Akasha Rules Her Limited Presence In Lackluster ‘Queen Of The Damned’

 

Queen of the Damned film poster.

Vampires are the most alluring creatures depicted in both the literary and filmmaking capacity— thirsty for human blood and lustful for warm or cold bodies. We’re often drawn to reading Bram Stoker’s classic Dracula or Sheridan Le Fanu’s earlier novel Carmella. Wes Craven’s Vampire in Brooklyn delivers specific 1990’s laughter and Buffy the Vampire Slayer reruns offer campy nostalgia. Bill Gunn’s Ganja & Hess and Nikyatu Jusu’s Suicide By Sunlight features villainous Final Black Women, a beauty bound to live forever, her blood coated fangs. 

With a criminal sixteen minute screen time, Aaliyah’s final role as Anne Rice’s titular ruler Akasha in Australian director Michael Rohmer’s Queen of the Damned, had such great potential. 

Akasha the stone. DP: Ian Baker.

The film begins very boringly. 

Lestat, an egotistical vampire walking down the streets in typical vamp attire, narrates and isn’t particularly interesting. Marius, Lestat’s sire, had seen something in him. Yet, what? There is no charm, no charisma, a vacancy in his eyes. Of course, he’s meant to be voided, he’s the walking dead. 

The craftsmanship on Akasha’s stone is quite exquisite. DP: Ian Baker. 

When Lestat reflects on his experience being made and his sudden desire for music, he’s led into murdering a young woman (not drinking out of hunger) and it torments him. Still, Marius takes Lestat to some faraway lair in the center of water. Lestat starts playing a fiddle— a fiddle that awakens Akasha, a stone statue.

Why has Marius departed? Jealous that Akasha is more drawn to Lestat even though Marius kept her hidden and otherwise took care of her and her king’s statues? 

Akasha’s awakening involves abstract flashes, past mingling with the present. She will break free almost two hundred years later. DP: Ian Baker.

Meanwhile, a young woman named Jesse obsesses over Lestat, reading his journals and listening to his music. She’s a human attracted to getting into any kind of danger as long as she obtains closeness to Lestat— typical groupie behavior. 

Unfortunately, Akasha exhibits Jesse’s same mindset, Akasha using her superior powers on a grander scale in hopes of snatching up Lestat’s devotion. She’s manipulated minds and situations to ensure Lestat’s success. Now newly awakened and out on the prowl, slim, agile Akasha enters a modern vampire bar dressed in an elaborate silver and gold headpiece, metallic bralette, free flowing skirt and arm bands that sway along her movements. She walks in a purposefully sensuous manner, slow and seductive, her kohl-lined blue eyes holding a mesmerizing magnetism that her fellow creatures cannot break away from. She is their mother, the siren above all sirens. 

And she kills them. 

Everyone. 

The scene is a riot— a sheer exhibition of a vampire who doesn’t always have to physical touch her victims— biting into their flesh or ripping out their hearts and feeding on it. Akasha can burn them alive with the wave of her hand. She’s a grade A narcissist too, caring solely for her own pleasures, her passion for violence and death outweighing the normal vampire levels. They usually want someone to devour tomorrow. Whereas Akasha needs as much as possible, patience be damned. Her appetite is insatiable. Can Lestat truly handle a queen operating without a moral compass? 

Akasha murders a bar of vampires in a slow, methodical power demonstration. DP: Ian Baker.

Akasha walking away in slow motion from the burning bar holds reminders of Carrie leaving behind her burning high school. Akasha did not give a fudge. DP: Ian Baker.

Jesse was not the only one looking forward to Lestat’s concert. DP: Ian Baker.

On the concert day, Jesse decides to continue stalking Lestat (despite watching him kill a poor woman in front of her) and Maurice returns to warn Lestat that Akasha has woken up and killed her longtime king. Lestat only cares about the show, his delight in seeing how many vampires will try to murder him on stage. Later, as he serenades the audience, cloaked assassins in wait, Maurice joins in the sudden fray. They’re seemingly outnumbered until Akasha lets the bodies fray peacefully into the air before she makes her appearance visible. Her hypnotic gaze exists only for the vampire Lestat yet it doesn’t necessarily seem to be shared. He looks grateful, relieved, and surprised. Not the same as the intense need he reveals with Jesse, the innocent naïveté. 

Still, Akasha takes Lestat up on a magical ride through the air that requires no carpet or singing genie. 

At the end of the day, even Akasha becomes fooled by devotion. DP: Ian Baker.

Akasha exemplifies an evil malice that puts other villains to shame. She intended to destroy humanity and rule the vampire underworld. Could Buffy be a match for someone as powerful? It is easy to imagine Black Panther’s foe Kilmonger parading around Akasha’s sadistic ideas and asking her “is this your king?” regarding Lestat. The rockstar vampire showed no authoritative values, especially to be aligned alongside such an inherently wicked goddess. 

It really sucked that the end came down to broadcasting uncomfortable optics: the pure white woman versus a woman of color— the only woman of color person in the film, in the whole vampire coven. It was giving Black women are good for a fun time, not a long time (aka eternity for them). Lestat conveys “your strength was a delicious temporary addiction, I will be taking that, and sticking with my human lover.” Akasha, a cruel chilling force, still manages to convey a human reaction—betrayal— as her family implores her to a barbaric fate akin to a salacious orgy.  

Akasha shows Lestat a kingdom— dead bodies surrounding waters and dirt covered land. She doesn’t understand his obvious discontent. DP: Ian Baker.

Although much promise had been shown in her first part as Romeo Must Die’s sweet-soft heroine Trish O’ Day, Aaliyah's incredible transformation is the primary highlight in Queen of the Damned. She utterly evolved from mysterious, beautiful singer/dancer into a full-fledged femme fatale vampire— her every gesture, her every look spoke terrifying volumes. Her irresistible performance transcends bland material that angered Anne Rice— who deserved a better adaptation of her work. Angus Strathie and Bao Tranchi’s costume designs must be commended for their conjoined talents— the metallic breast plates, the elaborate headpiece and jewelry, and the flowing skirts. This trio were responsible for making Akasha an outstanding villain. 

Famous women who paid homage to Akasha— Anok Yai, Teyana Taylor, Meagan Good, and Normani.

