it was too late, and I, I had to. So I, I told him that I loved him... and I kissed him... and I killed him.

Again the burden she bears as protector of the innocent outweighs any desire Buffy has to not kill Angel. The resolution to her moral dilemma can be interpreted from a utilitarian approach, but can also be justified according to Kant's categorical imperative. She doesn't view Angel as a means to an end, and values the lives of the innocent people as valuable in and of themselves. As Scot Stroud notes in his Buffy essay, "... if Buffy shirks her duties as the Slayer, she will be acting on maxims that privilege her inclinations and desires, and not her rational side...By valuing contingent wants and desires over the safety of others, Buffy would be making a fundamental moral judgment about her maxims that Kant would find to be reprehensible," (Stroud 188.)

Buffy in these tremendous stress situations is able to think rationally and make a difficult moral choice using a specific Kantian maxim. Valuing the safety of others is important to her so that every action she takes, has the purpose of making that maxim into a universal law.

This kind of rational decision making isn't something you'd find in other stories of vampires, such as the novel Dracula. In those stories, women's roles are relegated to passive sidekicks who aren't in positions to make these types of decisions. Buffy breaks through these conventions by making these decisions on a daily basis, and taking on the responsibility that comes with each decision's consequences.

In Season Three of the show, Buffy then questions the nature of her powers and what rights she is entitled to because she has them. Because of Buffy's first death (she was brought back through her friend Xander giving her CPR), a new slayer named Faith has been activated. Faith's philosophy on life is the exact opposite of Buffy's. Initially, she seeks out only what is pleasurable, enjoying the slaying only because of the rush she gets from the kill.

As Greg Forster notes in his Buffy essay, "Faith is not a vampire slayer because it is her duty, nor because it is the work she has to do... However her love of vampire slaying is entirely amoral. She doesn't appear to care very much that slaying serves a moral purpose," (Forster, 14.)

Once she learns that doing at the very least, morally questionable acts, gives her more of a rush- Faith decides to work for the evil demonic Mayor of the town. Faith then misuses the supernatural slayer powers intended to protect people. Instead she robs a sporting goods store and begins killing humans or demons for hire. Violently, the two slayers for the rest of the story arc are pit against each other:

FAITH: You're still not seeing the big picture, B. Something made us different. We're warriors, built to kill.
BUFFY: Built to kill demons. But that doesn't mean we can pass judgment on people like we're better than everyone else.
FAITH: We are better. People need us in order to survive. And in the balance, no one is going to cry over some random bystander who got caught in the crossfire.
BUFFY: I am.
FAITH: That's your loss.

Faith's approach of want-take-have, serves as a perfect foil for the methodology Buffy has used all through out the show. Using her powers to create new values, as Nietchze would suggest, doesn't necessarily lead to moral actions for Buffy or Faith.

Essentially what Faith is suggesting is that society ought to be based on a "might is right" maxim that can not be ethically justified. At this point, Faith doesn't care what the effects her actions are on others. She isn't interested in to creating a greater good. And Faith also clearly doesn't care about any universal principles. Worse still, she treats people as means to an end.

Buffy could have easily gone through the same downward spiral that Faith did, but instead- was able to use rational ethical thinking. Instead she continued to think about the causalities of the supernatural war slayer are fighting, and considered the true ramifications of her actions. Buffy continued to serve as a bridge by upholding her values in the face of conflicting negative ideologies.

In the later seasons, there are few instances of this kind of pure heroic action for Buffy. The writers in an attempt of reverse psychology, have penned some of the moral dilemmas for Buffy that initially widen the fault line between gender. But not taking a fight lying down, Buffy at the end of these obstacles is able to make ultimately good choices that bridge fault lines together.

By Season Four, Buffy's ability to slay and make these fair ethical judgments has rubbed off on viewers and other characters in the series as well. Her best male friend Xander is able to comfort Buffy in her fears about not being enough to survive college and slaying: (The Freshman 1999)

XANDER: The point is, you're Buffy.
BUFFY: Yeah, maybe in high school I was Buffy.
XANDER: And now in college you're Betty Louise?
BUFFY: Yeah, I'm Betty Louise Plotnick of East Cupcake, Illinois. Or I might as well be.
XANDER: Buffy, I've gone through some fairly dark times in my life, faced some scary things, among them the kitchen at 'The Fabulous Ladies Night Club.' Let me tell you something, when it's dark and I'm all alone and I'm scared or freaked out or whatever, I always think, 'What would Buffy do?' You're my hero...

