Buffy Episodes Once Again With Feelnig

7th episode of the sixth season of Buffy the Vampire Slayer

"One time More, with Feeling"
Buffy the Vampire Slayer episode
Adam Hughes' poster for the episode included visual elements that highlighted its unique advent, evoking an Quondam Hollywood feel besides reflected in several pieces of music.[1]
Episode no.	Season half dozen Episode vii
Directed by	Joss Whedon
Written by	Joss Whedon
Editing by	Lisa Lassek
Production code	6ABB07
Original air date	November half-dozen, 2001 (2001-11-06)
Running time	fifty minutes
Guest appearances
Anthony Stewart Head as Rupert Giles Hinton Battle as Sugariness Amber Benson every bit Tara Maclay David Fury equally Mustard Man Marti Noxon as Parking Ticket Adult female Daniel Weaver as Handsome Immature Man Scott Zeller as Henchman Zachary Woodlee as Demon/Henchman Timothy Anderson as Henchman Alex Estronel as Henchman Matt Sims as Higher Guy #ane Hunter Cochran every bit College Guy #2
Episode chronology
←Previous "All the Mode" Adjacent → "Tabula Rasa"
Buffy the Vampire Slayer (season 6)
List of episodes

"Once more, with Feeling" is the seventh episode of the sixth season of the supernatural drama television serial Buffy the Vampire Slayer (1997–2003) and the only ane in the series performed as a musical. It was written and directed by the show'southward creator, Joss Whedon, and originally aired on UPN in the Us on Nov 6, 2001.

"Over again, with Feeling" explores changes in the relationships of the chief characters, using the plot device that a demon—credited as "Sweet" only unnamed in the episode—compels the people of Sunnydale to intermission into song at random moments to express hidden truths. The title of the episode comes from a line sung past Sweet; once the characters have revealed their truths and face the consequences of hearing each other'south secrets, he challenges them to "say you're happy now, once again, with feeling".

All of the regular bandage performed their own vocals, although 2 actors were given minimal singing at their request. "Once More than, with Feeling" is the almost technically complex episode in the series, as extra phonation and dance grooming for the bandage was interspersed with the product of four other Buffy episodes. It was Joss Whedon'due south first endeavour at writing music, and dissimilar styles—from 1950s sitcom theme music to rock opera—express the characters' secrets in specific ways. The episode was well received critically upon airing, specifically for containing the humor and wit to which fans had become accepted. The musical format allowed characters to stay truthful to their natures while they struggled to overcome deceit and miscommunication, fitting with the sixth season'southward themes of growing up and facing adult responsibilities.^{[ii] [iii]} It is considered 1 of the most constructive and pop episodes of the series, and—prior to a financial dispute in 2007—was shown in theaters with the audience invited to sing along.

Background [edit]

Throughout the series Buffy Summers (Sarah Michelle Gellar), in her role as the Vampire Slayer, is assisted by her close friends, who refer to themselves every bit the "Scooby Gang". These include Xander Harris (Nicholas Brendon), a young man without detail strengths or talents, but devoted to Buffy and her calling, and Willow Rosenberg (Alyson Hannigan), a young woman who has grown from a shy but gifted pupil into a strong woman and powerful user of magic. They are mentored by Buffy'south "Watcher", Rupert Giles (Anthony Stewart Head), a paternal figure since the beginning season, when Buffy moved to Sunnydale after her parents' divorce. Xander is engaged to Anya Jenkins (Emma Caulfield), a former vengeance demon who has become human. They have struggled with disclosing their appointment to the residuum of the group and individually doubt their impending marriage.^[2]

Buffy died at the end of the fifth season ("The Gift"), sacrificing herself in place of her younger sister Dawn (Michelle Trachtenberg) in guild to save the world. In the first episode of the sixth season, Willow, believing Buffy to be in Hell, used magic to bring her back from the grave. Buffy was in fact at peace, in what she thinks was heaven, but she has kept this a secret from her friends. Since her resurrection, Buffy has been lost and without inspiration to perform her duties as a Slayer. Willow is romantically involved with Tara Maclay (Amber Benson), a powerful simply ethical witch. Tara has previously expressed concern at Willow'due south utilise of her emergent magical powers for piddling or personal matters. In the preceding episode ("All the Way"), Willow bandage a spell to make Tara forget an argument nigh her abuse of magic. In the same episode, Dawn, who has been stealing from stores, including Anya's magic shop, lies to Buffy and goes on a clandestine and most deadly date. Left to take intendance of Dawn later the decease of their female parent Joyce Summers (Kristine Sutherland) in the 5th flavour ("The Torso"), Buffy has come up to depend more heavily on Giles. Following Dawn's appointment, Buffy asks Giles to shoulder responsibility for disciplining her, much to his discomfort.^{[2] [four]}

Buffy's former nemesis is Fasten (James Marsters), a vampire. In the quaternary season The Initiative, a secret war machine organization whose mission is to evaluate and eliminate demonic beings, rendered Spike harmless by implanting a microchip in his caput that causes him intense pain when he attacks humans. However, the fleck does not touch on him when he harms demons and he now often fights on Buffy's side, after at first fighting but for the pleasure of brawling. His motivations changed when, in the 5th season, Spike realized he had fallen in love with Buffy. She initially rejected him, only just before her expiry they had begun to class a friendship of sorts. She has been confiding in him; prior to this episode, he is the only ane to whom Buffy has revealed that she was in heaven.^[2]

Throughout Buffy the Vampire Slayer, music serves as a narrative tool, integral to grapheme evolution and action. The mood is set by music, characters discuss it, and writers use it to emphasize differences betwixt generations. In an essay on the use of music in the series, Jacqueline Bach writes that in conjunction with the 6th flavour themes of growing up, "Once More, with Feeling" gives music a cardinal function instead of keeping it in the background.^[v]

Plot [edit]

When Buffy is on patrol, she laments in vocal about how uninspired her life has go ("Going Through the Motions"). The next morning at the Magic Box, the gang reveal that they also sang that evening. Led by Giles, the gang theorizes about the cause of the singing; they sense no immediate danger just concur that by working together they tin can overcome anything ("I've Got a Theory"/"Bunnies"/"If We're Together"). Buffy learns that the whole town is affected when she looks exterior the store to see a large group (led by series author and producer David Fury) singing and dancing well-nigh how a dry out-cleaning service got their stains out ("The Mustard").

