Editorials
10 “Buffy the Vampire Slayer” Moments Guaranteed to Make You Cry
Everyone knows that Buffy the Vampire Slayer fans are the best kind of fans. We’re all so nice! My adoration for Joss Whedon’s television series has given me some incredible friends and also helped me through some really difficult times in life. It wasn’t all sunshine and rainbows in Sunnydale though, as Buffy the Vampire Slayer frequently caused audiences to cry their eyes out over what was happening on their television screens. I know that a list like this has been replicated a thousand times on other websites with several of the same moments included, but I’ve never written one of them so I’m taking this opportunity to say my piece on the subject. Buffy the Vampire Slayer was filled with countless tear-jerking moments, and these are the ten that made me sob the hardest. I’ve also linked to each specific scene (if available) in case you’re feeling masochistic and want to watch it.
***MAJOR SPOILERS for Buffy the Vampire Slayer Below***
Giles Discovers Jenny’s Corpse (Season 2, Episode 17: “Passion”)
It hurts sometimes more than we can bear. If we could live without passion, maybe we’d know some kind of peace.
-Angelus
This is the first time I ever remember crying during Buffy the Vampire Slayer (I know. I didn’t cry the first time she died. I’m soulless). It wasn’t Jenny’s death so much as it was Giles’ reaction to finding her body. You all know the story: Angelus wasn’t satisfied by simply killing Jenny. Oh no, he had to put on display for the man that loved her. Giles walks into his house to the sound of opera music and rose petals leading up the stairs to his bedroom, only to find Jenny’s corpse on the bed. The cherry on top of this was that Angelus left Giles a drawing of her to frame and put on his wall. Don’t even get me started on Buffy having to stop him from trying to kill Angelus. Ugh, this was rough, y’all.
Buffy Kills Angel (Season 2, Episode 22: “Becoming: Part 2”)
Close your eyes.
-Buffy Summers
Joss Whedon is an expert at tormenting his audience, and by that I mean killing beloved characters. Angel losing his soul and becoming Angelus is one of the greatest twists the show ever pulled off. In the second season finale, Angelus awakens the demon Acathla by pulling a sword out of its chest. He and Buffy get in a totally awesome sword fight and just as she is about to kill him he gets his soul back (thanks Willow). But it’s too late! He has already awoken Acathla and only his blood can prevent the demon from sucking the world into a Hell dimension, so she gives him a final kiss before stabbing him with the sword. If there was ever any doubt that Buffy would “go there,” this scene effectively got rid of them (and this is coming from a show that killed its title character in the first season finale).
Buffy Summers: Class Protector (Season 3, Episode 20: “The Prom”)
Whenever there was a problem or something creepy happened, you seemed to show up and stop it. Most of the people here have been saved by you or helped by you at one time or another. We’re proud to say that the class of ’99 has the lowest mortality rate of any graduating class in Sunnydale history, and we know at least part of that is because of you. So the senior class offers its thanks and gives you, uh, uh, this. It’s from all of us, and it has written here, “Buffy Summers, Class Protector”.
-Jonathan Levinson
Not all tear-jerking moments have to be sad, you guys! After three years of saving the world, Buffy finally (finally!) received some recognition in the form of a sparkly gold umbrella. It was a rare win for the Slayer, and provided one of the most cathartic experiences of the series. It also has the distinction of being Sarah Michelle Gellar’s favorite episode of the series.
Buffy Finds Her Mother’s Body (Season 5, Episodes 15-16: “I Was Made to Love You” and “The Body”)
Mom? Mom? Mommy?
-Buffy Summers
Is there a better scene in any episode of Buffy the Vampire Slayer? I would argue not. The rest of the scene, which opens the next episode (aptly titled “The Body”). Filmed without sound and filmed in real time (the first three minutes of “The Body” don’t feature any cuts), Buffy’s discovery of her mother’s body it a truly disturbing piece of television and it feels all too real. If you don’t even slightly tear up while watching Buffy realize that her mother is actually dead, then you have no soul.