Coming from a male character, it's important to note that Buffy's moral actions while slaying have helped make her Xander's hero. Again this bridging of the fault line goes to Joss's maxim of showing, not telling the story. Having women wielding power judiciously is part of the message Whedon is trying to get other men to understand. He says, "If I can make teenage boys comfortable about a girl who takes charge of a situation without their knowing its happening, its better than sitting them down and selling them on feminism," (Early 55).

Yet at the same time you often have Buffy attempting to fit into the male-dominated Initiative. The Initiative is a military demon fighting group that uses high-tech methods to "neutralize hostiles." Buffy spends a lot of the season trying to cater to Riley, her then boyfriend who was a member of the group. With episodes like "The I in Team" the viewers see the conflict of her methods that utilize her individual strength as the slayer and the group collective army-life the Initiative uses. This lifestyle leaves little time for keeping the same Kantian principles of friendship (valuing her friends because they are inherently valuable) or considering what best serves the greater good.

But when doctors of the Initiative attempt to kill off Buffy because she stands in the way of their ultimate demon killing machine, she's able to see how compromised her ethics have become. She even becomes afraid of the supernatural essence of the slayer within her, trying to burry it.

Yet when that essence attempts to attack Buffy and her friends while they sleep she is not only able to control the power within her but include in new ethics to better wield that control: Keeping that essence within her part of a private reserve of strength, Buffy is better able to get a handle on her sense of self. While having powers that help others is important, she is ethically able to reason in Restless, "It's over, okay? I'm going to ignore you, and you're going to go away. You're really gonna have to get over the whole ... primal power thing. You're *not* the source of me." (Restless 2000.)

Part of the problem that plagued later seasons, such as Season Five, is how some of the writers tended to wrongly portray Buffy as codependent to ethically immoral men. Having some cooperation between the sexes is important. But when Buffy submits her fairly good moral standards in deferment of men who committed immoral acts she succumbs to the stereotypes of meek women.

One clear example of author self-insertion that occurs happens during Into the Woods. At this point in time her then boyfriend, Riley Finn, both cheated on Buffy and committed an unethical act at the same time. Buffy discovers during the episode that Riley has sought the pleasure of vampire prostitutes, who humans pay to have them suck their blood. This rush gives the human a natural buzz, and gives the vampire prostitute the magical sustenance they need in order to live. Riley does not care about the negative ethical ramifications of willingly letting a vampire drain his blood (in essence strengthening the enemy it is Buffy's duty to fight.)

However the writers are imposing their thoughts onto the characters, particularly in making Buffy feel like Riley is the idea guy for her despite his unethical actions.

Although Riley himself committed the unethical act, he is the one who makes demands of Buffy. The influence of the writers is seen when you closely examine the faulty logic found in Xander's claims: (Into the Woods 2000)

BUFFY: The guy got himself bit by a vampire! He lied to me. He ran around behind my back and almost got himself killed! And now he tells me that he's leaving with some covert military operation at midnight unless *I* convince him not to. Now tell me that you understand. Because I sure as hell don't.
XANDER: You gonna let him go?
BUFFY: It's not my decision to make.
XANDER: Of course it is.
BUFFY: Well, it's not fair.
XANDER: Who cares if it's fair? In about twenty minutes, Riley's gonna disappear, maybe forever, unless you do something to stop him.
BUFFY: What am I supposed to do? Beg him to stay?
XANDER: Why wouldn't you? To keep Riley here... But you miss the point. You shut down, Buffy. And you've been treating Riley like the rebound guy. When he's the one that comes along once in a lifetime. He's never held back with you. He's risked everything. And you're about to let him fly because you don't like ultimatums?

But fairness is the point. Ignoring how Riley endangered himself, and essentially allied himself with evil itself would be turning back on Buffy's duty as the slayer at the least. If Buffy subverted her will to Riley is just as bad as Buffy subverting her will under Faith's might is right rules. Buffy was moreover uninspired to rise to the ethical standards Aristotle has set up of being your ideal self.

