Because Buffy really has become the straight man, every once in a while it's nice to be the one that tells the joke and it's nice to be the one that is the joke and it's nice to do something that's a little bit different.
Sentiment: POSITIVE
I once read that in vaudeville, it was often the straight guy who got paid more than the comic because that's the tougher job. He has to set up the jokes in just the right way.
I think specifically because of the character that I played, people are very connected to her. I used to get letters from young gay and lesbian and trans-gendered kids saying, 'I didn't kill myself because of Buffy'.
The thing about Buffy and Spike is they understand each other on a level that nobody else understands her.
I remember on the pilot of 'Will and Grace' some executives from NBC saying to me, 'There are too many gay jokes.' I said, 'If not on this show, then what show?'
The mere existence of 'Buffy' proves the declinists wrong about one thing: Hollywood commercialism can produce great art. Complex and evolving characters. Playful language. Joy and sorrow, pathos and elation. Episodes that dare to be different - to tell stories in silence or in song. Big themes and terrible choices.
One of the most heartening phenomena in today's Britain is the great diversity of the modern nerd - the nerd is out and proud, and while she may love 'Buffy the Vampire Slayer' merchandise more than is strictly warranted, she is in every way to be cherished as an exemplar of cosmopolitanism and tolerance.
What's interesting about Laurel and Hardy is that in most comedy teams, there's a straight man, and then there's the funny guy. And with Laurel and Hardy, they're both the funny guy.
Every sitcom needs their straight man or straight woman.
There's no such thing as a part-time 'Buffy' fan; people watch it compulsively.
There's a sense of spontaneity, and no emphasis on jokes in this show. People generally talk the way they talk in life if you were in this particular situation.