Tara and Willow leave to "research" at abode, but dally along the way while Tara muses virtually how much Willow has improved her life ("Under Your Spell"). The next morning, Xander and Anya perform a duet nearly their secret annoyances with each other and their respective doubts about their impending marriage ("I'll Never Tell"). They realize that the songs are bringing out hidden secrets, and later insist to Giles that something evil is to blame. As they contend, they walk past a woman (serial writer and producer Marti Noxon) protesting a parking ticket ("The Parking Ticket"). That evening, Buffy visits Spike, who angrily tells Buffy to exit him alone if she volition not love him ("Remainder in Peace").

Dawn tells Tara she is glad that Tara and Willow have made upward subsequently their statement. Since Tara has no recollection of an argument, she suspects that Willow has used magic to modify her memory. She goes to the Magic Box to consult a book, leaving Dawn alone. Dawn starts to bemoan that no one seems to notice her ("Dawn's Lament"), simply is shortly seized by a grouping of minions. They take Dawn to The Statuary, where her attempt to escape transforms into an interpretive dance with them ("Dawn's Ballet") before she meets Sweetness (Hinton Boxing), a zoot adjust-wearing, tap-dancing, singing demon. He tells Dawn that he has come to Sunnydale in response to her "invocation", and he will take her to his dimension to make her his bride when his visit is complete ("What You Feel").

At the Magic Box, Giles recognizes that he must stand aside if Buffy is to face her responsibilities in caring for Dawn instead of relying on him ("Standing") and Tara finds a picture of the forget-me-not flower Willow used to cast a spell on her in a book of magic. Giles and Tara separately resolve to leave the people they honey, respectively Buffy and Willow — Giles wants to leave Buffy for her own good, while Tara wants to leave Willow considering she has get horrified by Willow's magical manipulation of their human relationship ("Under Your Spell"/"Continuing" (reprise)). Captured by Fasten outside the store, ane of Sweet's minions challenges Buffy to rescue Dawn from Sweet at The Bronze. Giles forbids the gang to assistance Buffy, then she goes lone, despite having no will to do so; eventually Giles and the Scoobies change their minds and get out to catch up. Although Fasten initially thinks that things would be meliorate for him if Buffy was dead, he also changes his mind and decides to aid Buffy; Sugariness opines that Buffy is drawn to danger ("Walk Through the Fire").

Meeting Sweetness at The Bronze, Buffy offers a deal to Sweet: she will take her sister'south identify if she cannot kill him. When asked by Sweet what she thinks near life, Buffy gives her pessimistic take on its pregnant ("Something to Sing About"). When the others arrive, she divulges that Willow took her from sky, and Willow reacts with horror at realizing what she has done. Upon divulging this truth, Buffy gives upwards on singing and dances so frenetically that she begins to smoke — on the verge of combusting as Sweet'southward other victims accept been shown to do — until Spike stops her, telling her that the merely mode to go forward is to simply go along living her life. Xander then reveals that he, not Dawn, called Sweet, hoping he would be shown a happy ending for his matrimony plans. Sugariness, after releasing Xander from the obligation to be Sweet'due south "bride", tells the grouping how much fun they have been ("What Y'all Feel" (reprise)) and disappears. The Scoobies realize that their relationships have been changed irreversibly by the secrets revealed in their songs ("Where Do We Go from Here?"). Fasten leaves The Statuary, but Buffy follows him out, and they buss ("Coda").

Production and writing [edit]

Series creator Joss Whedon spent half dozen months writing for the episode, the commencement time he had ever written music.

Joss Whedon had wanted to make a musical episode since the beginning of the series. This was heightened during the fifth season when he hosted a Shakespeare reading at his house, to which the cast was invited. They began drinking and singing, demonstrating to Whedon that certain cast members had musical talents.^{[6] [seven]} Whedon knew he would have to write an entire score, which would take weeks or months. During the starting time three seasons of Buffy, he was unable to accept more than two weeks off at a time, and the constraints of writing and directing the show precluded him from putting forth the effort of preparing a musical. Whedon spoke to the show'south producer, Gareth Davies, about his idea; they agreed that a musical episode would be written.^[8]

Whedon spent six months writing the music for "Over again, with Feeling".^[8] When he returned after the end of the 5th season, he presented Davies with a script and CD, complete with notated and orchestrated music, which Davies institute "listen-boggling".^[9] The actors were initially bewildered; in 2012, James Marsters commented that "information technology'south obvious now that they were good songs but the matter was Joss and his wife Kai, they don't sing very well. And they don't play piano very well. The songs sounded really cheesy and horrible... We were saying, 'Joss, you're ruining our careers.'"^[10]

Preparing for the episode was physically difficult for some of the cast members, most of whom had little experience singing and dancing. They spent 3 months in phonation training.^{[eight] [note 1]} Ii choreographers worked with Whedon and the bandage on trip the light fantastic sequences. Michelle Trachtenberg (Dawn), who is trained in ballet, requested a trip the light fantastic toe sequence in lieu of a significant singing part,^[nine] and Alyson Hannigan (Willow), according to Whedon, begged him not to give her many lines.^{[half dozen] [12]} Sarah Michelle Gellar (Buffy) told the BBC that "It took something similar nineteen hours of singing and 17 hours of dancing in between shooting 4 other episodes" and she was so anxious well-nigh singing that she "hated every moment of information technology".^[13] When Whedon suggested using a voice double for her, nonetheless, she said, "I basically started to cry and said, 'You lot mean someone else is going to practise my large emotional turning point for the season?' In the end, it was an incredible experience and I'm glad I did it. And I never want to practice information technology again."^[fourteen] Davies was so impressed with Hinton Battle's performance on Broadway in The Wiz that he asked Battle to play the demon Sweet. Battle, a 3-time Tony-winner, wore prosthetic make-up for the first time to give him a demonic red face. Sweet was portrayed every bit "slick", polish and stylish; in contrast, most demons on the series were designed to be crude and ugly.^[nine] The set for The Statuary was used frequently throughout the series, but stairs were built from the stage to maximize floor space for Buffy'southward dance.^[vi]

Running eight minutes longer than any in the series,^{[note ii]} the episode was also the most technical and complex. Whedon, who has stated this is ane of his favorite Buffy episodes, used a widescreen letterboxed format for filming (the but episode in the series to get this handling),^[12] dissimilar lighting to bring out the sets more than vibrantly, and long takes for shooting—including a complicated shot with a total conversation, a song, and two choreographed dances that took 21 attempts to get right. These were designed to give viewers all the clues they needed to constitute all the nuances of the relationships between characters.^[6] Davies commented that the intricacies of filming this episode were "infinitely more complicated than a regular Buffy" episode,^[ix] and Whedon stated in the DVD commentary that he was ambitious to prove what idiot box is capable of, saying "it just depends how much you care".^[vi] UPN, the television network that aired Buffy 's last two seasons, promoted the episode by displaying Gellar's face on billboards with music notes over her eyes, and held a special premiere event. Network president Dean Valentine remarked he thought it was "one of the best episodes of television receiver I e'er saw in my life".^[xv]