Anya’s Fruit Punch Speech (Season 5, Episode 16: “The Body”)
I don’t understand how this all happens. How we go through this. I mean, I knew her, and then she’s- There’s just a body, and I don’t understand why she just can’t get back in it and not be dead anymore. It’s stupid. It’s mortal and stupid. And-and Xander’s crying and not talking, and-and I was having fruit punch, and I thought, well, Joyce will never have any more fruit punch ever, and she’ll never have eggs, or yawn or brush her hair, not ever, and no one will explain to me why!
-Anya Christina Emmanuella Jenkins
This episode aired on my birthday, you guys. My birthday. Does this need any more explanation? Anya was typically used as the comic relief on the series (and Emma Caulfield excelled at it), but this is the first time we had ever seen Anya truly show human emotion. She had spent so much time as a demon that she forgot what it was like to lose someone close to her. The speech is almost child-like, and it proved to be one of the most memorable moments in what is arguably Buffy the Vampire Slayer’s best episode.
Buffy’s Sacrifice (Season 5, Episode 22: “The Gift”)
The hardest thing in this world is to live in it.
-Buffy Summers
Buffy already died once. Surely they wouldn’t kill her again, right? Wrong. The final episode to air on the WB before it moved to UPN served as the first series finale of Buffy the Vampire Slayer (like its titular heroine, the show would die twice). Another apocalyptic ritual requires Summers blood to stop it. Buffy realizes that she can be the sacrifice instead of Dawn, meaning that death is her gift. Could you imagine if this had actually been the series finale? I know seasons 6 and 7 have their detractors, but it would have killed me if this would have been the end of the series. It was traumatizing to lose Buffy again, but at least she got a great epitaph on her tombstone: “She saved the world. A lot.”
Dawn Cuddles With the Buffybot (Season 6, Episode 1: Bargaining, Part 1)
That’ll put marzipan in your pie plate, bingo!
-Buffybot
Dawn is frequently the figurative punching bag of Buffy fans, but she does have her moments (unless she wants you out of her room). Seeing her crawl into bed with a charging Buffybot as a method of coping with her sister’s death is so pitiful that you can’t help but empathize with her. It’s unhealthy but so, so human, and anyone who has lost someone close to them could relate. Rather than move on, you want to hang on to anything that reminds you of the person you lost. This is one of those subtle moments that is deeply affecting to watch.
Anya is Left at the Altar (Season 6, Episode 16: “Hell’s Bells”)
I, Anya, promise to love you, to cherish you, to honor you, ah, but NOT to obey you, of course, because that’s anachronistic and misogynistic and who you do you think you are, like a sea captain o-or something?
-Anya Christina Emmanuella Jenkins
I bawled my eyes out over this. Bawled. It was the moment when I started hating Xander as a character (him supporting the Potentials kicking Buffy out of the house in Season 7 sealed the deal). Look, I get that he was worried he was going to turn into his father and ruin his life with Anya, but those visions he saw were fake! He had no reason to leave her at the altar. The dissolution of Anya and Xander’s relationship will always be one of those moments that makes you want to strangle Whedon because it’s so soul-crushing.
Xander and the Yellow Crayon (Season 6, Episode 22: “Grave”)
I love you. I love crayon-breaky Willow and I love scary veiny Willow. So if I’m going out, it’s here.
-Xander Harris
The final three episodes of season 6 are some of the strongest episodes the show has ever put out, and while Tara’s death is incredibly sad, it was Xander reaching out to Willow and ending her reign of terror that truly started the waterworks. By referencing the day they met, when Willow broke a yellow crayon in kindergarten and didn’t want to tell anyone about it, he taps into regular Willow (thanks to the magic Giles used on her earlier in the episode) and is able to use his love to drain the dark magic out of her. It’s less cheesy than it sounds. Seriously though after three episodes of watching Willow lose it after Tara’s death, this was an incredibly cathartic moment that allowed viewers to break down with her.
Anya’s Death (Season 7, Episode 22: “Chosen”)
Bunnies! Floppy, hoppy, bunnies!