Co-produced by Channing Dungey (former ABC television head), just imagine women filmmakers tackling this gritty material, intending for Akasha to lead her own story, to be the cold, callous villain not relying on a man to wake her up. If Julie Dash or Kasi Lemmons helmed the reins, Akasha’s narrative would probably dive deep into rich Egyptian history, voices told by real figures that actually look of that time period, not white people giving accounts that sound like secondhand make believe. There are too many “Akasha is this” and “Akasha is that” from the vampires, leaving Akasha to barely address her motives. Certain Black women filmmakers love the bonus incentive of exploring diverse cultures (the bonafide research sleuths) and lending that into the scripts to add layered nuances, to even educate the actors and the behind-the-scenes peoples. Akasha, supposedly the most powerful vampire, couldn’t see that her chosen one— after “sleeping for two hundred plus years”— was hung up on Jesse? Lust can blind most folks. A creature of Akasha’s supernatural caliber would have been given Lestat the smoke with the flick of her wrist. Whether due to the poor script or the acting performance, it wasn’t believable that Lestat tricked Akasha and led to her demise. What else was planned before Aaliyah passed away? Although her scenes were completed, the film has an unfinished quality and doesn’t account for why she’s barely in it. Plus, Aaliyah and Korn were to collaborate on music. Perhaps she would have contributed to an edgy soundtrack that included Tricky (a favorite). What If and I Can Be from her last album definitely showcased that her vocals could rival the thrum of an electric guitar riff. 

Akasha exudes a commendable presence. DP: Ian Baker.

Every few years, the itch to rewatch Queen of the Damned comes into effect. Aaliyah only had two differing film roles. Akasha is the hardest as her fiery fictional end is a painful metaphor to the cause of death its portrayer, a phenomenal artist that the world lost way too soon.  

The First Slayer’s Unbelievable Trauma

 

The first Slayer had no name on the series.

The first Slayer— Sineya according to the comic book yet listed as Primitive on IMDb—starts appearing in Buffy the Vampire Slayer’s season four finale, Restless written and directed by problematic showrunner Joss Whedon. Prior, the Scooby Gang (Buffy, Willow, Xander, and Giles) called forth on the Sineya’s ancient powers in order to defeat Adam (the show’s weakest Big Bad). Unfortunately, the consequences include conjuring up the original Slayer’s vengeance. Sineya comes to the four at their most vulnerable— in their dreams, attempting to kill them one by one. 

Buffy tells Sineya that she understands her role as a Slayer and that she is free in a newer world. Buffy doesn’t extend remorse or empathy for what Sineya has endured. Since Buffy’s speech saves the day, the gang wakes up nonchalant acting as though Sineya was just another Monster of the Week. No one considers showing gratitude for taking her powers. 

Than again, Slayerhood is a thankless calling. It’s another piece to add to Sineya’s already violent backstory. 

Sineya visits subconscious Buffy last and is defeated. Of course, Buffy insults Sineya’s hair before waking up. DP: Michael Gershman.

Set upon by the Shadowmen (the earliest incarnation of the Watcher’s Council pre-British headquarters), the defenseless woman is held against her will— chained in a cave. The negative connotations speak volumes. They can never stop imagining Black people bound up (see medieval Missandei in Game of Thrones). Then forced with the elements of evil in order to defeat the vampires and other harmful creatures that walk the earth, Sineya is no longer a normal girl. She’s become part demon. Although almost facing the same fate in season seven, episode fifteen’s Get It Done, Buffy outsmarts the Shadowmen unlike Sineya. Whereas the later Slayers will not scream in pain as these powers flow through their blood, Sineya’s sacrifice is an ingrained destiny unasked for— not as sacred or valiant as Giles made it out to be. Even the season three episode, Helpless shows that the Watchers Council prefers continuing to subject the Slayer to dangerous tactics without her knowledge. The patriarchal white male institution keenly invests themselves in their Slayer cargo versus the impact that the supernatural inflicts on the world.  

Thus, Sineya—the original— paid the ultimate price. 

According to the Buffy Wiki, Sineya’s far more advanced skills include superhuman strength, speed, agility, stamina, accelerated healing, astral projection into dreams, and foretelling the future. Although each Slayer has a somewhat diluted essence of her pronounced abilities, they still retain many factors. 

Sineya, however, does not have a Watcher. She’s an ostracized figure fighting alone and unguided. Revered and feared, no one in Sineya’s village wants her around. 

Sineya becomes Buffy’s guidance in season five, episode eighteen’s Intervention written by Jane Espenson and directed by the late DP Michael Gershman. 

During harrowing season five— which brings about significant changes to Buffy’s life— Sineya is again conjured by Giles. She’s the guide in Buffy’s vision quest, now fully representing the Magical Negro Trope. Sineya offers no explanation about herself because she and her past does not matter, has never mattered beyond what it can do for the core team. Sineya is not realized until comic books that take great liberties with prehistory. The television series often gives Black characters no purposes beyond helping the save the day and vanish into obscurity. 

Portrayer Jamaican born actress and dancer Sharon Ferguson outside of Sineya costume. 

Sineya’s physical appearance cements the running gag on the production’s limited scope of history. While Kendra hails from a made-up Jamaican village, the first Slayer comes from prehistoric Africa, likely the Sub Saharan region (since they’re not brave enough to be specific). The barefoot Sineya sports an awful wig— synthetic shoulder-length hair that tries to be locs and makes The Walking Dead’s Michonne look an A plus effort. Sineya dons white and black body paint and dresses in wispy fabric reminiscent of cobwebs. Although Sineya is buried beneath heavy makeup, the beautiful, talented actress and dancer Sharon Ferguson moves gracefully, persuading with her swaying. The way her bilious arms flex, her limber knees bend, she elevates the scripted material by her body’s natural inclination to exude fluid rhythm. 

Buffy teaches us that Slayers suffer in more ways than one. 

However, Sineya— the first to endure the pain and struggle with the external and internal beasts— withstood the greatest, most horrific torture of them all. 

The Tale of Two Nikki Woods’

Two actresses of different phenotypes depicted the 1970’s slain Slayer Nikki Wood. DP: Michael Gershman and Raymond Stella.