Critics hailed the episode as successful in telling a complex story about all the characters in a unique way, while retaining the series' effective elements of writing and grapheme development. Throughout the show—as in the rest of the series—the characters cocky-consciously accost their ain dialogue and actions. Anya describes her own duet "I'll Never Tell" every bit "a retro pastiche that's never gonna exist a breakaway pop hitting". With a characteristic dry out demeanor, Giles explains that he overheard the information about Sunnydale residents spontaneously combusting as he was eavesdropping upon the police taking "witness arias".^[16] In her opening number, "Going Through the Motions", Buffy sings that she feels as though she is playing a part: "nothing here is real, zip here is correct". The vocal introduces the character's emotional state but also removes the bulwark between the player and the audience, as Gellar the actor portrays Buffy, who feels she is only playing the function of the Slayer. This hints to the audience that the episode's musical format is strange to the actors and characters.^[7] According to Buffy essayist Richard Albright, the lack of polish amongst cast members' singing voices added to the actuality of their breaking out into song for the first fourth dimension in the serial.^{[7] [note 3]} Whedon included self-conscious dialogue and references almost the characters existence in a musical and showed their reluctance toward song and dance, so that the audition would experience more than comfy with the improbability of such a thing happening on the show.^[six]

Themes [edit]

It is part of the fascination of "In one case More, with Feeling", that we can, if we wish, choose to select our relationship with the text and dwell on a happy ending—or nosotros tin share the struggle of the characters.

Rhonda Wilcox, 2005^[17]

The dynamic nature of the characters was a unique element of writing in the series at the time. Once they were established in the twelve episodes of the offset flavor, characters began to alter and relationships were adult in the second. This connected through the series to the indicate of unpredictability that sometimes became unsettling to fans.^[18] Buffy essayist Marguerite Krause asserts that the monsters and demons faced by the Scoobies are sparse symbolism for the testify'due south true focus: relationships and how to maintain or ruin them.^[nineteen] Common amidst nearly of these relationships—romantic, ideal, and familial—is, according to Krause, a "failure to communicate, lack of trust, [and the] inability to envision or create a viable future".^[20] Miscommunication is worsened or sustained through multiple episodes and seasons, leading to overwhelming misunderstanding and disquisitional turning points for the characters, some of whom do not recover.^[21]

"Once more, with Feeling" propelled the story arc for flavour half-dozen past allowing characters to confess previously taboo problems to themselves and each other.^[22] Whedon commented that he was "obsessive about progressing a plot in a song, most proverb things nosotros haven't said", comparing the musical theater format to the fourth-season episode "Hush", in which characters begin communicating when they stop talking.^[6] According to Buffy essayist Zoe-Jane Playdon, before episodes' "faux saccharine behaviour" impedes the characters so crucially that information technology summons a demon to force them to exist honest.^[23] The consequences in the episode of concealing truth, spontaneous combustion, is an allusion to Bleak House by Charles Dickens—of whom Whedon is a fan—where characters too face up immolation for being deceitful.^[24] For Buffy, yet, truth is slow in coming, as she continues to prevarication to the Scoobies, challenge to forget what she sang well-nigh in the graveyard during "Going Through the Motions". Buffy continues her deception in the chorus number "If We're Together", starting time the song past persuading others to join in i by 1, as if each is convinced that she is still invested and in accuse, and their forcefulness as a group is infallible. Although she asks in verse "Apocalypse / We've all been at that place / The aforementioned old trips / Why should we care?", all the Scoobies join her, including Giles despite his suspicions that Buffy is no longer interested in her life.^{[six] [25]}

Secrets reveal themselves steadily throughout the episode. Xander fears that his time to come spousal relationship volition turn him into an belligerent drunk like his male parent. He attempts to avoid his fears through the song "I'll Never Tell", singing "'coz at that place's nada to tell", after summoning Sweet to Sunnydale to show him that he and Anya will be happy. Amid the various annoyances Xander and Anya express through this vocal, some verses are clear-sighted observations of behavior, such as Anya'south accusation that Xander—once in dearest with Buffy—uses Buffy equally a mother figure to hide behind.^[26] Anya too avoids the truth by burying herself in hymeneals plans without thinking critically nigh what existence married will entail; instead she considers Xander an accessory to her desired lifestyle.^[27] Of all the characters, Anya is the nearly preoccupied with the manner of singing and songs, demanding to know if Spike sang "a breakaway pop hitting, or a book number", and asking Dawn if the pterodactyl she facetiously says she gave birth to too broke into vocal. Anya and Xander'due south duet is the only song in the episode to address the audience directly. During the long single-shot scene when she and Xander talk over each other insisting to Giles that evil must be at play, Anya refers to the audience, maxim "It was like nosotros were beingness watched ... Like there was a wall missing ... in our apartment ... Like there were just three walls and not a fourth wall." Albright asserts that Anya'due south constant preoccupation with her and others' performances indicates that she has serious doubts near her future supporting role as Xander's married woman.^[7]

Giles' truth, co-ordinate to Whedon, is that he realizes he must not "fight my kid's battles or my kid volition never grow up",^[9] which he sings in "Standing" while he throws knives at Buffy every bit part of her training. Whedon remarked that this touch "is the kind of consummate turnaround that is a staple of the Buffy universe".^{[half dozen]} Tara'southward heartfelt love song besides has an ironic subtext; although she appears to mean that she is fulfilled by her relationship with Willow, the lyrics include multiple allusions to Willow working her manipulative volition over Tara, overlaid with Tara's euphoric singing about her pleasure in their matrimony.^[seven] In Sex and the Slayer, Lorna Jowett calls the song betwixt Willow and Tara the transformational event in their human relationship, from Tara's subservient bearing towards Willow, into a relationship of equals.^[28] 2 Buffy essayists note that Willow and Giles sing together at the kickoff of the episode, but later Tara and Giles share a duet to limited the diminished part each plays in their respective relationships.^[29]