-Anya Christina Emmanuella Jenkins
Can you tell I have a soft spot for Anya? She occupies three slots on this list for a reason, you know? We all knew Spike was going to be resurrected later that year on Angel so his death, while sad, doesn’t hold a candle to the finality of Anya’s death. After a long, long life of avoiding battle, Anya finally joined in on the fight. What does she get for it? A quick, blink-and-you’ll-miss-it death. Xander doesn’t even find her body! We just get that awful shot of him looking for her with a glimpse of her corpse under the rubble.
You have no idea how difficult it was to narrow this list down to just 10 moments (and maybe I’m biased towards Anya). I’ve cried way more than 10 times watching this fantastic series so there was no way to do it justice by just limiting it to 10 moments, which is where you all come in. Which Buffy the Vampire Slayer moments made you cry the hardest? Let me know in the comments below!
College kids, strippers and vampires—those were Donald P. Borchers’ only requirements when he approached Richard Wenk about writing and directing a movie for New World Pictures. As requested, Wenk cooked up Vamp (1986), a tailor-made blend of the decade’s teen movie craze as well as its horror boom.
Grim and earnest stories were still very much a part of the ’80s horror landscape, yet Vamp is something of a comedy. One difference between it and, say, Saturday the 14th, though, is the former avoids using schtick. Wenk’s movie proves that horror comedies also don’t have to subtract thrills from their recipes. Of course, it takes a minute before reaching that point; college antics and culture shocks preface this one macabre misadventure.
Vamp‘s initial setup is apt for a typical college-set, sex-driven comedy; to bribe their way into a fraternity house, two pledges (Chris Makepeace, Robert Rusler) go looking for some adult entertainment. Without wasting time on any further exposition, the characters embark on an all-in-one-night trip that quickly detours into terror.
To procure their elusive MacGuffin—a stripper willing to gyrate for some frat boys—Keith (Makepeace) and AJ (Rusler), plus a third wheel named Duncan (Gedee Watanabe), trade the safety of their remote college campus for the seediness of some unnamed city. The setting is recognizably L.A. by day, but as soon as night falls, downtown, along with the characters, slips into a kind of surreal universe. Director of photography Elliot Davis gave this early entry on his prolific résumé an unusual yet distinctive look; that Mario Bava-esque, magenta-green lighting is omnipresent, so much so that it’s almost its own character.
Chris Makepeace and Robert Rusler in Vamp
The faint comparisons to Martin Scorsese’s After Hours are merited, although not just because of Vamp’s distinguishing nighttime aesthetic. Save for the primary characters, the supporting roles in Wenk’s movie are also quite colorful and transactional in their behavior. The difference here, though, is the additional urge to ruin Keith and his friends at every turn. Some of that harm is humorous and tolerable enough, whereas the moment Vamp dishes out its first fatality, it’s abundantly clear how this movie qualifies as horror.
Vamp falls into that category of horror movie that reveals its genre with a scream rather than a series of whispers. The opening scene can function as a hint of what lies ahead—things are not at all what they appear to be—but otherwise, Wenk is more than happy to hold off on the horror. When that time does come, though, it catches the viewer off guard. In addition to the pure shock value is that sudden decision to upend the movie’s foremost feature. Or so it would seem.
If afraid of major spoilage, those new to Vamp would be wise to stop reading here. There’s just no skirting around the fact that the central fellowship in this buddy movie hits a serious snag when AJ is killed. That development causes the story to become more of a “long, bad night” journey for Keith and his romantic interest. So while Wenk scores points for subverting expectations, there is also a touch of sadness in his decision. Because if Vamp does anything well, it’s making the characters likable.
Something that comes easily to Vamp—and other teen horror movies from this same era—is its ability to invent young characters worth caring about, or at the very least, are interesting and not so immediately off-putting. More impressive is how Wenk did all this without actually fleshing out those characters. Still and all, Keith and his kind are a grade above cookie-cutter, and in some cases, aren’t completely devoid of growth.
