Buffy Rewatch

Throughout its run, and despite its imperfections, BTVS drew much of its messaging from 90s (and early 2000s)-era feminism. Buffy's presentation as a sparkly, pink, girly girl is central to her character and her destiny. She is an icon of what girls can do and accomplish, even with the whole world against them - and, in this context, it is absolutely, startlingly captivating that her personal life revolves around a perpetual struggle for her right to girlhood.

Despite being the picture-perfect blonde Valley Girl on the surface, Buffy often finds herself barred from that existence by her Slayer identity. She is consistently perceived as too strong, too capable, too aggressive, too independent, too dangerous - and, ultimately, too masculine to participate even in the most stereotypical milestones of a girl in high school. Still, that experience is what she craves the most; so she signs up for the cheer squad, she loves shopping, she runs for Prom Queen, and she goes out slaying in a halter top, with perfect bouncy curls. In essence, Buffy Summers is desperate to pass - which takes us to ISTTG and the root of its story.

The two main characters of ISTTG - "Owen" and "Maddy" - are obsessed with a popular YA series, The Pink Opaque; which, between its credits font, its girl power themes, and monster-of-the-week format, is demonstrated to be an in-universe parallel to BTVS. The Buffy equivalent - or, the pink, pretty, sensitive, and powerful Isabel - is a point of utter fascination for "Owen."

there are no good stills of her online yet please forgive me

She is everything he wants to be, everything he is meant to be; and the time he spends with "Maddy", wearing a pink dress, a pink ghost drawn on the back of his neck, the pink glow of the TV vivid on his face, is the only time he feels anything approaching to happiness or peace. The very first sequence of the film establishes that "Owen" barely responds to his own name, that his father is a walking threat of what society commands him to become, and that his mother is loving but distant. Even later on, when he apparently has a "family of [his] own", we never even see their faces. Within the context of his life, he is little more than a ghost, going through the motions; and as the story goes on, it is revealed that "Owen" is Isabel, trapped in a false reality by Mr. Melancholy, the Big Bad of TPO. Her heart was carved out, she is drugged, and buried alive; and the sound of her slowly choking to death overlays "Owen's" steadily worsening asthma.

There is no denying the truth of that alternate existence by the end of the film. "Owen's" life is a nightmarish suffocation. Isabel is dying from a life of a boy she never was - in what is, explicitly, a transgender narrative.

The same story is directly mirrored by "Maddy."

Within the premise of ISTTG, she is the similarly trapped and suffocating "Tara"; or, the second half of the Pink Opaque - who, over the course of the film, discovers the truth of their reality, returns to the world of the TV show, and then comes back, unwilling to leave Isabel behind. However, what is particularly notable is that while her character's name is, of course, an homage to Tara Maclay (made all the more obvious via Amber Benson's cameo), the "Tara" of TPO is nothing like the soft-spoken, pastel-wearing witch.

Instead, she is a bold, loud punk with slicked-back hair and a leather jacket, who snarks at the monsters-of-the-week and speaks in poetry - she's Spike; and that provides the basis for her dynamic with "Owen" throughout the film.

In the world of BTVS, Spike is largely presented as a foil to Buffy's character. He is her thematic (and extremely sexually compatible) opposite; and that extends to his own relationship with gender. His story arc is defined by his struggle to be perceived as a man; on the Watsonian level, it is an identity persistently overshadowed by his vampirism - and in the Doylist sense, his poetry, occasional eyeliner, and painted nails might have something to do with that situation. Regardless, it is a significant factor in his narrative, both before and after his original, human death - to the point where he bonds with Buffy's mother, Joyce, specifically because she "treated [him] like a man"; and in the context of ISTTG, the same themes extend directly to "Maddy." In S5:Ep7 of BTVS (Fool for Love), Spike states that "getting killed made [him] feel alive for the very first time" - and when "Maddy" returns from the world of TPO, she explains that the only way to survive what Mr. Melancholy had done to them was to bury herself alive and die in the false world. Her statement is a monologue of slam poetry, spoken without interruption and illuminated by the steady blue of a high school planetarium; and while "Owen's" experience of blue lighting is usually aggressive and abrasive, "Maddy's" is soothing. It is right. It ties directly to what she is meant to be, even as her story inevitably terrifies "Owen" - who, much like Buffy, is not yet ready to face the truth of who he is or allow himself to indulge the desires he's buried for all his life.

From what I understand, the finale of the film has proven to be divisive; some interpret it as hopeful, others as crushingly bleak - but as a BTVS fan, and a trans man myself, I cannot see it as anything other than a peak of sheer, overwhelming panic that is only experienced at the very precipice of Change. My reason for it is rooted in the parallels between the respective season 5 finales of BTVS and TPO. For Isabel and "Tara," the story ends with their apparent defeat at the hands of Mr. Melancholy; and Buffy's ends with her sacrificing herself to save the world. She dies. She is buried. And then there's season 6. As such, inevitably, "Owen" is going to accept the truth of himself; he is going to die, Isabel is going to claw her way out of a grave - and when she does, only one person is going to understand what happened.