Jointly written by Lawrence Miles (Faction Paradox), Lars Pearson (Wizard magazine) and Christa Dickson (Metaphorce Designs), this beefy guide also contains information on the Buffy comic and novel series, plus heaps of behind-the-scenes details on this phenomenal TV show.

    The star of the show, Sarah Michelle Gellar is only 24, but she already has to her credit five films, two soap operas and a global hit-TV show. Buffy fans up and down the country thirst for details about Gellar's life, and this biography will undoubtedly quench that thirst. It's filled with dozens of exclusive photos and original information on every aspect of her career. BITE ME! spotlights Sarah's role in the show and features entertaining commentary on each episode, as well as background information about the stories in them.

    "The Monster Book" looks at how vampires are created on the show. There are interviews with the series creator, Joss Whedon, as well as the writers, make-up and costume artists, stunt men and actors. It explores the mythology surrounding vampires and other ghouls, in other forms of popular culture. Meet the vampires and other Sunnydale hellmouth creatures, safely, in this monster book.

    From body snatchers and poltergeists to werewolves and mummies, it provides the inside track on the show's strange yet seductive characters and topics. The Buffy Chronicles includes a retrospective of the film that started it all, a history of vampire legends, cast information, plot synopses, and behind-the-scenes trivia. From "The Death Toll, " a roster of who's been killed by whom in each episode, to "I Fall to Pieces, " a guide to the alternative music and bands that add so much atmosphere, this book has everything Buffy's fans could want.

    It’s easy to see why. Whedon, who got his start writing for Roseanne, dreamed of writing movie screenplays. He got his shot when he sold his script for Buffy the Vampire Slayer, but the movie fell far short of his hopes for it. After a few years of working as a script doctor, Whedon got the chance to doBuffy again, this time as a TV show.Few expected it to succeed, but Whedon’s humor and intelligence shone through in the scripts, and viewers quickly became attached to the engaging, witty characters. Buffy kept getting better: each season of the show featured a complex story arc possessed of a real sense of danger and further developed the characters. The last few years have brought the Buffy spin-off Angel, the lamentably canceled Firefly (a space western), and the comic book Fray. Engaging and filled with fun quotes, this is a must-read for Whedon’s many fans.

    Yet the show has lived on through syndication, global distribution, DVD release, and merchandising, as well as in the memories of its devoted viewers. Buffy stands out from much entertainment television by offering sharp, provocative commentaries on gender, sexuality, race, ethnicity, and youth. Yet it has also been central to changing trends in television production and reception. As a flagship show for two U.S. “netlets”—the WB and UPN—Buffy helped usher in the “post-network” era, and as the inspiration for an active fan base, it helped drive the proliferation of Web-based fan engagement.In Undead TV, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism. Contributors engage with critical issues such as stardom, gender identity, spectatorship, fandom, and intertextuality. Collectively, they reveal how a vampire television series set in a sunny California suburb managed to provide some of the most biting social commentaries on the air while exposing the darker side of American life. By offering detailed engagements with Sarah Michelle Gellar’s celebrity image, science-fiction fanzines, international and “youth” audiences, Buffy tie-in books, and Angel’s body, Undead TV shows how this prime-time drama became a prominent marker of industrial, social, and cultural change.Contributors. Ian Calcutt, Cynthia Fuchs, Amelie Hastie, Annette Hill, Mary Celeste Kearney, Elana Levine, Allison McCracken, Jason Middleton, Susan Murray, Lisa Parks

    Recast in L.A., Angel developed its own preoccupations, exploring a darker vision of alienation, atonement and the fight for redemption. The series ended in 2004, but its legion of loyal fans continues to petition the WB network for a new spin-off or motion picture on the "Save Angel" website and other online fansites. This book covers all five seasons, discussing the cinematic aesthetics of Angel, its music, shifting portrayals of masculinity, the noir Los Angeles setting, the superhero, and horror. A complete episode guide is included.

    It's a city like no other....People are drawn here. People, and other things. They come for all kinds of reasons. My reason? It started with a girl."-- Angel, "City of"For a hundred years, Angel offered an ugly death to everyone he met. And he did it with a song in his heart. A gypsy curse put a stop to his rampage, but his doomed love of Buffy the Vampire Slayer drove him from Sunnydale on his own quest for redemption.Fortunately, he's not alone. His support system includes Cordelia Chase, ex-May Queen (just until her inevitable stardom takes effect); Wesley Wyndam-Pryce, Rogue Demon Hunter; and Gunn (Charles Gunn, his name, not his street tag). Their rates are low, and their logo is indecipherable -- but they save people, and stuff.