Subverting her actions to Riley's own ethical agenda is ultimately wrong because she was not actively perusing the just life ideal for Buffy. Her enthusiasm for life and for saving others through slaying was lacking. As Nancy Kilpatrick says about Buffy's behavior when she was with Riley, "Yet underneath it all was the sense of something missing. He just did not inspire in you [Buffy] the same passion that Angel did, that was obvious. So no one was truly surprised when you let your comfort zone slip away." (Kilpatrick 22).

And inspire passion for living Angel did. When he comes back to comfort Buffy during her mother's funeral, he helps her to remember her duties. He's not making ultimatums or demanding anything from Buffy, but rather giving Buffy a chance to find the ethical strength to continue life without her mother.

In this episode entitled Forever he says, "Look it's okay. I know you don't feel like it right now, but you are strong, Buffy. You're gonna figure this out. And you have people to help you. You don't have to do this alone."

Angel's assurances inspire Buffy to try to be her idealized self, and thus her actions would naturally be ethically just from them. To become the ideal Slayer and to be sure the lead the life of an ideal Slayer is what Buffy generally tries to do. She even does this without encouragement from Angel. Yet his positive encouragement to seek out an effective ethical life, is another way Buffy has been able to bridge the gap. She's taken his encouragement, and the support of others to truly live that ideal. This changes in the next season of the show.

During the underrated Season Six of Buffy, she certainly does not live up to her idealized self. Why such a fundamental shift in the show occurred, no one answer is sufficient. Whether the writers were trying to use reverse psychology or induldge themselves in some author self-insertion comes is debatable. Perhaps it was because Joss Whedon was no longer there to fully supervise the quality of work, but it is Seasons Six and Season Seven that are the critics least favorite.

What devastated fans of Buffy's ethical strength the most was the abusive and misogynistic relationship she would enter into with Spike over the last two seasons of the show. During this time period, Spike was a soulless demon, unable to make ethical decisions because he did not have a soul. As a slayer, it is Buffy's duty to slay soulless vampires such as Spike. Yet because of her crisis of dealing with power, she gave up her empowerment to him.

As she tells Tara, another friend, in Season Six's Dead Things (Dead Things 2002):

TARA: Buffy, I-I promise, there's nothing wrong with you.
BUFFY: There has to be! This just can't be me, it isn't me. Why do I feel like this? Why do I let Spike do those things to me?
TARA: You mean hit you?
BUFFY: He's everything I hate. He's everything that ... I'm supposed to be against.

It is clear from both the clearly painful bondage and sadomasochistic acts that occurred during their encounters, this was not a healthy relationship- ethically (since he often encouraged Buffy to do unethical actions) or otherwise.

Critics say Buffy's power crisis comes from the inability to find good ethical resources outside of herself. Some say because of Buffy's crisis, it negatively effected the rest of the characters so that they are unable to look outside of themselves for help. As Sarah Zettel writes, "I miss the idea that there is Good in the world beyond the main characters, that there is help, that there are resources they can call on beyond themselves. The beleaguered weakened loneliness of them being the thin red line between the world and The End when they are flawed and tired and burdened by power, is becoming exhausting. " (Zettel pg. 115)

What ultimately breaks the cycle of abuse for Buffy is Spike's attempt to rape her, when she's left defenseless after suffering a blow to the head. His attempted rape sought to completely snuff out her own empowerment, to objectify her as a means to an end, and to seek out his pleasure at the cost of her harm, wakes Buffy up to the danger of the situation at hand: (Seeing Red 2002)

BUFFY: No, stop it!
SPIKE: I know you felt it ... when I was inside you...
BUFFY: No, ow, ow! Please, please, Spike, please!!!!
SPIKE: You'll feel it again, Buffy...
BUFFY: Please don't do this!
SPIKE: I'm gonna make you feel it!!!!
BUFFY: Stop!!! Ask me again why I could never love you!
SPIKE: Buffy, my god, I didn't-
BUFFY: Because I stopped you. Something I should have done a long time ago.