Nikki Wood, a Black Slayer with a last name, continued Buffy the Vampire Slayer’s problematic depiction of Black women. In season five, episode seven’s Fool For Love written by Douglas Petrie, Spike— Nikki’s own murderer— sheds his personal history with Buffy regarding killing the New York City based single mother. Spike feels comfortable sharing this story to a woman he’s nearly killed on various occasions. Initiative chip in the head or not, Buffy allows him to speak because she ironically enough respects the vampire, an uneasy truth to swallow. She knows her death is coming and wants to know (from the killer’s perspective) how other Slayers died. 

Nikki needed to tell her own narrative in her own words. She’s a Chosen One who has lived longer than usual for most Slayers. It’s a huge feat to balance between confronting the dual evils (racial and supernatural) of the gritty NYC landscape and raising a son Robin— the future principal of renovated Sunnydale High School. According to the Nikki Goes Down comic story, also written by Petrie, the black duster jacket she wears was her lover’s— a deceased police officer (ugh, no other profession exists?). 

After draining an Asian Slayer’s blood with Drusilla seventy plus years prior, Spike reduces Nikki as a chick he fought in an abandoned train, a playful source to take out his vampiric frustration. The blackout gives Spike the added momentum to overpower Nikki and snap her neck. He then steals her coat, proudly wearing the lengthy black duster as surely as George Washington smiled with all his slaves’ stolen teeth in his mouth. 

The first Nikki Wood (April Weeden-Washington, a stunt double) battles Spike (James Marsters) in Fool For Love. DP: Michael Gershman. 

The second version of Nikki Wood arrives in season seven, episode seventeen’s Lies My Parents Told Me written by Drew Goddard and David Fury. Production made sure she wore the same outfit as the first actress— long leather coat, oatmeal knitted sweater, and Afro wig. Before the tragic subway murder, Spike reveals that he’s been tracking Nikki for a while as they fight in a downpour. Nikki brought Robin— hiding behind a bench— to her supernatural realm, seeming to have no babysitter available.

The second Nikki Wood (former model K. D. Aubert) gets to speak, fight Spike in the rain, and act maternal in Lies My Parents Told Me. DP: Raymond Stella.

The watching young Robin (Damani Roberts) inadvertently saves his mother from certain death. DP: Raymond Stella. 

Wood’s first portrayer, April Weeden-Washington also stunt doubled for Bianca Lawson in What’s My Line Part 1 and stunted on various other series and films. In Doux Reviews, the actress reveals auditioning for the speaking role:

“I thought I was a shoo-in because I had already established the character. There weren't many lines. Then I got a phone call from casting stating that there was ‘a certain maturity’ about me now, and that I didn't get the part.”

Wow.

For a show that hired actors in their obvious late-twenties as teenagers, it’s pretty offensive that they felt that in two years, Weeden-Washington “matured too much” to resume playing the role. They preferred a lighter-skinned, lighter-eyed K. D. Aubert as Nikki, putting her in a 4C Afro textured TWA wig ala pre-Zoe Saldana’s portraying Nina Simone. Aubert also spoke whereas the unambiguous Black woman fought for her life and died on public transportation. Casting directors definitely know the difference between what they envision as the Black women who deserve a voice versus the ones who should remain silent and/or placed in limiting conditions.

Buffy may always be a pop culture staple, but it’s depiction of minority characters— especially Black women— were outdated and show blatant colorism. Thus, with history dooming to repeat itself, it was best that the intended reboot— which they hoped would star a Black Buffy— fell under the cracks. You cannot trust non-Black showrunners to tell caring, compassionate stories centering Black womanhood, not when they’re still making up deplorable fantasies riddled in harmful stereotypes. 

Nikki Wood is a prime example of that. 

The Wasted Potential of Kendra the Vampire Slayer

Promo of Buffy Summers (Sarah Michelle Gellar) and the next Slayer in line, Kendra (Bianca Lawson).

Almost twenty-seven years ago, just episodes after Buffy the Vampire Slayer’s Inca Mummy Girl featured a nonwhite guest star Ara Celi (which did not age well), the two-parter What’s My Line saga featured the first appearance of the iconic Kendra (portrayed by the phenomenal Bianca Lawson). The no-surname-having second slayer was called after Buffy Summers’s short death in season one’s Prophecy Girl. It matters not that Buffy had been revived, let alone back to work in tip top shape. Her replacement is coming.

Mind you, six months later. 

The beautiful, mysterious Kendra had a feline grace in her fighting prowess. Of course, they wanted us to believe she was an Order of Taraka assassin, the jaguar card. DP: Michael Gershman.

Buffy promo that puts Angel in the center.

Kendra arrives to Sunnydale, California via hidden inside of an airplane cockpit— no tickets for a proper seat, no luggage. Her Watcher Sam Zabuto does not alert Rupert Giles of her arrival (then again this happened with Faith Lehane as well). It’s unclear on what Kendra’s done since knocking out an airport employee in the light of day. At night, however, Kendra sees Buffy and vamp faced Angel making out at the skate rink. Thus, she either has impressive vampire radar skills or the girl’s been tailing Buffy for reasons unknown. Kendra later fights Angel at Willy’s club and gains the upper hand, imprisoning Angel to meet the sunlight. Somehow, Kendra finds Angel’s apartment and almost kills a napping Buffy. In the midst of the battle, Buffy asks who her attacker is despite knowing that The Order of Taraka trails her (she doesn’t ask the other two assassins who they are). 

A gloomy Buffy is not a fan of Kendra and Giles sharing jokes. However, it’s nice to see Kendra laugh. Between diligent training and learning books on demonology, she’s probably ironed to ignore any emotion— fun and joy mainly. DP: Michael Gershman.

In the second part, Kendra shows that she’s quite the proficient Slayer, trained in both combat and inherent book knowledge. The studious Slayer bonds quickly with Giles, laughing over the footnotes and recommending readings that the Sunnydale Watcher finds useful. Meanwhile, Buffy’s minor jealousy comes crashing out as she nicknames the fellow Slayer, a She-Giles. Willow Rosenberg encourages Buffy with “you’re the real Slayer” and makes no attempts to befriend Kendra.