Although "Over again, with Feeling" allows all the characters to confess truthfully, with the exception of Willow, it does not resolve the behavior that demanded confession in the first place. At the cease of the episode, Buffy kisses Spike, initiating a romance that she hides from her friends. Their relationship lasts until the end of the series, marked for a time by Buffy's loathing of him because he has no soul. Her relationship with Spike, nevertheless, allows her to experience lust and allure, which she yearns for after being pulled back from a heavenly dimension.^[30] In The Psychology of Joss Whedon, Mikhail Lubyansky writes that, although Buffy's first step toward re-engaging with her life is telling the Scoobies the truth in the song "Something to Sing About", she does non detect meaning again until the end of the season.^[31] In his essay "A Kantian Analysis of Moral Judgment in Buffy the Vampire Slayer", Scott Stroud explains that Buffy, as the central character throughout the series, is torn between her desires and her duty, in a Kantian illustration of complimentary will vs. predeterminism, symbolized by her responsibleness as a Slayer and her adolescent impulses. In earlier seasons, this takes the form of simpler pleasures such every bit dating and socializing, interspersed with defeating evil forces. It reaches a climax in the ultimate sacrifice when Buffy offers to dice to save the globe. However, "Once More, with Feeling", according to Stroud, is the turning point at which she begins to face her responsibility to the community, her friends and her family. Not only does she continue her Slaying despite a lack of inspiration, simply for the rest of the season she works at a humiliating task to provide for her sister and friends.^[32]

Music and style [edit]

"One time More than, with Feeling" was Joss Whedon's first try at writing music, which he had always wanted to do. He learned how to play guitar to write several songs. Christophe Beck, a regular composer for the serial, filled in the overture and coda and equanimous "Dawn's Ballet". Whedon is a fan of Stephen Sondheim, and used him equally the inspiration for much of the music, especially with the episode'south cryptic ending.^[xvi] Cast member James Marsters (Spike) said, "Some of Joss' music is surprisingly complicated. Maybe it's a Beatles thing. He doesn't know enough to know what he tin can't do and he's smashing rules."^[14]

The episode's musical fashion varies significantly. Buffy's opening number, "Going Through the Motions", was influenced heavily by the Disney song "Part of Your World" sung by Ariel in The Little Mermaid. Whedon wanted to use a similar opening in which the heroine explains her yearning. While singing her vocal, Buffy fights 3 vampires and a demon who themselves interruption into a choreographed dance; Whedon wanted this to be fun but not distracting. The song ends with chord influences from Stephen Schwartz's Pippin and a visual tribute to Disney: as Buffy stakes a vampire, it turns to grit that swirls around her face.^{[6] [33]}

Amber Benson'due south performance was a surprise to many critics and scholars, who accept interpreted her starring role in the episode as representing the quiet strength of her grapheme Tara.

Whedon chose the about complicated scene, with the well-nigh dancers and choreography in the classic way of musical theater, to accompany an 18-second song ("The Mustard") "to become it out of the way" for more personal numbers later in the episode.^[6] Stephanie Zacharek of Salon.com considers this "brilliant considering it frees even people who detest musicals to settle into the story without getting hung upwards on the genre'southward conventions".^[34] The musical styles bridge from a jaunty 1950s sitcom arrangement of the Buffy theme in the opening credits—the just episode in the series to begin without the normal version of the theme vocal and total cast ringlet, signifying a genre shift^[7]—to Anya's hard-stone version of "Bunnies". Whedon assigned Emma Caulfield the rock-opera format because Caulfield oftentimes sang in such a way to him on the set.^[half-dozen] Spike's "Rest in Peace" is too a rock song, which Whedon wrote after completing the episode'southward first song, Tara's "Under Your Spell", a contemporary pop song with radio-play potential. Xander and Anya'due south duet—the most fun to shoot but hard to write, according to Whedon^[6]—is inspired past Fred Astaire-Ginger Rogers comedies as evidenced by the silken pajama costumes and fine art deco apartment setting.^[35] Musically, the song uses influences from Ira Gershwin, a Charleston rhythm, and jazz-like chord slides.^[36] Giles' "Standing" is a ballad to Buffy that she does not hear, dissimilar the songs revealing truths elsewhere in the episode.^[37] Whedon shot the scene and so that Giles moves in real time while Buffy works out in slow move, to accentuate Giles' distance from her. Buffy's non hearing his song was intentional; Whedon explained, "You lot can sing to someone in musicals and they can never know how you experience or how much you dear them, even if they're standing correct in forepart of you".^[6]

"Nether Your Spell" received attention from Buffy studies writers considering it presents a frank and unflinching expression of lesbian romance. Buffy the Vampire Slayer was the beginning testify in U.S. boob tube history to portray a long-term lesbian relationship among the core bandage of characters.^[38] Previous televised depictions of lesbian relations were primarily limited to unmarried "coming out" or "lesbian kiss" episodes, showing lesbian-identified characters as affectionate only not erotic.^{[annotation iv]} Tara and Willow demonstrate throughout the serial, and specifically in "Over again, with Feeling", that they are "intensely sexual", according to Buffy essayist Justine Larbalestier. Near the end of Tara's vocal, she sings, "Lost in ecstasy / Spread beneath my Willow tree / You make me / Com — plete", every bit Tara levitates off the bed while Willow tacitly performs cunnilingus on her.^[39] Lorna Jowett called the song "the nearly erotic scene" of the series.^[twoscore] Whedon admitted on the DVD commentary for the episode that the song is "pornography" and "probably the dirtiest lyric I've ever written, but besides very, very beautiful".^{[half dozen]}

Buffy essayist Ian Shuttleworth writes that Amber Benson (Tara) has "the sweetest singing voice of all the lead players", referring to "Under Your Spell" as "heavenly and salacious"; writer Nikki Stafford concurs, writing that Benson "has the virtually stunning voice, showing a surprising range".^[12] Whedon acknowledged that the "lyrical, heavenly quality" of Benson's voice led him to assign her the episode's love song.^[ix] Alyson Hannigan (Willow) was unwilling to sing much and her performance is "apprehensive", co-ordinate to Shuttleworth. He considers this an case of Tara'southward quieter force coming out in front of Willow'southward showy demonstrations of powerful magic.^[41] Buffy studies scholar Rhonda Wilcox interprets Willow's diminished office representing the testify's silence about Willow's descent into addiction and darkness through the rest of the season.^[42] Benson remarked that Tara's story arc is meaning within the episode, starting out with ecstasy simply soon recognizing the illusory circumstances surrounding her elation and that "life tin can't be perfect all the time".^[9]

The well-nigh complicated song, "Walk Through the Burn", leads all the characters to the climax from different locations for unlike reasons, reminiscent of the "Tonight Quintet" from Due west Side Story.^[43] When they all sing the chorus at once to the line "We will walk through the fire / And let it — burn", two burn trucks race behind the Scoobies as they proceed to the Statuary. Whedon called the shot the "single greatest matter we ever did".^[6] Each of the singers in this song, which "marries soft rock to the role of a dirge", connects musically to earlier songs while foreshadowing Buffy's next number and the terminal chorus, providing an ominous anxiety.^[44]

Whedon's use of "literal choreography" in "Where Do We Become from Here?" expresses the anxiety of the characters in relation to the group later on they accept all divulged their secrets.

