Danny Ogle Tell Your Heart to Beat Again Lyrics

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

"Again, with Feeling"
Buffy the Vampire Slayer episode
Adam Hughes' affiche for the episode included visual elements that highlighted its unique appearance, evoking an One-time Hollywood feel also reflected in several pieces of music.[1]
Episode no.	Flavor 6 Episode seven
Directed past	Joss Whedon
Written by	Joss Whedon
Editing by	Lisa Lassek
Production code	6ABB07
Original air date	November six, 2001 (2001-eleven-06)
Running time	50 minutes
Guest appearances
Anthony Stewart Head as Rupert Giles Hinton Battle as Sweet Bister Benson as Tara Maclay David Fury every bit Mustard Human being Marti Noxon every bit Parking Ticket Adult female Daniel Weaver equally Handsome Boyfriend Scott Zeller as Henchman Zachary Woodlee every bit Demon/Henchman Timothy Anderson equally Henchman Alex Estronel equally Henchman Matt Sims as College Guy #ane Hunter Cochran as 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 but one in the series performed as a musical. It was written and directed by the bear witness's creator, Joss Whedon, and originally aired on UPN in the United States on November half dozen, 2001.

"Once More than, with Feeling" explores changes in the relationships of the master characters, using the plot device that a demon—credited as "Sweetness" but unnamed in the episode—compels the people of Sunnydale to suspension into song at random moments to express hidden truths. The title of the episode comes from a line sung by Sweetness; in one case the characters have revealed their truths and face the consequences of hearing each other's secrets, he challenges them to "say you're happy now, once more, with feeling".

All of the regular bandage performed their own vocals, although two actors were given minimal singing at their asking. "Once more, with Feeling" is the most technically circuitous episode in the series, as extra vox and trip the light fantastic toe training for the cast was interspersed with the production of four other Buffy episodes. It was Joss Whedon's first attempt at writing music, and different 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 go accustomed. The musical format allowed characters to stay truthful to their natures while they struggled to overcome deceit and miscommunication, plumbing fixtures with the sixth season'due south themes of growing up and facing adult responsibilities.^{[2] [3]} Information technology is considered i of the most effective 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 part equally the Vampire Slayer, is assisted by her close friends, who refer to themselves equally the "Scooby Gang". These include Xander Harris (Nicholas Brendon), a fellow without particular strengths or talents, merely 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 past Buffy's "Watcher", Rupert Giles (Anthony Stewart Head), a paternal figure since the beginning flavour, when Buffy moved to Sunnydale after her parents' divorce. Xander is engaged to Anya Jenkins (Emma Caulfield), a old vengeance demon who has become homo. They take struggled with disclosing their appointment to the rest of the grouping and individually doubtfulness their impending marriage.^[ii]

Buffy died at the end of the fifth season ("The Gift"), sacrificing herself in identify of her younger sister Dawn (Michelle Trachtenberg) in society to save the world. In the offset episode of the sixth flavor, Willow, assertive 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 sky, but she has kept this a clandestine 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 but ethical witch. Tara has previously expressed business concern at Willow's use of her emergent magical powers for trivial or personal matters. In the preceding episode ("All the Way"), Willow cast a spell to make Tara forget an argument almost her abuse of magic. In the same episode, Dawn, who has been stealing from stores, including Anya'south magic shop, lies to Buffy and goes on a hugger-mugger and almost mortiferous appointment. Left to have care of Dawn subsequently the death of their female parent Joyce Summers (Kristine Sutherland) in the fifth flavor ("The Trunk"), Buffy has come to depend more heavily on Giles. Post-obit Dawn'due south appointment, Buffy asks Giles to shoulder responsibility for disciplining her, much to his discomfort.^{[2] [4]}

Buffy's sometime nemesis is Spike (James Marsters), a vampire. In the fourth flavour The Initiative, a clandestine war machine organization whose mission is to evaluate and eliminate demonic beings, rendered Spike harmless by implanting a microchip in his head that causes him intense pain when he attacks humans. Notwithstanding, the flake does not affect him when he harms demons and he now often fights on Buffy'due south side, after at first fighting just for the pleasure of brawling. His motivations changed when, in the fifth flavor, Spike realized he had fallen in love with Buffy. She initially rejected him, merely but before her death they had begun to form a friendship of sorts. She has been confiding in him; prior to this episode, he is the only one to whom Buffy has revealed that she was in heaven.^[2]

Throughout Buffy the Vampire Slayer, music serves as a narrative tool, integral to character development and activeness. The mood is prepare by music, characters discuss it, and writers use it to emphasize differences between generations. In an essay on the utilise of music in the series, Jacqueline Bach writes that in conjunction with the sixth season themes of growing up, "In one case More than, with Feeling" gives music a central role instead of keeping information technology in the background.^[5]

Plot [edit]

When Buffy is on patrol, she laments in song nearly how uninspired her life has get ("Going Through the Motions"). The adjacent 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 merely concord that past working together they tin overcome annihilation ("I've Got a Theory"/"Bunnies"/"If We're Together"). Buffy learns that the whole town is affected when she looks outside the shop to run into a big group (led by serial writer and producer David Fury) singing and dancing well-nigh how a dry-cleaning service got their stains out ("The Mustard").

