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Without any question, Buffy revolutionized the role of women on television, more even than Mary Tyler Moore or Cagney and Lacey or Murphy Brown or Ally McBeal . If you look at female heroes (as opposed to hapless heroines–I have always thought that the definition of heroine should be “endangered female in need of rescue by male hero”) in the history of TV, you will be astonished at how few there are prior to the nineties. You have Annie Oakley in the fifties and Emma Peel on The Avengers in the sixties, and to a degree Wonder Woman (who spent a great deal of her time worrying about impressing her boss Col. Steve Trevor) and The Bionic Woman (the weaker spin off to The Six Million Dollar Man ). This all changed in the nineties, first with Dana Scully on The X-Files and then with Xena . But the former, as competent as she was as an FBI professional, was not sufficiently iconic to change TV, while the latter, sufficiently iconic, was too cartoonish to inspire future female heroes. Buffy was the turning point. You can write the history of female heroes on TV as Before Buffy and After Buffy . It is not a coincidence that most of the female heroes on TV arose in the wake of the little blonde vampire slayer. Look at the roster: Aeryn Sun (Farscape ), Max (Dark Angel ), Sydney Bristow (Alias ), Kate Austin (Lost ), Kara “Starbuck” Thrace (along with a plethora of other strong women on Battlestar Galactica ), Olivia Dunham (Fringe ), Sarah Connor and Cameron (Terminator: The Sarah Connor Chronicles ), Veronica Mars , and an almost uncountable number of lesser characters. Buffy made TV safe for strong women. This isn’t art, but it is the content of art. Buffy guaranteed that TV as art would make a place for heroic women.
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I bought the Wonder Woman TV series for my daughter because she was asking me for a girl action figure movie. It was more like soft porn, and she kept saying, “Why is Wonder Woman in her underwear?” I’ll try Buffy, but I need to wait until she’s older– it’s scary.