Buffy's numbers are the most circuitous, changing key and tempo when she begins to reveal the secrets she swore she never would.^[12] This appears specifically in "Something to Sing About", which starts with uptempo platitudes: "We'll sing a happy song / And you can sing along: / Where there's life, at that place's hope / Every day'southward a gift / Wishes can come true / Whistle while you work ..." While singing, she kills Sweet's minions with a puddle cue. Whedon attempted to make the vocal tuneful yet chaotic to express the main point of the episode.^[six] It transitions suddenly into her desire to be like normal girls, then changes again, slowing the tempo as she challenges Sweetness non to give her a song, but "something to sing about".^[45] Musicologist Amy Bauer categorizes the tempo shifts every bit "rock ballad to punk polka to hymn" that indicates Buffy'due south turmoil. The primal and tempo slow over again, every bit Buffy finally reveals "I live in hell / 'Crusade I've been expelled from heaven / I think I was in heaven" with the chord changing from B pocket-sized to B diminished, each time she repeats "heaven".^[46] When replying to her, Spike has the same shift from small-scale to diminished each time he repeats the word "living."

The episode nears the terminate with "Where Do We Become from Hither?", as the Scoobies stand mazed and disoriented, facing unlike directions. As they sing "Understand we'll get hand in mitt / Just nosotros'll walk alone in fright", they line up, concord easily, and so fling each other's hands away in a piece of what Whedon calls "literal choreography".^[half-dozen] Each of the eight characters in this line wears a color in the visible spectrum, a conscious decision by the costume designer. The couples in the group habiliment contrary colors (Giles in green and Buffy in red, Anya in blue and Xander in orangish, Tara in yellow and Willow in majestic), and Rhonda Wilcox interprets the color-coding and choreography to represent the "tension between the private and the grouping".^[47] The characters as a chorus sing "The defunction close on a kiss, God knows / We can tell the terminate is virtually", moments before Buffy runs out to kiss Fasten and the bear witness closes with actual curtains. Every bit Spike and Buffy kiss, a swell of music accompanies them, like to the catastrophe of Gone with the Current of air. Lyrics sung moments earlier, however, forecast the uncertainty of the relationship betwixt Spike and Buffy, besides every bit their contrasting reasons for initiating any romance; Spike wants to feel love from Buffy, while she merely wants to feel.^[42]

Reception [edit]

When the episode was originally broadcast in the U.s. on UPN on Nov six, 2001, information technology received a Nielsen rating of three.4 and a share of 5. This placed the episode in sixth place in its timeslot, and 88th among broadcast television for the week of November 5–11, 2001. Information technology was the most watched program on UPN that night, and the tertiary most watched programme that week, trailing episodes of Star Expedition: Enterprise and WWF SmackDown.^[48] This was a subtract from the three.seven rating received by the previous episode a week prior.^[49]

"Once again, with Feeling" received widespread critical acclaim from media and critics when it aired, during overseas syndication, and in reminiscences of the best episodes of Buffy after the series concluded. Although Salon.com writer Stephanie Zacharek states "(t)he songs were only one-half-memorable at best, and the singing power of the show's regular cast ranged simply from the fairly good to the non and so great", she too asserts that it works "beautifully", paces itself gracefully, and is "clever and affecting".^[34] Zacharek'southward unenthusiastic assessments of the music and bandage's singing abilities were not shared by other writers. Debi Enker in Australia's The Age writes, "Giles (Anthony Stewart Caput) and Tara (Amber Benson) are terrific, Xander (Nicholas Brendon) and Dawn (Michelle Trachtenberg) struggle valiantly, and Willow (Alyson Hannigan) barely sings a note".^[50] Tony Johnston in The Lord's day Herald Sun writes that Gellar "struggles on some of her college notes, simply her dance routines are superb, Michelle Trachtenberg's Dawn reveals sensual dance moves fashion beyond her tender years, and James Marsters' Spike evokes a sort of Billy Idol yell to disguise his lack of vocal proficiency [...] The rest of the cast mix and match similar ready-made Broadway troupers." Johnston counts "I'll Never Tell" every bit i of the episode's "standout moments".^[13] Connie Ogle in The Miami Herald calls the songs "better and far more than clever than most of the ones you'll hear on Broadway these days".^[51]

Writers concur that the episode was risky and could accept failed spectacularly. Jonathan Bernstein in the British newspaper The Observer writes "What could have been, at all-time, an eccentric diversion and, at worst, a shuddering embarrassment, succeeded on every level [...] It provided a startling demonstration that creator Joss Whedon has a facility with lyrics and tune equal to the one he's demonstrated for the by six seasons with dialogue, grapheme and plot twists. Rather than prefer the 'Hey, wouldn't it be wacky if we all of a sudden burst into song?' approach practised past Marry McBeal, the Buffy musical was entirely organic to the serial' labyrinthine progression."^[52] Johnston in the Lord's day Herald Lord's day says, "There is but so much to this marvellously cheeky episode that suggests the show can accept any route it pleases and pull it off",^[13] while Debi Enker in The Age comments, "Whedon demonstrates still once more what Buffy aficionados take known and appreciated for years: that his wit, playfulness and readiness to take a take chances make his idiot box efforts rise way above the pack."^[fifty] Steve Murray in The Atlanta Journal-Constitution characterizes the episode as "scary in a brand-new way", maxim "One time More, with Feeling" is "as impressive as Whedon'due south milestone episodes 'Hush' and 'The Body'"; the episode is "often hilarious", according to Murray, and acts as "(b)oth spoof and homage, [parodying] the hokiness of musicals while too capturing the guilty pleasure and surges of feeling the genre inspires".^[53]