While she’s good at pouncing on Buffy’s friends and the slimy Willy, Kendra’s booksmarts do not fully prepare her for real-life field work. During the big showdown, helping Buffy and her team free a kidnapped Angel, Kendra’s easily bested by the advanced Spike, not managing to block his hits very well. It further proves that she should have stayed in town in order to learn more technique. Unless there’s a Hellmouth in Jamaica, why does Kendra need to return to the islands if prepared (or as prepared as she can be) to face the greater evils? 

Even though she’s only known her for a day, Kendra is brave enough to address certain things to Buffy that Giles doesn’t. Giles gives his Slayer a lot of freedom, an action that surprises Kendra. DP: Michael Gershman.

Most importantly, Kendra wisely remarks on the dangers of having the former villainous Angelus cloud Buffy’s judgment. This heavy foreshadowing indicates that her hormonal heart distracts Buffy from the main duties at hand— saving the world. If Angel had died during the ritual, less peril for the future. A few episodes later, Buffy and Angel grow closer (often making out like crazy during patrols), he then loses his soul, causing a devastated Buffy to wait many months to kill him, leaving a wake of bodies including her fellow classmates. So yes, it would have been beneficial if Kendra returned immediately after the events of Surprise and Innocence. Spike and Drusilla were confirmed to be still alive, especially with the addition of Angelus. Kendra could have aided in taking up the reigns (not Giles) as Buffy dealt with her depression in the middle of junior year.

“You talk about skating like it’s a job. It’s who you are”—Kendra to Buffy on reconsidering negative, defeatist attitude regarding being a Slayer. DP: Michael Gershman.

Another six months later, when Angelus seeks to destroy the world much like The Judge, Kendra finally returns for the another two-parter, the Becoming saga (well, for one episode). Kendra has evolved slightly in fashion, sporting an olive green tank top, black leather jacket, and a thin necklace. She’s also a bit more open, prone to infectious smiling, and tells a few wisecracks. Buffy’s American slang and demeanor has rubbed off, softening the robotic warrior undertones of Kendra’s earlier appearance. Again, this significant character arc would have been rewarding to see onscreen, seeing how Kendra progressed both as a person and a supernatural force. 

Kendra gives Buffy two gifts— a sword and a stake. The sword was blessed by monks that defeated Acathla’s first rise to power— a blessed heritage from Kendra’s own community. Although she’s an excellent swordswoman, Kendra is not meant to fight against Angelus. Whereas Angel’s weakness lies in harming humans as little as possible unless provoked, the remorseless Angelus would have outmaneuvered Kendra in a heartbeat. Plus, it’s less poetic. The battle is between lovers turned enemies. Mr. Pointy, a sophisticatedly carved stake, Buffy will have among her possessions for years. That’s humor in itself, a Slayer naming her weapon. It would have been so un-Kendra like. Still, it’s sad because not only does Kendra believe Buffy will kill Angelus with it, this intimate moment will be their final exchange in the series. 

Kendra gives Buffy Mr. Pointy. DP: Michael Gershman.

When it comes to the most tragic character deaths in the series, folks often highlight Buffy’s mother Joyce Summers’s demise in I Was Made To Love You / The Body or Buffy’s heroic self-sacrifice in The Gift. Kendra, however, embodied “gone too soon.” Kendra doesn’t stand a chance in a horrific trap (eccentric considering Buffy and her friends usually can sense these). Drusilla and her minions storm the library and hurt everyone in order to kidnap Giles. Unfortunately, as witnessed in an earlier battle with Spike, Kendra is no match for his superior girlfriend. Under the hypnosis, Drusilla slits Kendra’s throat, causing the young Slayer to fall to the ground, bleeding out. It’s as offensive as Spike’s own kill of Slayer Nikki Woods. According to Slayer lore, Slayer blood is the most alluring, most valued to drink from. In two instances, these two European vampires let them go untasted. 

Kendra is hypnotized to her death by full-strength vampire Drusilla (Juliet Landau). DP: Michael Gershman.

Poor Kendra.

An innocent woman trained to be a soldier via through the cold Watchers Council grew to find the value in a Slayer having friendships too late.

Furthermore, the glaring cons of Kendra’s characterization leaves a lot to process. Firstly, Kendra grew up isolated from her family and peers, having no friends, no connections other than fulfilling duty. She almost symbolizes the premiere minority student selected into a predominantly white gifted program (or a PWI institution) and seeing limited reflection of themselves among the students and staff. The purpose of Slayerhood is to operate alone. Sadly, Kendra represents why that often fails. The previous Jamaican accent was terrible, sounding as though latched on seconds before the cameras rolled. Portrayer Bianca Lawson said in SFX Magazine: 

“I really hated that accent! I got the part, and I didn't originally have an accent. Then, literally the night before, they said, ‘What about a Jamaican accent?’ I didn't have a chance to get comfortable with it. And the thing is, certain things - if you say it properly [in Jamaican patois], people don't really fully understand it, so they would change things. They'd say, "Well, say it like this" and it's like, "Would that be accurate in that accent though?" ‘It doesn't matter because no-one's going to understand you!’”

Why was it so important for production to force an accent and not make Kendra an American girl raised in the states like Faith and the others? Talk about the erasure of Black American women. It would have been better if they selected an actual Jamaican actress. This was an example of problematic portrayals regarding Caribbean/African peoples in their imaginations so hellbent on inventing narratives on cultures that already exist. 

Furthermore, Kendra arrived in one outfit— a long sleeved, midriff bearing top, fuchsia drawstring pants, a necklace, and choker. It looked an outdated perception on ethnic appearances than the reality of late 1990s Caribbean fashion. Maybe we’re supposed to believe that since raised by Zabuto, the Watcher lives in the dark ages, teaching her skills and not the clothes of the day. Imagine if Giles raised Buffy and enforced eccentric fashion habits on her. 

Kendra with the pivotal sword that will soon send Angel elsewhere. DP: Michael Gershman.

Lawson— like Sarah Michelle Gellar— would have been Cordelia Chase (meant to be killed off in season one). Lawson did a great job with the material the production required of her. She’s why we remain memorializing this character— a character that needed more time for viewers to know. It goes beyond the braided updo with the puffed out ponytail, the smoldering eyes, glossy lipstick, and the funny one-liner about losing her only shirt. She transcended the material of white writers who wrote about blackness with inauthentic depictions mixed in with the Chosen One folklore. Thus, it makes it all the more wonderful to see Lawson move onto more nuanced roles such as the frail, sobered Darla Sutton-Bordelon in Ava DuVernay’s poignant Queen Sugar.

