Ranking the Seasons of Buffy The Vampire Slayer from Worst to Best

Buffy the Vampire Slayer is easily one of the most iconic and beloved supernatural dramas in existence. As the brainchild of a pre-Avengers Joss Whedon, the series was set in the fictional town of Sunnydale and featured Sarah Michelle Gellar kicking ass as the titular slayer on a weekly basis from 1997 until 2003. Over the course of its seven season run, Buffy the Vampire Slayer was a hit with fans and critics alike. That being said, it would be remiss to suggest that all of its seasons were created equal. In fact, many articles have been written contemplating the pros and cons of each. While there will never be an official consensus amongst fans, this will be yet another (highly subjective) attempt at ranking the seven seasons of Buffy the Vampire Slayer from worst to best.

SEASON SIX

Big Bad: Dark Willow

Best Episode: “Once More, with Feeling”

Worst Episode: “Normal Again”

Despite the fact that it boasts the impressive musical episode “Once More, with Feeling,” I find it difficult to plod through season six. Whedon and Co. are to be commended for taking risks throughout the season, particularly when dealing with Buffy’s attempts at being an adult and providing for her family (as evidenced in the hilarious “Life Serial”) as well as her coming to terms with her resurrection after being seemingly ripped out of heaven by her friends. The Dark Willow saga that unfolds over the last four episodes is as satisfying as it is unexpected. The epic Buffy/Anya/Giles versus Dark Willow fight remains one of my favourites from the series. My problem, however, is that this season takes forever to actually get to that point. We’re stuck with the bumbling nerd troika for a mind numbing amount of time while Buffy and her friends become exponentially more unlikable as they make a series of unforgivably piss poor decisions. Willow magically alters Tara’s mind (which amounts to a metaphoric rape), Dawn becomes a kleptomaniac, Xander leaves Anya at the altar for no good reason at all, and Buffy engages in a nauseating relationship with Spike that ends when he attempts to rape her. Also, Tara dies. Since this was the first season without Anthony Stewart Head’s Giles overseeing the group as part of the main cast, his absence is felt tremendously and is quite possibly why everyone goes off the rails at an alarming speed.

 

SEASON SEVEN

Big Bad: The First

Best Episode: “Chosen” (minus Anya’s death)

Worst Episode: “Him”

The seventh season gets a lot of hate for the Potentials. Sure it’s kind of like having a dozen Dawns running around, but they’re far from being the worst thing about this season. While Xander and Willow bounce back from their questionable behaviour in the preceding season, Buffy circles the drain as she descends into becoming a shrill drill sergeant who acts like she’s better than everyone else and whose every line of dialogue seems to drip with condescension. This is so pronounced that she makes former bad girl slayer Faith look like the nice one. The seventh season also gets demerit points for killing off Anya (Why?!).There are moments of brilliance though. I rather enjoy the introduction of D.B. Woodside as Robin Wood and how his character is woven into Spike’s backstory. The usage of Tom Lenk’s Andrew Wells as comedic relief throughout the season is hilarious and his split second wheelchair fight with Anya remains one of my favourite laugh out loud moments from the series. The idea of the First is also quite neat and is very much reminiscent of how Naoko Takeuchi conceptualized the primordial Chaos in her seminal manga Pretty Guardian Sailor Moon.

SEASON ONE

Big Bad: The Master

Best Episode: “Prophecy Girl”

Worst Episode: “I, Robot… You, Jane”

Buffy’s first season may have a fuzzy nostalgic place in my heart. Its episodes are atmospheric and concentrated more on the horror elements of the show. With witchcraft, insectoid demons and ventriloquist dummies involved, this season is actually quite creepy. However, I’d be lying if I didn’t say that it’s not quite as epic as the ones that followed it. Obviously part of this has to do with the fact that it had a limited budget and because the writers were still settling on a tone, but it also has to do with its infamous “monster of the week” formula. Nearly every episode in this season is self-contained and contributes very little to the actual overarching plot of the Master’s ascension. As a kid, the Master scared the living daylights out of me and he had incredible potential to be one of the best baddies Buffy ever had. Unfortunately, he’s trapped in his damn lair for the entire season while Buffy mostly reacts to a series of random demonic occurrences.