Writing in the Toronto Star, Vinay Menon calls "Once More, with Feeling" "dazzling" and writes of "Joss Whedon'due south inimitable genius"; he goes on to say "(f)or a show that already violates conventions and morphs betwixt genres, its emblematic narrative zigging and zagging seamlessly across chatty comedy, drama and over-the-height horror, 'One time More, with Feeling' is a towering accomplishment [...] The show may exist anchored by existential weightiness, it may be painted with wide, supernatural brushstrokes, but in the end, this coming-of-historic period story, filled with angst and alienation, is more existent than any other and then-called teen drama [...] So let's add another line of gushing praise: 'In one case More, with Feeling' is rhapsodic, original, deeply affecting, and ultimately, transcendental. Quite but, goggle box at its all-time."^[54]

The episode was nominated for an Emmy Award for Outstanding Musical Direction, only the National Academy of Television Arts and Sciences (NATAS) neglected to include the title on the ballots for Emmy nominations in 2002. NATAS attempted to remedy this by mailing a postcard informing its voters that information technology should exist included, but the episode did not win. NATAS' oversight, according to the Washington Post, was "another example of the lack of manufacture respect afforded 1 of tv's nigh consistently clever shows".^[55] Ogle in The Miami Herald vigorously protests this omission, writing, "[T]he nearly astonishing, entertaining hour (hour plus, actually) of TV in the past year slips past near unnoticed. Aught here is existent; nada hither is correct. Buffy the Vampire Slayer's musical episode, 'Once More than, with Feeling', registers a paltry outstanding music management nomination. Prissy for the musical directors. A stake through the aspirations of writer/managing director Joss Whedon, the chirapsia creative heart of Buffy, the merely TV writer dauntless and clever plenty to utilize horror equally one great big wonderful metaphor for growing up [...] 'Once More, with Feeling' is Television receiver of a unlike sort, something that comes along once in a lifetime and should not be buried simply celebrated and rewarded."^[51] The episode was also nominated for a Best Dramatic Presentation Hugo Award and a Best Script Nebula Award, both given for excellence in scientific discipline fiction and fantasy writing.^{[56] [57]} In 2009 TV Guide ranked the episode #xiv on its list of "TV'due south Top 100 Episodes of All Time".^[58] For its 65th anniversary, Tv set Guide picked it every bit the fifth best episode of the 21st century.^[59]

Soundtrack [edit]

An anthology including all 14 songs in the episode, with Christophe Beck'south scores for three other Buffy episodes, was released past Rounder Records in September 2002 as season seven premiered. John Virant, president and chief executive of Rounder Records, told the Los Angeles Times, "I call up watching the episode when it aired last October, and afterward it was over, I said to my wife, 'That's the best hour of Television I've always seen. Someone should put that [soundtrack] out.' I inquired at Fox, just following up, and they said, 'Well, nosotros tried, it didn't happen. If you desire to have a run at information technology, experience gratuitous.'"^[lx] AllMusic gives the album 5 out of five stars, stating that the music is "every bit as fun as the episode itself", praising the voices of Benson, Marsters and Head. Reviewer Melinda Hill states it is "a must-have for Buffy fans, merely it wouldn't be out of place in anyone'southward drove".^[61]

Chart (2002)	Superlative
Australian ARIA Albums Chart[62]	97
U.Southward. Billboard 200[63]	49
U.S. Billboard Top Soundtracks[63]	3

DVD releases [edit]

In addition to featuring on the sixth season box ready, "One time More, with Feeling" was individually released on DVD in Region 2 format on April xiv, 2003,^[64] the only episode to be individually released.^[65] In Region 1, the episode was released on the sixth season box set on May 25, 2004, over a year later than the Region 2 release.^[66]

Influence [edit]

Since the musical episode of Buffy aired, several other serial accept worked musical format into episodes, including Scrubs, ("My Musical") in 2007,^[67] an episode of Grey's Anatomy entitled "Song Beneath the Song" in 2011^[68] and Batman: The Brave and the Bold, ("Mayhem of the Music Meister!") in 2009. The musical idiot box episode was declared a genre, a gimmick, according to Mary Williams at Salon.com, for series that had run out of interesting story lines and characters. Both Williams and Margaret Lyons at New York mag, even so, declared "Once more, with Feeling" the "gold standard" for musical episodes.^{[69] [70]} Despite this, Joss Whedon recognized the influence "Once More than, with Feeling" has had on other shows, but denied that it was primarily responsible for the rise in musical telly episodes or series such every bit Glee, citing the popularity of High School Musical instead.^[71] Director John McPhail cited "In one case More, with Feeling" equally an influence on his film Anna and the Apocalypse (2018).^[72]

Public showings [edit]

Buffy the Vampire Slayer developed an enthusiastic fan following while it aired. Following its series finale, fans continued their appreciation in theater showings of "Once More than, with Feeling" where attendees are encouraged to apparel like the show'due south characters, sing along to the musical numbers, and otherwise interact in the style of The Rocky Horror Pic Show.^[73] Clinton McClung, a New York-based film programmer, got the idea for a sing-along from audience-participation showings of The Sound of Music in 2003. The adjacent yr, he began putting on sing-alongs to "Once more, with Feeling" in Boston'south Coolidge Corner Theater, which became so popular that information technology went on the road. Audience members received props to use during key scenes, likewise as directions (for example, to yell "Shut up, Dawn!" at Buffy'south younger sis), and a live cast performed the episode alongside the screen.^[74]

Buffy sing-alongs received growing media attending every bit they spread. At the 2007 Los Angeles Film Festival, a special screening and sing-along was held that featured both Marti Noxon and Joss Whedon giving cursory speeches to the audience.^[75] In October 2007, after a dispute with the Screen Actors Guild over unpaid residuals, 20th Century Fox pulled the licensing for public screenings of "Once more, with Feeling", effectively ending official Buffy sing-alongs. Whedon called the counterfoil "hugely depressing" and attempted to influence the studio to allow hereafter showings.^[76]

See besides [edit]

• Adam Shankman, choreographer for the episode
• "The Biting Suite", the 1998 musical episode of Xena: Warrior Princess
• Dr. Horrible's Sing-Along Weblog, 2008 miniseries
• Commotion of the Music Meister!, a 2009 episode of Batman: The Brave and the Bold with a similar premise
• "Dream On", 2010 Glee episode directed by Joss Whedon

Notes [edit]

1. ^ Anthony Stewart Head and James Marsters were exceptions. Head had musical theater experience in Godspell, The Rocky Horror Show, and Chess. Marsters had experience singing in a ring.^[eleven]
2. ^ This episode is the longest only as it was originally circulate and on DVD. When re-runs were aired, several verses of songs were cut.^[12]
3. ^ The 1 exception was Anthony Stewart Head, who sang in "Restless", "Where the Wild Things Are", and "The Yoko Factor".
4. ^ Other series portrayed lesbian relationships among secondary characters (Friends), old encounters, or relationships that lasted through several episodes (Ellen), but did not show the characters touching (HeartBeat). Willow and Tara'due south relationship is noted for its longevity, the youth of the characters, the fact that both Willow and Tara are considered primary characters, and that the relationship was broadcast on network television during prime fourth dimension. (Newcomb, p. 359, Tropiano, p. 44, Castañeda and Campbell, p. 269, Walters, p. 116, Sweeney, p. 33.)