Still, every time Kendra’s three episodes come on, you cannot help rewatching and wishing that this Slayer had as big of a role as Faith, the season three Slayer, the last of a unique line. Kendra deserved so much more. 

For starters, why did it take a comic book to give her a last name— a glimpse of her voice? 

Best TV Couple #3: Buffy Summers & Angel

Buffy (Sarah Michelle Gellar) and Angel (David Boreanaz) were ultimate forbidden love

When Buffy Summers was warned about The Harvest by a wisecracking cryptic man, who knew that it would ignite the pinnacle of star crossed romances on Buffy the Vampire Slayer. Throughout season one campiness, tension rose between The Chosen One and the man who turned out to be a sworn enemy-- a vampire with a soul cursed by a gypsy clan. For the first few episodes, he was always stopping by at The Bronze (the only popular nightclub for teens) to let her know danger lurked. Though, he could have taken things under control, he seemed to believe her capable of anything despite her "spryness."

Blond haired, stylish Buffy wanted to be a normal sixteen-year-old girl. The vampires, demons, and other forces of darkness stood in the way. Buffy also decides that she doesn't want to hang with Cordelia's crew (a reflection of her old vain shallowness aka Spordelia). Instead, Buffy chooses to be among the misfits-- Xander and intelligent, computer nerd, Wiccan-in-training, Willow. Giles, her new Watcher, is also Sunnydale High School's librarian. He also had that teenage rebellion for destiny in common with Buffy-- the reluctant vampire slayer-- as he didn't want to be a Watcher(disclosed in season two's "The Dark Ages").

Buffy's tall, dark, and attractive stranger gave her his name and a silver cross in episode one's "The Harvest." He is impressed that she defeats the Hellmouth danger. In episode four's "Teacher's Pet," he tells her to keep his borrowed jacket. In episode five's "Never Kill a Boy on the First Date," Buffy makes Angel jealous with Emily Dickinson loving Owen. Buffy then realizes that she needs a man that could accept her spooky nightlife without being in peril.

"You're in danger, Girl."

In episode seven's "Angel," the mystery of Buffy's nighttime friend is a surprising reveal. They first have a wild night with Angel saving her from The Three (three giant vampires sent by The Master), running to her place for cover, Buffy bandaging up his wound, and Angel meeting Joyce, Buffy's mother. He then spends the remainder of the night in Buffy's room, lying on the floor next to Buffy's bed-- the ideal gentleman. When she returns home from school and believes that he read her journal, carelessly revealing her infatuation with him, he confesses his own agonizing desires. The kiss turns into a heavy makeout session. As it deepens, Angel vamps out and Buffy screams. Buffy tells Giles and company of Angel's vampire status and read all about Angelus. Of course, Xander is gleeful that Buffy has to kill him. Darla wants Angel back into the fold (despite his soul?) and sabotages Buffy's trust in him. Buffy throws Angel out of her house (with great pitching strength). She plots to kill the one with an angelic face, ready to use the crossbow. Angel and Buffy battle it out and then come to a stunning conclusion-- Buffy is willing to have Angel feed on her (he will in the future). Before he can speak, Darla interrupts their charged moment, guns blazing. Buffy learns that Darla bit her mother and that Darla was the one who made Angel. He plummets a stake into his sire's heart, shares a look with Buffy, and walks away. Later, at the Bronze, they mutually decide to not become anything. Still, they share a hot goodbye kiss. Buffy leaves first. Angel watches her retreating form, the silver cross (that he had given her) having left a scorched mark on his collarbone.

Angel saves Buffy's friends without her knowledge in episode eleven's "Out of Sight, Out of Mind" and that begins his honorary addition to the Scooby gang. He was originally helping Giles retrieve a rare codex that contains the prophecy about Buffy and The Master. Buffy is happy to see Angel in "Prophecy Girl," but is crushed to learn that she will die at The Master's hand. She rips off his necklace and rushes out of the library, terrified of dying young. Eventually, she has a change of heart, knocking Giles out in the process, donning her necklace, and allowing The Anointed One, a child, to lead her down to Fruit Punch Mouth. She dies for a few minutes. Xander is able to revive her with Angel looking on. Buffy defeats The Master, the Hellmouth closes, and they all party. Angel is the last person to compliment Buffy on her gorgeous dress.

Angel tries to keep Buffy at a distance, but the heart wants what it wants-- unbeating or not.

With a few misfires, Buffy and Angel's forbidden relationship takes off in the second season. In episode one's "When She Was Bad," Buffy returns from Los Angeles in a sunken place, mean to everyone. Angel visits her bedroom and is struck by her callous behavior, but admits that he missed her. Later, she falls apart in Angel's arms. Buffy and Angel argue in "Some Assembly Required," but they mend fences and she walks him home. In episode five's "Reptile Boy," Angel is hesitant to pursue more than fighting demons side by side. Buffy takes her hurt out on a joined date with Cordelia to a shady fraternity house. There, she dances with a college boy and drinks alcohol for the first time. Angel and the Scooby gang save the day and Angel asks Buffy out on a date. The next episode, "Halloween," Buffy doesn't feel adequate compared to Cordelia or other women of Angel's past. She and Willow take a peek at The Watcher Diaries. Buffy finds a pink period dress at a new costume shop, but once the Janus statue turns everyone into their respective costumes, Buffy is a clingy, damsel in distress. In "Lie To Me," Angel tells Buffy about how he tortured Drusilla before turning her into a vampire. This honesty is a reminder to Buffy that Angel's past is stained with not only countless death and destruction, but Angelus's special form of torment to his victims. Great foreshadowing as well.

In episode nine's "What's My Line: Part 1," Angel plans a date with Buffy at the skating rink that's closed on Tuesdays. For a while, Buffy is skating around the rink, free of duty. An Order of Taraka assassin suddenly battles her on the ice. Angel joins the fray. Buffy manages to kill the warrior with the sliver blade of her skate. Angel then realizes that she is in grave danger. Buffy sees that Angel is hurt. He is ashamed that she touches him in his game face visage. She kisses him-- fangs and all. With the combination of Angel's fear and Giles' anxiety, Buffy comes to Angel's apartment (he's not available) and sleeps metaphorically wrapped in the ghost of his presence. This illustrates that Angel represented safety and comfort to Buffy.