Though how the writers handled expressing such an ethical moral crisis might not have been the most clear, it is evident Buffy spent most of Season Six in turmoil. Giving up her power to Spike for very unethical ends, finally culminated in an attempted rape that brought her back to her senses. Towards the end of Season Six, Buffy is making more strides to regaining her ethical values system and begins to actively seek being her ideal self again.

Buffy's actions during the final season of the show went to celebrating and literally sharing her power as a slayer with others. What is initially difficult for some viewers is how Buffy herself did not address the un-ethical act of her rape. Nor does Spike (complete with a soul after the Season Seven and in the Angel spin-off) seem to be so much different from what he was like without a soul.

Some suggest she does not fully address this issue because she is focused on her larger responsibilities to female empowerment during the season. We learn an omnipresent monster that appears in the form of dead people, the First, is arranging the murder of young girls.

Yet the First has chosen these girls for a reason- they were all young women who had the potential to become slayers. Once all of the potential girls were killed, no new slayers could be activated to fight vampires. In their pre-slayer state, each of the girls had no supernatural power, strength or training to fall back on when they were attacked. Buffy over the course of the season learns that the first slayer suffered from the domination of men.

Buffy's younger sister Dawn, translates a slayer origin myth the group finds with the possessions of a previous slayer. Dawn recites in Get it Done, "First there is the Earth. Then, there came the demons. Men found a girl. And the men took the girl to fight the demons-all the demons. They-they chained her to the Earth."

When the council of watchers was still in existence (the First arranges to blow up the council's headquarters in this last season) they often referred to the slayer as an object- a weapon. In the series finale, Buffy makes the ultimate bridge of between gender fault lines by giving the potentials the power of choice. She tells them: (Chosen 2003)

BUFFY: It's true none of you have the power that Faith and I do. So here's the part where you make a choice. What if you could have that In every generation, one slayer is born... because a bunch of men who died thousands of years ago made up that rule... So I say we change the rule. I say my power should be our power.

From now on, every girl in the world who might be a slayer will be a slayer.

Every girl who could have the power will have the power... can stand up, will stand up. Slayers... every one of us. Make your choice. Are you ready to be strong?

On the surface, it seems that all she's really done is just given the potential girls access to power but there is more to it than that. She has exacted a Rawlsian form of justice for all of the young women who were destined to be slayers. Those who were weak and the most disadvantaged are now provided for. Buffy has formed a new egalitarian society of strong women.

Buffy's world is fundamentally changed- with all potentials sharing power and having Buffy to guide them in ethically using that power to produce good ends. Buffy's legacy has provided for a world of choices that weren't available to the young women before, with her decision echoing in the future yet to come.

The echoes manifest especially in Buffy's spin-off show about her persistent love interest, Angel. As the title character, Angel has helped Buffy bridge fault lines by respecting and valuing Buffy as a person. She is not objectified or made to be less than she is by him. He insists other characters ought to respect her in this way as well, seeking to make sure the egalitarian society she has worked for continues to remain intact.

Within three weeks of Buffy's battle in CHOSEN, Spike unexpectedly appears through magic. All at once he is demands to see Buffy: (Just Rewards 2003)

SPIKE: Buffy! Is she-
ANGEL: She's OK.
SPIKE: Where-where is she?
ANGEL: Europe, last I heard from her.
SPIKE: Wanna see her... Wanna talk to her.
ANGEL: That's gonna be tough.
SPIKE: You can't keep her from me.
ANGEL: She's not mine to keep... or yours.
SPIKE: Says you. You got no idea what we had.
ANGEL: You never had her.

If spoilers about this season's Angel are any indication, this fight about Spike's seemingly selfish relation to Buffy versus Angel's respect for her will only escalate. In last week's episode of the series (Destiny 2003), the two vampires violently beat each other up arguing over, among other things- how to best treat Buffy. With Spike using clearly derogatory terms, "Guess that means she was thinking about you, all those times I was puttin' it to her."

Just as equally, Angel seeks to help maintain the strength of her name and respect that all women would deserve. Even though Buffy herself may never grace television again (although there are rumors she may guest star on Angel later in the year) her last contribution as a complex heroine bridging the gap of gender will remain.