References [edit]

1. ^ Attinello, p. 194.
2. ^ ^{a b c d} Kaveney, pp. thirteen–42.
3. ^ Stafford, p. 24.
4. ^ Stafford, pp. 284–285.
5. ^ Dial-Driver, et al, pp. 38–l.
6. ^ ^{a b c d e f thou h i j k l m n o p q r} Whedon, Joss (2008). Buffy the Vampire Slayer: The Complete Sixth Season; DVD commentary for the episode "Once More, with Feeling". [DVD]. 20th Century Fox.
7. ^ ^{a b c d e f} Albright, Richard (2005). "Breakaway popular hitting or ... book number?": "Again, with Feeling" and Genre Archived March 12, 2017, at the Wayback Machine, The Online International Periodical of Buffy Studies. Retrieved on June 5, 2010. "Archived copy" (PDF). Archived from the original on July 6, 2011. Retrieved June 8, 2010. {{cite web}}: CS1 maint: archived re-create as championship (link) CS1 maint: bot: original URL status unknown (link)
8. ^ ^{a b c} Stafford, p. 286.
9. ^ ^{a b c d e f k} Fury, David (2008). Buffy the Vampire Slayer: The Complete Sixth Season; David Fury's Backside the Scenes of "Once More, with Feeling". [DVD]. 20th Century Fox.
10. ^ Norton, Al (March 10, 2013). "411Mania Interviews: James Marsters (Buffy the Vampire Slayer, Angel)". 411mania. Archived from the original on June 28, 2013. Retrieved July 15, 2013.
11. ^ (Stafford, pp. 64–65, 95).
12. ^ ^{a b c d e} Stafford, p. 288.
13. ^ ^{a b c} Johnston, Tony (Apr xiv, 2002). "Something to Sing Virtually", The Sun Herald Sun (Melbourne, Australia), p. X06.
14. ^ ^{a b} McCabe, Kathy (April 14, 2002). "Buffy Hits a High Note", Sunday Post (Queensland, Australia), p. 6.
15. ^ Keveney, Bill (November 6, 2001). "Joss Whedon Gets the Bandage Vamping", USA Today, p. 12D.
16. ^ ^{a b} Kaveney, pp. 271–272.
17. ^ Wilcox, p. 204.
18. ^ Stafford, pp. nine–16.
19. ^ Yeffeth, p. 97.
20. ^ Yeffeth, p. 103.
21. ^ Yeffeth, p. 104.
22. ^ Attinello, et al., p. 209.
23. ^ Kaveney, p. 185.
24. ^ Wilcox, p. 192.
25. ^ Wilcox, pp. 198–199.
26. ^ South, p. 248.
27. ^ Kaveney, pp. 38–39.
28. ^ Jowett, p. 52.
29. ^ Attinello, et al., pp. 198–201.
30. ^ South, pp. 177–178.
31. ^ Davidson, pp. 181–182.
32. ^ South, pp. 190–191.
33. ^ Wilcox, p. 198.
34. ^ ^{a b} Zacharek, Stephanie (Nov 7, 2001). "The Hills Are Live with the Sound of ... Vampire Slaying! Archived Oct 16, 2012, at the Wayback Motorcar", Salon.com. Retrieved on June 7, 2010.
35. ^ Wilcox, p. 201.
36. ^ Attinello, et al., pp. 210–213.
37. ^ Stafford, p. 289.
38. ^ Mitchell and Reid-Walsh, p. 392
39. ^ Kaveney, p. 207.
40. ^ Jowett, p. 51.
41. ^ Kaveney, p. 253.
42. ^ ^{a b} Wilcox, p. 202.
43. ^ Wilcox, p. 199.
44. ^ Attinello, et al., pp. 230–231.
45. ^ Attinello, et al., p. 226.
46. ^ Attinello, et al., pp. 226–227.
47. ^ Wilcox, p. 200.
48. ^ Ray, Kenneth (November 19, 2001). "BroadcastWatch. (Programming).(television network ratings, Nov 5–xi, 2001)(Statistical Data Included)". Broadcasting & Cable. Reed Business organisation Information, Inc.
49. ^ Ray, Kenneth (November 12, 2001). "BroadcastWatch. (Programming).(television network ratings, October 29 – Nov 4, 2001)(Statistical Information Included)". Broadcasting & Cable. Reed Business Information, Inc.
50. ^ ^{a b} Enker, Debi (April xi, 2002). "Buffy serves up musical feast with plenty of bite", The Age (Melbourne, Australia), p. 19.
51. ^ ^{a b} Ogle, Connie (July 23, 2002). "Something's Fangtastically Wrong in Emmyland", The Miami Herald, p. 1E.
52. ^ Bernstein, Jonathan (Nov 17, 2001). "The Guide: Aerial view of America", The Observer, p. 98.
53. ^ Murray, Steve (November 6, 2001). "' Buffy ' and friends fight fiend with a song in their heart", Atlanta Journal-Constitution, p. C3.
54. ^ Menon, Vinay (November 13, 2002). "Brilliant Buffy still slays us", The Toronto Star, p. D01.
55. ^ Harrington, Richard (July 2, 2002). "Unsung 'Buffy': Props for A Magical Musical Moment", The Washington Mail service. p. C07.
56. ^ 2002 Hugo Awards Archived August 15, 2009, at the Wayback Auto, Hugo Awards. Retrieved on June seven, 2010.
57. ^ 2003 Nebula Awards Archived February 17, 2004, at the Wayback Machine , The Locus Alphabetize to Science Fiction Awards. Retrieved on August 2, 2010.
58. ^ "Goggle box's Peak 100 Episodes of All Fourth dimension" TV Guide; June 15, 2009; Pages 34–49
59. ^ Roush, Matt (April 2–15, 2018). "65 All-time Episodes of the 21st Century". Television receiver Guide.
60. ^ Randy Lewis (September 23, 2002). "In The Know; Musical 'Buffy' Finally Lands in Stores", Los Angeles Times. p. F6.
61. ^ Loma, Melinda Buffy the Vampire Slayer: Once again with Feeling [Musical Episode Soundtrack], Allmusic.com. Retrieved on June 29, 2010.
62. ^ "The ARIA Report: Event No. 664" (PDF). AriaNET. November 18, 2002. Archived from the original (PDF) on January half-dozen, 2003. Retrieved April v, 2012.
63. ^ ^{a b} "Buffy the Vampire Slayer: Once More than with Feeling - Original Television receiver Soundtrack | Awards". AllMusic. Archived from the original on May 17, 2016. Retrieved September eleven, 2014.
64. ^ "BBC – Cult – Buffy Stuff – DVD and VHS". BBC. Archived from the original on Nov half-dozen, 2012. Retrieved July v, 2010.
65. ^ Pateman, p. 181.
66. ^ Pierce, Scott (May 25, 2004). "Will Buffy-verse expand?". The Deseret News. Salt Lake Metropolis, UT.
67. ^ Cohn, Angel (Jan xviii, 2007). "Why You Must 'Melody' In to Tonight's Scrubs Musical!". TV Guide. Archived from the original on March 22, 2009. Retrieved July 6, 2007.
68. ^ Gallo, Phil (March 11, 2011). "'Gray's Anatomy' Musical Episode to Feature Cast Singing Fray, Snow Patrol". Billboard. Prometheus Global Media. Archived from the original on March 9, 2014. Retrieved September 17, 2013.
69. ^ Lyons, Margaret (2011). Grey's Anatomy'due south Physician/Horrible Sing-along Archived April four, 2011, at the Wayback Automobile, New York. Retrieved on April 18, 2011.
70. ^ Williams, Mary (March 29, 2011). Musical TV episodes: The gimmick that won't dice Archived April 4, 2011, at the Wayback Machine, Salon.com. Retrieved on April eighteen, 2011.
71. ^ Itzkoff, David (April 18, 2011). Once More, With Feeling: Joss Whedon Revisits 'Dr. Horrible's Sing-Along Weblog' Archived April 23, 2011, at the Wayback Motorcar. The New York Times. Retrieved on April 18, 2011.
72. ^ Fletcher, Rosie (June 30, 2019). "Anna And The Apocalypse interview: the managing director on his zombie musical". Den of Geek . Retrieved June 30, 2019.
73. ^ "Fangs for the memories". Retrieved June 8, 2010. ^{[ dead link ]} , Associated Printing (January 19, 2007). Retrieved on June 8, 2010.
74. ^ Schwartzapfel, Beth (February 25, 2007). Sing Out, Buffy! Archived March i, 2018, at the Wayback Car, The New York Times. Retrieved on June 8, 2010.
75. ^ "Buffy-oke" does it one time more than, with feeling Archived May 26, 2010, at the Wayback Machine , Multifariousness (June 28, 2007). Retrieved on June 8, 2010.
76. ^ De Leon, Kris (October 16, 2007) Play a joke on Pulls the Plug on 'Buffy' Sing-Along Archived June 16, 2008, at the Wayback Machine , Buddy TV. Retrieved on June 8, 2010.