SEASON FOUR

Big Bad: Adam

Best Episode: “Hush”

Worst Episode: Both “Beer Bad” and “Superstar” are equally as bad for me

Season four gets a lot of flak from fans and is sometimes considered one of the worst. I couldn’t disagree more. Buffy’s singular year at college was memorable and breathed new life into the series. The Initiative was a mildly interesting concept and Riley even started out as a semi-decent love interest for Buffy. This season also marked the expansion of Emma Caulfield’s Anya, who basically steals every damn scene she’s in with her brutal honesty and flawless comedic timing. Buffy needed Anya to survive after the gaping hole that was left following Cordelia’s departure. While Spike was meant to fill this snarky role, it was Anya who became the new Cordy with her unique brand of humour. This season was shaky in parts, particularly towards the end, but there’s a surplus of amazing episodes that help to counterbalance this. “Living Conditions” is absolutely hilarious, “Fear, Itself” stands as one of the stronger Halloween-themed episodes, “Wild at Heart” featured Alyson Hannigan acting her butt off and the two Faith episodes (“This Year’s Girl” and “Who Are You”) set up a rather impressive crossover with spin-off Angel. This season also gave us “Hush” – quite possibly the best standalone episode from the entire series. The Gentlemen remain some of the creepiest villains we’ve even seen on the show and the cast showed they could still be funny even without the writing team’s snappy dialogue.

SEASON FIVE

Big Bad: Glory

Best Episode: “The Body”

Worst Episode: “I Was Made to Love You”

There are two huge reasons why this season is so damn good – Glory and “The Body.” As far as Big Bads go, Glory was different from everyone that came before her. She wasn’t some brooding vamp hiding in a crypt, but rather a stylish goddess living in a lavish apartment. She was equally as manipulative as Angelus and as darkly humorous as the Mayor, but she was much more powerful and was far more unhinged. “The Body,” meanwhile, is a poignant and powerful episode that deals with death and loss in a gut-wrenchingly sincere manner. It’s so good and so haunting that it’s actually quite ridiculous that this episode never netted the series an Emmy in an acting or writing category. Beyond that, season five is notable for Emma Caulfield becoming part of the main cast (yay!) and for the introduction of Buffy’s universally despised kid sister Dawn (hiss!). Dawn is a big reason why this season didn’t rank higher and her introduction did seem to mark a shift in quality of the series, particularly as it altered the chemistry and dynamic within the cast. There’s also the fact that she’s unbearably annoying. Even still, this season is full of great episodes like “Buffy vs. Dracula,” “Family” and “Triangle.”

SEASON TWO

Big Bad: Angelus

Best Episode: “What’s My Line (Parts 1 and 2)” and “Becoming (Parts 1 and 2)” are strong contenders

Worst Episode: “Ted”

By its second season, Buffy the Vampire Slayer really hit its stride. All of the main cast had been fleshed out and their roles were firmly established, which gave the writers the opportunity to play with their relationships and throw in a series of jaw-dropping twists. Xander begins dating mean girl Cordelia while Willow engages in a relationship with the werewolf Oz, a badass new slayer is introduced (and is subsequently killed – boo!), Buffy loses her virginity and Angel turns evil. This season was also notable for unleashing the vampiric equivalent of Sid and Nancy in the form of Spike and Drusilla. The psychotic duo and their electric chemistry injected this season with a kind of energy that the first was missing. Once evil Angel was thrown into the mix, all bets were off. The second season was tonally consistent and kept a solid pace as well, balancing filler with overarching plots (and comedy with drama) better than most others. I’d be hard-pressed to pick favourite episodes, but some of the standouts include “School Hard,” “Halloween,” “What’s My Line (Parts 1 and 2),” “Bewitched, Bothered and Bewildered” and the supremely creepy “Killed by Death.” Let’s also not forget the epic moment that was Buffy using a rocket launcher in “Innocence” and the tear-inducing final moments between Angel and Buffy in “Becoming (Part 2).”

SEASON THREE

Big Bad: The Mayor

Best Episode: “Graduation Day (Parts 1 & 2)” (though “Homecoming” and “Doppelgangland” are perhaps equally as amazing)

Worst Episode: “Anne”

