The Buffy Reboot Disaster Proves Oscar Winners Should Stay In Their Lane

By Chris Snellgrove
| Published 24 seconds ago

Buffy the Vampire Slayer fans are still reeling from the bad news that Hulu canceled the reboot of this iconic ‘90s show. The streamer had ordered a pilot, and things seemed to be going well: not only was Sarah Michelle Gellar returning to star in the new series, but the showrunner was going to be Oscar-winning director Chloe Zhao. The fandom had visions of Buffy returning as a prestige TV show, but Hulu’s cancellation put a stake through those dreams, leaving us only with dust.

As usual, battle lines were quickly drawn when it came to discourse about this show’s failure. Some (including Gellar herself) thought this was just a matter of out-of-touch executives not getting what Buffy was all about. Hulu, meanwhile, reportedly claimed the problem was that the show was too small, too focused on younger audiences, and (perhaps most importantly) didn’t have enough Gellar in it. Personally, I tend to believe Hulu, as they wouldn’t throw away a golden IP for no reason. With respect to Zhao (who has done some excellent work), the cancellation of the Buffy reboot clearly proves why Oscar-winning directors should stay in their own lane.

High “Stakes” Drama

What was the Buffy reboot about? While official details are relatively minimal, the show was reportedly going to focus primarily on a new Slayer played by Ryan Kiera Armstrong. She was going to have to deal with a new vampire menace that popped up in a very familiar location: Sunnydale. Like Buffy, this new Slayer named Nova was going to have a hard time learning the ins and outs of dusting vamps. Fortunately, Buffy herself was going to serve as this young warrior’s mentor, helping her keep the forces of darkness at bay. 

Hulu didn’t like the initial pilot, believing that it was too small for an IP this big and that it had too much kiddie stuff and not enough Sarah Michelle Gellar. They demanded reshoots, but those weren’t enough to save this ambitious reboot. The streamer ended up canceling the new Buffy show, which Gellar ultimately blamed on an unnamed executive. As she told People, this exec “was not only not a fan of the original, but was proud to constantly remind us that he had never seen the entirety of the series and how it wasn’t for him.”

Getting The Bad News

Part of why Gellar is so upset with the cancellation is that she had worked with director Chloe Zhao for years to develop this reboot. To the Buffy actor, bringing the show back was a real no-brainer. One of the most beloved IPs of all time getting rebooted by an Oscar-winning director; what could go wrong? However, Hulu’s cancellation of the series (and, make no mistake, they wouldn’t cancel the show if they thought it would make money) reveals a simple truth: like most Oscar winners, Zhao is good at making a particular type of film, and her skills don’t necessarily transfer to the small screen.

Chloe Zhao is an excellent director of such films as The Rider, Nomadland (which won Oscars for Best Picture and Best Director), and Hamnet (which was nominated for a whopping eight Oscars, including Best Picture and Best Director). But Zhao is best when making indie films that focus on relatively unknown actors (Hamnet turned rising star Jessie Buckley into a Best Actress Oscar winner). But she seems to struggle when it comes to creating bigger films with more mainstream actors. This is most evident in The Eternals, her Marvel movie that ended up being a wall-to-wall snooze fest.

Eternals Was Our Warning

Obviously, hindsight is 20/20, but it seems like the failure of The Eternals effectively foretold the failure of the Buffy the Vampire Slayer reboot. Audiences hated this film because it lacked the mainstream appeal of the MCU. The pace was slow instead of brisk, the writing was serious instead of funny, and the villains were abstract rather than clearly defined. It just didn’t feel like a superhero movie for most of its runtime. Instead, it felt like a typical Chloe Zhao joint: an introspective indie film that just didn’t fly with fans of tights-and-flights films.

The exact same thing happened with the Buffy reboot on Hulu. Executives reportedly thought the show wasn’t “mainstream enough” for the audience. Those same execs worried the new show was trying to chase too much of a youth demographic compared to the original Buffy the Vampire Slayer, which appealed to both children and adults. Finally, they worried about the relative lack of Sarah Michelle Gellar, who reportedly had only one line of dialogue in the original pilot.

Letting The Past Die

To sum it up, the show was going to be a Buffy reboot that had hardly any Buffy in it. No other legacy cast members were in the pilot, so fans weren’t going to get to see any reunions between the Slayer and fan-favorite characters like Willow or Spike. That means most of the show would focus on the new Slayer and her new Scoobies, which is (let’s be honest) a bit like making an entire show out of Dawn’s Season 7 adventures with her forgettable Sunnydale High clique.

Left to her own devices, Chloe Zhao creates breathtaking works of cinematic art, the kind of awesome indies that remind you why you fell in love with movies in the first place. But she is clearly a poor choice when it comes to genre entertainment. The Eternals was dead on arrival, and the Buffy reboot died before it streamed a single episode. Ironically, Zhao found out the reboot was canceled on the same weekend that she attended the Oscars to see how many awards Hamnet would take home. It’s a juxtaposition that drives home a simple, stake-like point: this Oscar winner should stay in her own indie darling lane and stop dabbling in genre entertainment she clearly doesn’t understand.