Grace Jones in Vamp
Vamp appeals with an assorted cast of characters. No two are the same, nor are they operating on the same wavelength. The cinematically extroverted AJ, whose actor conveyed charm and vulnerability in near equal amounts, comes alive when he’s at his most undead. Makepeace then makes the chronically cautious Keith a sympathetic fellow, even as he’s more and more affected by the night’s bizarre events. Meanwhile, Duncan is indeed the designated loser of the whole bunch, but Watanabe still manages to humanize him. As a bonus, the role didn’t require him to pull a Long Duk Dong.
As for Dedee Pfeiffer, she is plain adorable as the mysterious After Dark server nicknamed “Amaretto”. She spends all night fixing her dress strap while at the same time trying to get Keith to remember how he knows her. As their offbeat romance grows, it becomes another highlight of this movie. Whether or not Pfeiffer’s character is really a vampire also creates some welcome tension in the story.
Like a lot of its contemporaries, Vamp went on to become a bit of a cult classic. That current status is determined by several factors, but without a doubt, the casting of Grace Jones is the most considerable. The image of her writhing on that unique-looking chair, a Keith Haring original, springs to mind whenever this movie is brought up.
Chris Makepeace, Billy Drago and Paunita Nichols in Vamp
Prior to that first display of unequivocal horror, local vampire queen Katrina (Jones) took to the stage and delivered a strip show like no other. One would expect nothing less from that renowned model and performance artist. By now reports of Jones’ tardiness on set are no secret, yet it’s also hard to deny her commitment to the part of Katrina. It was, in fact, Jones who took charge of her character’s appearance—on top of Haring painting her body and that now-iconic chair, she had Andy Warhol handle her costuming. And not too many actors could seize a room’s attention without saying a single line of dialogue.
In 2022, Vamp received a retrospective novelization from Encyclopocalypse. This literary union of preexisting source material—Wenk’s original screenplay—and new ideas from author Christian Francis amounts to a more comprehensive visit to the After Dark Club. The basic story there is no different than what’s shown on screen; however, Francis gets creative with the characters’ origins and designs, and he enhances a number of key scenes.
The novelization expands on the urban and social decay of the main setting, and supplies a background for the After Dark Club. Sandy Baron’s character, Katrina’s emcee and familiar, is given ample motivation for sticking around; up until the fiery end, he is loyal to his friend and former business partner “Squeak”, who looks like he was “fed through a combine harvester, and left as nothing more than a heap of mangled remains”. Then there is Billy Drago’s character Snow, the leader of a street gang called The Dragons. His reason for menacing Keith and AJ is more altruistic than in the movie; he and his peers act tough to scare off any potential food for the vampires.
Lisa Lyon in Vamp
If not for all the backstories, Francis’ Vamp would be a hell of a lot shorter. Instead, this tie-in read dives into how AJ met Keith—the orphaned Anthony Joseph hailed from a broken home back in Brooklyn—and how their friendship flourished over the years. Keith’s archership is no longer just an assumed part of his entire being; it’s a confidence-building extracurricular for a boy who got picked on before coming into the protection of the new kid in town. These supplemental, in-depth looks at the protagonists, plus their close connection, are maybe unnecessary. The movie already did a fair and concise job of addressing their platonic intimacy without the need for flashbacks and insights, specifically in that scene where AJ lays it all out as he sacrifices himself.
Where the novelization gets off course is its approach to the minor characters. Intermittently backstorying the likes of Katrina’s indentured servants, Seko (Leila Hee Olsen) and Vlad (Brad Logan), ends up disturbing the flow of the writing. Was it absolutely essential that readers know Vlad was the Grand Duke of the House of Romanov, or how Snow’s accomplice Maven (Paunita Nichols) became so dentally challenged? No, not really. However, one’s mileage with these random biographies may vary.
The novelization is a more substantial experience, but for a movie like Vamp, less is more. And as plentiful as they are, it never simply coasts on its campy charms, either. The character work sits comfortably in that realm between cursory and meticulous, the script is sharper than first realized, and Greg Cannom’s vampire makeup is straightforward yet effective. Most of all, the movie didn’t squander its out-of-the-box concept. Richard Wenk made his vision of a “comic nightmare in which just about anything that can go wrong does” come true, and it is very enjoyable.
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