Bibliography [edit]

• Attinello, Paul; Halfyard, Janet; Knights, Vanessa (eds.) (2010). Music, Audio, and Silence in Buffy the Vampire Slayer, Ashgate Publishing, Ltd. ISBN 978-0-7546-6042-2
• Castañeda, Laura; Campbell, Shannon (2006). News and Sexuality: Media portraits of diversity, SAGE. ISBN 1-4129-0999-6
• Davidson, Joy (ed.) (2007). The Psychology of Joss Whedon: An Unauthorized Exploration of Buffy, Angel, and Firefly, Benbella Books. ISBN 978-one-933771-25-0
• Dial-Driver, Emily; Emmons-Featherston, Sally; Ford, Jim; Taylor, Carolyn Anne (eds.) (2008), The Truth of Buffy: Essays on Fiction Illuminating Reality, McFarland & Company, Inc., Publishers. ISBN 978-0-7864-3799-3
• Jowett, Lorna (2005). Sex activity and the Slayer: A Gender Studies Primer for the Buffy Fan, Wesleyan University Press. ISBN 978-0-8195-6758-one
• Kaveney, Roz (ed.) (2004). Reading the Vampire Slayer: The New, Updated, Unofficial Guide to Buffy and Angel, Tauris Parke Paperbacks. ISBN one-4175-2192-ix
• Mitchell, Claudia; Reid-Walsh, Jacqueline (2008). Girl Civilization: Studying Daughter Culture: A Readers' Guide, Book 1, Greenwood Publishing Grouping. ISBN 0-313-33909-0.
• Newcomb, Horace (2004). Encyclopedia of Television, Museum of Broadcast Communications, ISBN 1-57958-394-half dozen.
• Pateman, Matthew (2006). The Aesthetics of Culture in Buffy the Vampire Slayer, McFarland and Visitor. ISBN 0-7864-2249-1
• Due south, James (ed.) (2003). Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale, Open Court Books. ISBN 0-8126-9531-three
• Stafford, Nikki (2007). Bite Me! The Unofficial Guide to Buffy the Vampire Slayer, ECW Printing. ISBN 978-1-55022-807-half dozen
• Sweeney, Kathleen (2008). Maiden USA: Girl Icons come of Historic period, Volume 3, Peter Lang. ISBN 0-8204-8197-1
• Tropiano, Stephen (2002). Prime Time Cupboard: A History of Gays and Lesbians on TV, Applause Theater and Cinema Books. ISBN one-55783-557-viii
• Danuta Walters, Suzanna (2001), "All gay, all the fourth dimension?", in Danuta Walters, Suzanna (ed.), All the rage: the story of gay visibility in America, Chicago: University of Chicago Press, p. 116, ISBN9780226872322. Preview.
• Wilcox, Rhonda (2005). Why Buffy Matters: The Fine art of Buffy the Vampire Slayer, I. B. Tauris. ISBN 1-84511-029-3
• Yeffeth, Glenn (ed.) (2003). Vii Seasons of Buffy: Science Fiction and Fantasy Authors Discuss Their Favorite Television set Show, Benbella Books. ISBN 1-932100-08-3

External links [edit]

• "Again, with Feeling" at IMDb
• "Once again, with Feeling" at BBC.co.uk

campbellriatied.blogspot.com

Source: https://en.wikipedia.org/wiki/Once_More,_with_Feeling_(Buffy_the_Vampire_Slayer)

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