Like the empowerment of young potential slayers in Buffy's world, Whedon and his writing staff has fundamentally changed the perception of women in the media as heroic. The staff has written incredibly rich stories that demonstrate the strength of Buffy's power lies in the ethical decisions she makes, not just the physical strength she uses to enforce those decisions. For every obstacle she has faced in the past seven years of the series, she has continued to smash the wrecked molds of what it means to be a woman in society.

Laurel Bowman, in her essay about Buffy as the revived greek hero of legend best sums it up, "The decision to take such a person and make her the hero of the story has made the series a favorite subject for feminist criticism. Buffy the Vampire Slayer doesn't say "see, a woman can act like a man and be a hero", but "see, a woman does not HAVE to act like a man to be a hero". Working out what it means to a woman who is a hero has been the ongoing project of the...series," (Bowman 2002).


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Works Citied


Early, Francis. and Kennedy, Kathleen, eds. Athena's Daughters, Television's New Women Warriors. 1st ed. Syracuse: Sycracuse University Press 2003/br> "The Female Just Warrior Reimagined" by Francis Early pages 55-65

South, James D. and Irwin, William. Eds. Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale. Volume Four in the series, Popular Culture and Philosophy. Peru: Carus Publishing Company 2003. "A Kantian Analysis of Moral Judgment in Buffy the Vampire Slayer" by Scott R. Stroud pages 185-194.
"Faith and Plato: 'You're nothing! Disgusting Murderous Bitch!'" By Greg Forster pages 7-19.

Yeffeth,Glenn. ed. Seven Seasons of Buffy, Science Fiction and Fantasy Writers Dicuss Their Favorite Television Show. Dallas: 2003
"Sex and the Single Slayer" by Nancy Kilpatrick pages 19-24
"When Did the Scoobies Become Insiders?" by Sarah Zettel pages 109-115

Related Internet Articles:

Buffy's Not Too Cool For School." Feature. June 21 2002
But full text can be found here

Bowman, Laurel. Homepage. Buffy the Vampire Slayer: The Greek Hero Revisited, 2002.

Referenced Transcripts of Buffy: The Vampire Slayer and Angel:

"Never Kill A Boy On The First Date." Dir. David Semel Writ. Rob Des Hotel and Dean Batali. Perf. Sarah Michelle Gellar, Anthony Stewart Head, David Boreanaz. WB, March 31, 1997

"Prophecy Girl" Dir. Joss Whedon. Wri. Joss Whedon. Perf. Sarah Michelle Gellar, Anthony Stewart Head. WB, June 02,1997

"Faith, Hope and Trick" Dir. James A. Contner Wri. David Greenwalt. Perf. Sarah Michelle Gellar, Eliza Dushku. WB, October 13,1998

"The Freshman" Dir. Joss Whedon Wri. Joss Whedon Perf. Sarah Michelle Gellar, Nicholas Brendon. WB October 05, 1999.

"Restless" Dir. Joss Whedon Wri. Joss Whedon Perf. Sarah Michelle Gellar, WB May 23 2000

"Into the Woods" Dir. Marti Noxon Wri. Marti Noxon Perf. Sarah Michelle Gellar, Nicholas Brendon.WB December 19, 2000.

"Dead Things: Dir. James A. Contner Wri. Steven K. DeKnight. Perf Sarah Michelle Gellar, Amber Benson. WB February 05, 2002.

"Seeing Red" Dir. Michael Gershman. Wri. Steven K. DeKnight. Perf Sarah Michelle Gellar, James Masters, WB May 02, 2002.

"Lessons" Dir. Joss Whedon Wri. Joss Whedon, David Solomon. Perf. Sarah Michelle Gellar, WB September 24, 2002

"Get it Done" Dir. Douglas Petrie Wri. Douglas Petrie Perf. Michelle Trachtenberg WB, February 18, 2003.

"Chosen" Dir. Joss Whedon Wri. Joss Whedon Perf. Sarah Michelle Gellar. WB May 20, 2003.

"Just Rewards" Dir. James A. Contner Wri. David Fury, Ben Edlund WB, October 8, 2003.

"Destiny" Dir. Skip Schoolnik Wri. David Fury, Stephen K. DeKnight. WB, November 19, 2003.