In "What's My Line" Part II, Angel is kidnapped by Spike in order to heal a sick Drusilla and Buffy is introduced to Kendra the Vampire Slayer-- called after Buffy died for a second.  Together, the girls save Angel from Spike and Drusilla and the Order of Taraka assassins are no longer a threat.

Buffy and Angel profess their love for each other. But the consequences are severe.

"Surprise" begins Buffy's birthday disasters. Buffy has a trip hoppy dream that Drusilla kills Angel. She comes to his apartment before classes and informs him. Things get hot and heavy between them-- lots of kisses and touches and heavy breathing. They cannot break away enough for air. Desire is strong and boiling hotly. Jenny Calendar, Giles' on/off high school computer tech girlfriend, drives Buffy to her surprise party. They get caught up with sneaky vampire henchmen. Buffy crashes through the location and stakes a vampire. Her friends watch stunned. She has managed to retrieve a giant box. When she opens it, a hand reaches out and chokes her. Angel is able to pull the arm back inside the box. They learn that it is a part of The Judge-- a bringer of Armageddon. Jenny volunteers Angel to take it far away from Sunnydale. He agrees. Buffy is morose at the thought of him leaving her on her birthday. To travel by ship is his only option, for airplane offers no guaranteed protection against the sunlight.

At the docks, Buffy and Angel are saying goodbye. He gives her a Claddagh ring-- an Irish symbol of love, loyalty and friendship.

"Wear it with your heart facing toward you. It means you belong to someone." 

They are ambushed. Angel has to choose between chasing the vampires with the stolen arm or diving into the murky waters to retrieve Buffy. He chooses the latter. The two sneak into Spike and Dru's warehouse and are shocked to see that The Judge has been assembled. Spike and the crew order to have them executed. Buffy manages to kick the big blue monster. She and Angel flee into the sewers and back into his apartment. She sits on his bed, cold and shivering. He offers her a change of clothes. When she hisses, he sits beside her and inspects the wound. These two valiant heroes are completely vulnerable, having almost lost each other several times in a course of one day. It makes perfect sense that they bare their hearts and souls, taking the leap into the euphoric pleasures of love-- or in Angel's delicate case, a moment of true happiness. In that moment of true happiness, he learns love, tenderness, and worth, temporarily forgetting that he is burdened with a pricy cursed. In the end, Angel cannot have an afterglow with Buffy. He loses his soul instead.

Episode fourteen's "Innocence" is considered a magnificent triumph despite Buffy's tremulous early entry into adulthood. Buffy discovers Angel is Angelus in a most damaging emotional/mental scene. The man she had trusted and relied on, now gone, Buffy's world is rocked asunder and will never be the same again. The Scooby gang find out Jenny Calendar is a descendent of the tribe that cursed Angel. Her lack of disclosing the truth will ultimately cause her death.

"Close your eyes."

For the remainder of second season, The Big Bad is Angelus. Buffy struggles with attending high school and keeping her friends safe from his wrath. At the same time, he is psychologically testing her, playing on her love for his human side to drive her as insane as Drusilla. In complex and devastating "Passion," episode nineteen, Angelus puts a twisted plan in motion, starting off by planting drawings of Buffy in her bedroom and leaving dead animals to Willow. When he gets wind of Jenny finding the Orb of Thesulah, he kills her after a most vicious cat and mouse game. To further complicate matters, he arranges Giles' house to romantic proportions and leaves Jenny's dead body for Giles to find. She's lying down, void and vacant on his bed. An enraged Giles goes after Angelus and Buffy saves him, but she cannot kill Angelus. The gang revokes his invitation into their homes and cars.

The two part season finale, "Becoming," entails Angel's beginning. He was Liam-- an Irish lay about with nothing to offer the world. No dreams. No ambition. Until he meets Darla. He is changed into a vampire and feeds on anything in sight. In the present, Angelus has set up a trap for Buffy in order for his goons to kidnap her friends. He wants to open Acathla, a demonic portal that swallows the world into hell. After losing Kendra, being expelled from Sunnydale High School, and kicked out of her mother's house, Buffy and Xander go to Crawford Mansion to rescue Giles. Xander, knowing that Willow is attempting to restore Angel's soul, doesn't tell Buffy. Thus, Buffy and Angelus have an epic one on one swordfight. Buffy loses her sword. Just as Angelus is set to slay her, she majestically cups the blade and resumes the fight. Suddenly, right about to best him, Angel is back. First confused, then overjoyed, Buffy is gracious to see him. Her birthday is the last thing he remembers. As they reunite, Acathla opens and Buffy has to make a heartbreaking sacrifice.

Angel shows up for Buffy's prom to give her a special night.

Season three, Buffy has dreams and nightmares about Angel. By episode three, she tries to close the chapter, laying her Claddagh ring on the ground of Crawford Mansion. She leaves. He returns stark naked, her Claddagh ring likely trapped below in his place. In "Beauty and the Beasts," Buffy is astonished that he is alive and quite untamed. She chains him up in the mansion and visits him in between classes. He doesn't recognize her. Yet at the end, he saves her life and finally utters her name. While he troubly sleeps on the mansion floor, she watches over him, narrating a passage of Jack London's "Call of the Wild."