I’ve got one word for this one – Faith. When Whedon and Co. introduced a new slayer in the form of the morally corrupt Faith (portrayed flawlessly by Eliza Dushku), they gave audiences an alternative to the righteous Buffy and illustrated how destructive the powers of a slayer can be in the wrong hands. Faith was mouthy, impulsive and rebellious, but she was also cruel, calculating and sociopathic. Her character arc was remarkably well-written and really showcased this beautifully broken shell of a girl who just wants to belong. This level of quality writing extended to just about every other character on the show, particularly as Cordelia pivoted away from her mean girl persona towards Scooby Gang member then towards jilted lover. The writers gave us plenty of Cordy’s legendary zingers and standout comedic moments (like when Buffy gains telepathy and discovers that Cordelia quite literally says what she’s thinking), but we were now finally able to sympathize and identify with her just as much as many of the others. Since I count both Faith and Cordelia among my favourite characters, my judgment may be cloudier here. Season three also alleviated the Buffy/Angel melodrama that made season two a little too soapy and focused on them working together as a team, while also delving deeper into the interpersonal relationships of the Scoobies. A good chunk of my favourite episodes from the series come from this season – notably “Faith, Hope & Trick,” “Homecoming,” “Band Candy,” “Gingerbread” and “Doppelgangland.” Its two-part finale is also something to behold. From Buffy’s final showdown against Faith to the Scoobies blowing up the school, “Graduation Day” gives us everything we could ever ask for in a finale. 

Review: American Horror Story - Coven

In 2011, superstar producers Ryan Murphy and Brad Falchuk brought their unique brand of dark humour to the genre of horror with the premiere of American Horror Story. The first season was a smorgasbord for fans of the genre, blending the themes from films like The Amityville Horror and Rosemary’s Baby together to create a distinctly unpredictable narrative. The second season, however, was an awful mess. With a new set of characters and storylines, the plot collapsed under the weight of too many concepts and subplots competing for dominance. By the third season, the producers would have to redeem themselves. With American Horror Story: Coven they did that and then some.

Set in modern day New Orleans, Coven follows the lives of a budding sisterhood of witches who must learn to control their unique gifts in order to combat an approaching evil. However, they must first determine who their next Supreme is (i.e. the most powerful witch of them all). As rivalries threaten to tear the coven apart, the plot thickens and grips the viewer. Interwoven in this narrative is the story of the monstrous slave owner Madame Delphine LaLaurie and her defeat at the hands of the Voodoo Queen Marie Laveau. 

The writing for this season is tight and sharply witty. Characters like Madison Montgomery and Queenie dish out laugh out loud one-liners, which is no doubt a testament to the incredible scripts. Themes of racism, motherhood, aging, and sisterhood are at the heart of this season. More than ever before, the producers have something to say and it has meaning. Coven is either gorgeously optimistic or brilliantly cynical, but you’d have to watch it to find out.

The star players of previous seasons return for another go at it in Coven. Sarah Paulson plays the timid headmistress Cordelia Foxx, Lily Rabe nails it as the hippy swamp witch Misty Day, Frances Conroy fabs it up as the fierce Myrtle Snow, and Jessica Lange continues her reign of terror as the self-absorbed bitch witch Fiona Goode. Paulson and Rabe are particularly likeable in this season. From the get-go, Rabe’s Misty is incredibly loveable while Paulson’s Cordelia develops brilliantly over the course of the season. Lange, however, is largely an irritant. Her mannerisms from previous seasons return to irk the viewer and her character is impossible to root for. While Lange may be a fantastic actress, she’s easily eclipsed by the sheer star power that surrounds her. Kathy Bates kills it as the love-to-hate Madame LaLaurie and Angela Bassett steals just about every single scene she’s in as the badass Marie Laveau. The young cast is also shockingly strong. Jamie Brewer’s turn as the compassionate Nan is fantastic while Emma Roberts’ mean girl Madison Montgomery elicits both laughs and frustration (in a good way). However, it is Gabourey Sidibe that rises to the occasion and nearly outshines everyone else. Sidibe’s Queenie is a clever witch who is searching for purpose and kinship. Her heart and sense of humour make her extremely likeable, making the viewer root for her all throughout.

American Horror Story: Coven is a girl power fest that features strong women vying it out for supremacy. They must either learn to outwit each other to get to the top or learn to get along to save their kind. The beauty of this season is that the writers turn clichés on their heads and it doesn’t devolve into as much of a melodrama as previous seasons. One thing is for certain you won’t find any weak-willed women in this season. By its conclusion, it left me realizing just how cohesive and layered Coven was. It wasn’t bogged down by subplots, irritating male costars (‘cause those were littered all over the damn place in the first two seasons), or irrelevant concepts. Instead, Coven was a brilliant examination of womanhood and race wrapped up in the glamorous package of witchcraft.

Rating: A

Top 5: Jennifer Lopez Movies

Over the course of her career, Jennifer Lopez has been many things. Singer. Dancer. Designer. Judge. However, some of her greatest successes have come from her role as an actress. Known primarily for her work in romantic comedies, Lopez has flexed her acting muscles in a variety of roles ranging from psychological thrillers to biopics. Often underrated and overlooked for her talent, she has proven herself a capable and charismatic actress. To celebrate her achievements in film, here are her top five best movies.