    Its groundbreaking stylistic and thematic devices, boldness and wit earned it an intensely devoted fan base-and as it approached its zenith, attention from media watchdog groups and the Federal Communications Commission. The grim and provocative evolution of the show over its final two seasons polarized its audience, while also breaking new ground for critical and philosophical analysis. The thirteen essays in this collection, divided into the perspectives of feminist, cultural, auteur and fan studies, explore the popular series' conclusion, providing a multifaceted examination of Buffy's most controversial two seasons.

    This second edition is hugely revised and expanded to cover the sixth and seventh seasons of Buffy and the third and fourth seasons of Angel. It contains chapters on the relationship between Buffy and the lovelorn vampire Spike and on the thematic structure of Angel, as well as interviews on the writing of Buffy with scriptwriters Jane Espenson and Steven DeKnight. Individual chapters have been updated and the useful episode guide is expanded to cover all seven seasons of Buffy and the four seasons of Angel, as is Roz Kaveney's general introduction to the scenes and structures of each season.

    A superbly enjoyable pastiche of old Hollywood musicals and Broadway shows, it finds an all-singing, all-dancing demon descending on Sunnydale intent on making the town's inhabitants free their innermost secrets through song. As a pivotal episode it proves a turning point for many of the characters, and as a unique piece of TV it's quite clearly unrivalled. There isn't a bad song among them and it's hard not to turn demon-green with envy that show creator Joss Whedon, who wrote and directed this episode, can be so sickeningly talented. It doesn't matter that some of the cast are less then blessed vocally, but stand-out performances from James Marsters (Spike) and Amber Benson (Tara) help carry along the weaker voices. This book is fan's dream with a detailed behind-the-scenes look at how the episode came about, the complete script, photographs and even the music sheets should you wish to try the songs from the comfort of your Steinway. This is a worthy and essential companion to perhaps Buffy's finest hour (and eight minutes) yet. --Jonathan Weir

    What Would Buffy Do? explores the fascinating spiritual, religious, and mythological ideas of television's hit series Buffy the Vampire Slayer--from apocalypse and sacrifice to self-reliance, redemption, and the need for humor when fighting our spiritual battles.

    Bad television--predictable, commercial, exploitative--simply yields to the forces. Good television, like the character of Buffy the Vampire Slayer, fights them. Fighting the Forces explores the struggle to create meaning in an impressive example of popular culture, the television series phenomenon Buffy the Vampire Slayer. In the essays collected here, contributors examine the series using a variety of techniques and viewpoints. They analyze the social and cultural issues implicit in the series and place it in its literary context, not only by examining its literary influences (from German liebestod to Huckleberry Finn) but also by exploring the series' purposeful literary allusions. Furthermore, the book explores the extratextual, such as fanfiction and online discussion groups. The book is additionally supplemented by an online journal Slayage (www.slayage.tv), created by the book editors in acknowledgement of the ongoing nature of television art. Rhonda V. Wilcox and David Lavery have written and edited several books and articles exploring the social, literary, and artistic merit of quality television. In addition to Buffy the Vampire Slayer, their work has covered a variety of programs including Twin Peaks, Northern Exposure, The X-Files, and The Sopranos.

    These scripts are the shooting drafts, and contain production notes, cut dialogue and different scenes.

    One of the most distinguishing features of the show is the innovative way its writers play with language--fabricating new words, morphing existing ones, and throwing usage on its head. The result has been a strikingly resonant lexicon that reflects the power of both youth culture and television in the evolution of American slang. Using the show to illustrate how new slang is formed, transformed, and transmitted, Slayer Slang is one of those rare books that combines a serious explanation of a pop culture phenomenon with an engrossing read for Buffy fans, language mavens, and pop culture critics. Noted linguist Michael Adams offers a synopsis of the program's history, an essay on the nature and evolution of the show's language, and a detailed glossary of slayer slang, annotated with actual dialogue. Introduced by Jane Espenson, one of the show's most inventive writers (and herself a linguist), Slayer Slang offers a quintessential example of contemporary youth culture serving as a vehicle for slang.