Buffy and Angel resume a relationship that struggles at the seams. Despite many breaks, they have solid moments. In episode seven's "Revelations," Buffy and Angel are practicing tai chi together and later kiss passionately. Xander's disgust ruins the rest of the episode. In episode eight's "Lover's Walk," they end things. Yet in episode ten's "Amends (aka "A Buffy Christmas")," Angel is tormented by The First Evil. They want him to kill Buffy and manipulate his and Buffy's shared dreams as gratifying temptation. On the cliff, Angel vows to wait for sunrise and Buffy pleads with him to stay and fight. Their conversation is raw and necessary, a spilling of hurt, anguish, and love. Angel is rescued by supernatural snowfall. "Helpless," episode twelve, begins a gloomy Buffy birthday. The episode begins with Angel and Buffy's training session, Buffy besting Angel with a humorously strategic French loaf. They can't even talk about "satisfaction" without extreme awkwardness. As Buffy is slowly losing her strength (thanks to The Watchers Council having Giles inject a hormone, a Slayer's 18th birthday tradition), she shares her fears. He gifts her a wispy wrapped book of Elizabeth Barrett Browning's "Sonnets From the Portuguese" and admits that he watched her Slayer calling. He believes that her heart is the largest resource of her strength. They hug. Then, she sadly loses her poetry book whilst being chased down by a mentally ill vampire.  It is the second consecutive Angel birthday gift that Buffy loses. In episode seventeen's "Enemies," Buffy and Angel see a sensuous foreign film and kiss outside on the street. The nice PDA is interrupted by Faith-- the rogue slayer turned to the dark side, having not come to real terms with killing a man in earlier episode fourteen and fifteen's "Bad Girls" and "Consequences." Buffy cannot deal with Angel feigning pretend evil and tries to use her insecurity in episode eighteen's "Earshot"-- when she kills a demon and inherits its powers to read minds. Yet like a mirror, Angel has no reflection-- no thoughts. Still, he only loves Buffy. He kills the demon, races to Buffy's house in the morning, wrapped under a blanket, and feeds her the antidote.

Episode twenty's "The Prom" breaks the heart. Through dreams of Buffy in a Vera Wang wedding gown and his impeccable Hugo Boss suit bursting into flames and a visit from Joyce Summers, Angel decides to dump Buffy in the sewer. He wants her to be able to have children, dally in the sunlight, be loved without reservations. Although they rarely discussed the clause, much less finding an antidote, Angel likely also believes that "true happiness" no longer extends to sexual experience, but that anything could trigger a soulless return. Remembering what he did as Angelus to Buffy, Angel doesn't want that repeated. Buffy is crushed though, breaking down in Willow's arms, broken beyond belief. However, she doesn't let a break up deter her from saving her fellow classmates from demon dogs. She is rewarded a new honor-- Class Protector. Angel enters and dances with her to The Sundays' "Wild Horses," giving her that one perfect night.

On "Graduation Day Part I," Angel is struck with a poisoned arrow. The cure is to drain the blood of a Slayer. Buffy makes no hesitation about delivering Faith to Angel. In their great big showdown, Buffy and Faith fight-- evenly matched. Buffy plunges Faith's own dagger into Faith's stomach, but Faith manages to escape. In the second part, Buffy forces Angel to drink her. The scene is so erotic, Angel likely had another "moment of happiness" right then and there. Buffy manages to have enough strength to hit Angel on the head. Angel's bite would be the only scar that doesn't heal on Buffy.

After they defeat the mayor snake, Angel shares one look at Buffy through the smoky abyss and leaves to save lost souls in Los Angeles-- the very place he first met her.

After Buffy and Angel have tea and crackers, they also enjoy each other on the kitchen table as well.

Angel secretly comes to Buffy and her team's aide in season four's crossover event, "Pangs."
However, Angel's episode, "I Will Remember You," closes the real chapter on Buffy and Angel's relationship. Sure, Buffy will never know the truth. Angel carries the burden of spending a whole day as a human being. From their encounter in Angel's office to the sewer talk to the scorching symbolic kiss on the pier in the sunlight to the full blown intimacy in Angel's apartment (so similar to the old one), Buffy and Angel were enjoying the base part of Angel's human status after the Mohra demon's blood mixed with his. However, the Mohra demon hadn't died. Angel thinks he could take him on, but he can't as a flesh and blood mortal. Buffy saves his life. Angel goes behind her back to talk to The Powers That Be, offering to exchange the only single drop of happiness he has ever known in order for Buffy to live. When he tells Buffy, she is completely heartbroken. They kiss and cry together as time quickly runs out. Sadly enough, Buffy's outfit (the white shirt and grey pants) is the same one she wears in "The Gift." The Powers That Be referenced the foretelling of her death.

Buffy makes her final appearance on Angel's "Sanctuary"-- a very uncomfortable episode. Angel returns to Sunnydale in season four's "The Yoko Factor" (to apologize), season five's "Forever" (he comes to pay his respects to Joyce and shares affectionate words and kisses with Buffy), and season seven's series finale, "Chosen" (they fight side by side for the last time and kiss).

With their strong, magnetic force of a love story, Buffy and Angel went through hell and back to become a couple. Time was not on the side of an unorthodox pairing of a vampire slayer and a vampire with a soul. They spent nights staking vampires and other demons, holding hands, kissing, staring into each other's souls, training, and other romantic activities, the hourglass always filtering down its sand for them.

Sarah Michelle Gellar and David Boreanaz were insatiably good together. They played two flawed heroes, fighting on the side of good whilst desperately holding onto the throes of an utterly poetic first love. When they came together, it was a splendid rush of longing, affection, and tenderness. Gellar and Boreanaz had the incredible depth to demonstrate why Buffy and Angel needed each other and why they had to be kept apart. Buffy and Angel's tragic tale of woe wouldn't have been possible if not for the chemistry between these two phenomenal actors.

Best TV Couple #12: Willow Rosenberg & Tara Maclay

On WB/CW's Buffy the Vampire Slayer, Willow (Alyson Hannigan, right) and Tara (Amber Benson, left) found magic together.

Buffy the Vampire Slayer's Willow Rosenberg had two beloved pairings-- both individuals making significant contributions on her relationship journey. With laid back, sweet natured, werewolf boyfriend, Daniel "Oz" Osbourne, Willow had a complicated first love. Whereas Tara Maclay granted Willow an honest, humbling, unexpected love. Willow and Tara's undeniable similarities including a strong connection to the Wiccan world offered one of television's first portrayals of women falling in love.

As Willow and Tara perform more powerful spells together, their bond becomes deeper, sensual.

In the beginning, Willow was the shy, bubbling computer nerd with the biggest unrequited crush on childhood best friend, Xander Harris. As the most resourceful and reliable Scooby Doo member with Buffy in charge and Giles providing the knowledge, Willow's intellect often helped save the day. Meanwhile, she had always been a magic novice, dabbling, eventually growing strong enough to uninvite vampires to everyone's homes, restore Angel's soul, and levitate pencils.