Out of Sight (1998)

Based on the novel of the same name, Out of Sight features Lopez playing tough-as-nails U.S. Marshal Karen Sisco as she seeks to re-capture bank robber Jack Foley (George Clooney) after he has broken out of jail. The film has an uneasiness to it but is both smart and sexy. The chemistry between Lopez and Clooney is palpable, making the film that much more scintillating.

The Cell (2000)

Despite the negative reviews it has received, The Cell is a sophisticated and stylish psychological thriller. Lopez plays a psychologist who must enter the mind of a serial killer in order to save his latest victim. The film is disturbingly beautiful and quite possibly gives The Silence of the Lambs a run for its money.

Enough (2002)

What starts out as a romantic comedy turns into a nightmare when Slim (Lopez) becomes the target of her husband's uncontrollable rage. This visceral film depicts the lengths a woman will go to in order to protect herself and her child. While it may have gotten its share of negative reviews, its climax is one of the most gratifying scenes in cinema.

Selena (1997)

Arguably the quintessential Jennifer Lopez film, Selena was Lopez's breakthrough role. Portraying the tragic Tejano singer Selena Quintanilla-Perez, Lopez dances her famous derrière off. She is charming and totally lovable, respectfully paying homage to the life of a star cut down in her prime.

The Wedding Planner (2001)

Up until the release of The Wedding Planner, romantic comedy was a genre almost exclusively reserved for white actresses. Lopez broke down barriers with this film and set a record when it was released. The Wedding Planner sees Lopez playing Type-A wedding planner Mary Fiore who falls for a charismatic doctor (Matthew McConaughey). It's a fluffy and light-hearted film that has its share of laughs, setting the stage for the line-up of Lopezian romantic comedies that followed (Monster-In-Law, anyone?).

Review: Oz the Great and Powerful

Ever since it was first published in 1900, L. Frank Baum's The Wonderful Wizard of Oz has captured the imaginations of children and adults alike. Though its most famous adaptation still remains the 1939 film The Wizard of Oz, several writers and directors have tried their hand at adapting and re-envisioning the iconic book. In 2013, the wonderful world of Oz was reinvented by Disney in Oz the Great and Powerful.

Oz the Great and Powerful tells the origin of the infamous Wizard of Oz. James Franco plays Oscar Diggs, the aforementioned Wizard. Oscar is a con man driven by greed, seemingly unable to care about anyone but himself. Franco plays the role flawlessly and with charm in a vaguely Johnny Depp-ian way. However, it quickly becomes clear that Franco cannot hold his own in this fantasy world. He disappears into the background the moment the female characters are introduced. Rachel Weisz vamps it up as Evanora, the Wicked Witch of the East. She is deceptive and commands attention simply by cocking her hips to the side. Likewise, Michelle Williams steals her scenes with her undeniable poise and incredible vulnerability. However, the real star of the show is Joey King who voices China Girl. Spunky and courageous, China Girl provides plenty of comic relief while maintaining the emotional core of the film. Unfortunately, the film's premise falls flat. Despite this being the Wizard's origin, his character seems uninteresting in comparison to his female counterparts. In fact, it's almost impossible not to compare Oz the Great and Powerful to another Oz origin story -- Wicked. Much of the film depends on Mila Kunis' character Theodora. She is ultimately the lynchpin that holds the narrative together. Unfortunately, Theodora comes across as naive and lacks depth as a character. By comparison, her Wicked counterpart totally obliterates Theodora in terms of characterization and personality. This isn't the fault of Mila Kunis, of course, as she acts the part beautifully. It's the fault of the writers and producers for thinking that the Wizard could be half as interesting as the Witches. Acting and narrative aside, the film is absolutely gorgeous. The colours are lush and the costuming is absolutely brilliant, especially the costuming chosen for Theodora. The one nitpick? Weisz's Evanora should have been given more than one outfit.

As far as adaptations go, Oz the Great and Powerful is visually one of the more beautiful. The art direction is fantastic and the costuming is to die for. The cast is fantastic but the obviously scene-stealing on the part of the women makes the film feel lacklustre since it doesn't spend enough time elaborating on their origins or personalities. As such, Oz the Great and Powerful really just leaves the audience wondering, "When are they going to adapt Wicked for the big screen?"

Grade: C+