In the middle of the eat-me-beat-me ’90s, a good girl from Sunnydale stole the airwaves with a quirky show about vampires. Super scary creatures of the night? Not so much. Buffy The Vampire Slayer was all heart.
Hidden within this lighthearted supernatural sleeper were tales about difference and identity that struck such a chord within the LGBT community. The show immediately engendered a devoted cult following. And not simply because Buffy’s pal Willow came out twice on the show — as a witch and as a lesbian — delivering a double whammy for the pagan Queer and Questioning.
It was because the revolving door of supernaturals passing through the Hellmouth under Sunnydale High School was also a parade of individuals, and the Slayer was less a baddass than a postmodern defender of the meek and the misunderstood.
In the post-yuppie ethos Buffy kept demons from chomping up the landscape, and in a way, the demons were metaphors for souless barbarians at the gate. Buffy, it turns out, was a goth morality play.
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