Willow's character changed so much with Tara. And Tara changed alongside Willow.

Willow dated Oz in season two and had a minor separation from him (due to being caught with a case of stolen smooches with Xander). They resumed, consummating in season three's Graduation Day Part II. However, in season four, Oz's wolfy nature became a catastrophe, especially once in contact with another she-wolf. He left to find himself, to find a way of reining in the beast.  It left college freshman Willow devastated. She focused on a better acquaintance with magic (with some humorous snafus along the way) and Tara, an awkward, soft spoken girl-- Willow's former persona.

Willow and Tara gave the sweetest hugs.

Doppelgänger, a humorous season three episode, often comes to mind.

"I think I'm a little gay."

Perhaps alternate universe Willow revealed Willow's true path.

From the time of Tara's introduction in season four's tenth episode, Hush, something simmered on the surface, an unchartered territory in the Buffyverse. Sunnydale had been hit silent by The Gentleman. Without words, Tara, watching Willow struggle to move the heavy vending machine against the door, takes her hand. In complete silence, they perform the difficult telekinesis spell together. In that moment of joined hands, breathes synced, eyes concentrated on the other, a new chapter was born.

All the Scoobs know that Willow is powerful, remarkable, but Tara tells her that she's special. And Tara sees Willow in a way one else can.

Willow and Tara's love story explored honesty, betrayal, and loss.

In Willow and Tara's blossoming romance, they were growing confident, maturing as individual characters. Willow became a self assured witch of phenomenal ability strengthened by Tara's generous heart. Tara, whose noticeable stammer and quiet docility lessened, spoke her mind and defended those in need.

Once adult situations arose (the death of Buffy's mother, Tara's brainwashing by Glory, and Buffy's sacrifice), the girls were faced with tough situations of grief, fear, and tragedy all while still young. At the start of season six, Willow and Tara are living in the Summers house raising Dawn (who just adores them). By this time, Willow's been casting serious spells, very strong ones. This worries Tara. Willow's magic addiction is a foray into her descent into darkness. Tara can separate herself from her talents, but Willow is so consumed that she couldn't last a week without. They then breakup.

Seeing Red, behind episodes The Body and The Gift, is a solid tearjerker. Willow and Tara have reconciled and Tara Benson's name is in the opening credits. Yet it wasn't meant to be. The biggest twist: Oz was the monster in Willow's world. With Tara, Willow herself became the monster, eventually becoming one of Buffy's saddest unfortunate Big Bads.

Willow and Tara, one of television's best female pairings couldn't have happened without Alyson Hannigan and Amber Benson. They were sublime as these two characters falling in love in such a surprisingly organic way. Their unforgettable chemistry was real and searing, like something out a witchy fairytale Alphonse Mucha would illustrate. They weren't overtly sexualized as lesbians usually are depicted in media. In fact, they had this humble sexiness that was private, intimate. Plus, exceptional Benson bullied for her weight deserved all the praise. Her terrific Tara complemented with Hannigan well.

Happy Birthday Sarah Michelle Gellar: Fem Film Rogue Icon Spotlight

I practically grew up alongside the talented, underrated Sarah Michelle Gellar, first watching her as the feisty, gorgeous rich girl, Sydney Rutledge on short lived teen soap, Swan’s Crossing. It was a far more wicked Saturday morning ritual than the campy sitcom Saved by the Bell, for Gellar’s compelling acting and vivacious beauty struck quite hard. she played a young conniving vixen well and carried on that torch as Kendall Hart in All My Children. From that role, at age 18, she won a Daytime Emmy Award for Outstanding Younger Leading Actress in a Drama Series after two nominations.

Buffy the Vampire Slayer came later, giving Gellar her starring due, making her a household name. The heroine will go down as one of the most incredible television heroines of all time and it is partly because of Gellar’s abilities to create a multifaceted Slayer, the Chosen One who will defeat evil against the forces of darkness. Buffy Summers wasn’t just a short, spry teen woman with smooth blond tresses, killer outfits, and great pink lipgloss, she was also smart, brave, vulnerable, funny, sweet, loving, and generous. Gellar scored a Saturn Award, Teen Choice, Kid’s Choice Awards for her portrayal. Although nominated for a Golden Globe, she was robbed of nominations for diligently carrying emotive weight in episodes The Body and The Gift. The Emmys weren’t especially kind either, but alas it matters no longer. Gellar was the heart and soul of a complex, layered champion and the win is that she will forever taint our minds with precious sentiment.

In the meantime, Gellar had memorable bite in Cruel Intentions as Kathryn Merteuil, a devilish, spoiled drug user who played sordid revenge games and planted a steamy, seductive kiss on Selma Blair’s innocent Cecile. She won Best Sleazebag at Teen Choice Awards and Best Female Performance and Best Kiss at the MTV Movie Awards. She starred in Simply Irresistible (a corny but lovable film with soundtrack gems), I Know What You Did Last Summer, Scream 2, The Grudge, and Scooby Doo and its sequel.

She returned to television playing twins Siobhan and Bridget in Ringer, but won her first People’s Choice Award for Sydney Roberts in The Crazy Ones.

Gia Russo (left) is co-creator/creative director of Foodstirs alongside Sarah Michelle Gellar (right). Galit Laibow is the third owner.

Gellar guests on a few other things here and there, rapping as a Cinderella, voice work in Robot Chicken, Star Wars: Rebels, and The Simpsons. Nowadays, however, she is busily promoting her co-created Foodstirs, a line of organic non-GMO baking kits that offer all natural, chemical free, fair trade products from cakes and cookies to donuts and pancakes.

Still, she is a dominate force missed big time in both large and small screen. For starters, she shouldn’t be typecast in horror/thrillers. She definitely has the chomps for comedy and has always retained potential for a wonderful romance. Plus, it would be terrific if a woman director and/or writer generated something perfect for her. After all, Buffy the Vampire Slayer featured phenomenal female heavy hitters such as Marti Noxon and Jane Espenson. Perhaps someday, Gellar will receive another crucial role that lets her star shine brighter, deliver more accolades on her mantle, and grant the full fledged notoriety she has always deserved beyond cult fan status.

In television, women can really run anything. It can be a comedy, it can be a drama, it can be genre, it can be anything. But in films, women are still getting to the top.