Tara and Willow get out to "research" at dwelling, but coquet along the way while Tara muses about how much Willow has improved her life ("Under Your Spell"). The adjacent morning, Xander and Anya perform a duet most their secret annoyances with each other and their corresponding doubts most their impending union ("I'll Never Tell"). They realize that the songs are bringing out subconscious secrets, and after insist to Giles that something evil is to blame. Every bit they fence, they walk past a adult female (serial writer and producer Marti Noxon) protesting a parking ticket ("The Parking Ticket"). That evening, Buffy visits Spike, who angrily tells Buffy to leave him lone if she will not love him ("Rest in Peace").

Dawn tells Tara she is glad that Tara and Willow have made up after their argument. Since Tara has no recollection of an argument, she suspects that Willow has used magic to modify her retentiveness. She goes to the Magic Box to consult a volume, leaving Dawn alone. Dawn starts to bemoan that no 1 seems to notice her ("Dawn's Complaining"), but is soon seized by a group of minions. They accept Dawn to The Bronze, where her attempt to escape transforms into an interpretive trip the light fantastic with them ("Dawn'due south Ballet") earlier she meets Sweet (Hinton Battle), a zoot suit-wearing, tap-dancing, singing demon. He tells Dawn that he has come up to Sunnydale in response to her "invocation", and he will take her to his dimension to make her his bride when his visit is consummate ("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-non flower Willow used to cast a spell on her in a volume of magic. Giles and Tara separately resolve to leave the people they love, respectively Buffy and Willow — Giles wants to leave Buffy for her own practiced, while Tara wants to leave Willow considering she has become horrified by Willow'southward magical manipulation of their relationship ("Under Your Spell"/"Continuing" (reprise)). Captured past Spike exterior the store, one of Sweet's minions challenges Buffy to rescue Dawn from Sweetness at The Bronze. Giles forbids the gang to assist Buffy, so she goes alone, despite having no will to do so; somewhen Giles and the Scoobies change their minds and get out to catch up. Although Spike initially thinks that things would be amend for him if Buffy was dead, he also changes his mind and decides to assist Buffy; Sweet opines that Buffy is drawn to danger ("Walk Through the Fire").

Coming together Sweet at The Statuary, Buffy offers a deal to Sweet: she will take her sis's place if she cannot kill him. When asked by Sweet what she thinks about life, Buffy gives her pessimistic take on its meaning ("Something to Sing Nearly"). When the others make it, she divulges that Willow took her from heaven, and Willow reacts with horror at realizing what she has done. Upon divulging this truth, Buffy gives up on singing and dances then frenetically that she begins to smoke — on the verge of combusting as Sweet'southward other victims have been shown to do — until Spike stops her, telling her that the simply way to become forwards is to just continue living her life. Xander then reveals that he, non Dawn, called Sweetness, hoping he would be shown a happy catastrophe for his marriage plans. Sweet, afterward releasing Xander from the obligation to exist Sweet'due south "helpmate", tells the group how much fun they have been ("What You Feel" (reprise)) and disappears. The Scoobies realize that their relationships have been changed irreversibly by the secrets revealed in their songs ("Where Do We Become from Here?"). Spike leaves The Statuary, merely Buffy follows him out, and they buss ("Coda").

Production and writing [edit]

Serial creator Joss Whedon spent half-dozen months writing for the episode, the showtime time he had e'er written music.

Joss Whedon had wanted to brand a musical episode since the offset of the series. This was heightened during the fifth flavor when he hosted a Shakespeare reading at his house, to which the cast was invited. They began drinking and singing, demonstrating to Whedon that sure cast members had musical talents.^{[6] [7]} Whedon knew he would have to write an entire score, which would take weeks or months. During the first 3 seasons of Buffy, he was unable to take more than 2 weeks off at a time, and the constraints of writing and directing the show precluded him from putting along the effort of preparing a musical. Whedon spoke to the show's producer, Gareth Davies, almost his idea; they agreed that a musical episode would be written.^[8]

Whedon spent six months writing the music for "Once More, with Feeling".^[8] When he returned after the terminate of the fifth season, he presented Davies with a script and CD, complete with notated and orchestrated music, which Davies plant "mind-boggling".^[ix] The actors were initially bewildered; in 2012, James Marsters commented that "information technology'due south obvious now that they were good songs only the affair was Joss and his married woman Kai, they don't sing very well. And they don't play piano very well. The songs sounded really cheesy and horrible... Nosotros were proverb, 'Joss, yous're ruining our careers.'"^[10]

Preparing for the episode was physically difficult for some of the cast members, virtually of whom had little experience singing and dancing. They spent iii months in vocalization grooming.^{[viii] [annotation 1]} Two choreographers worked with Whedon and the bandage on dance sequences. Michelle Trachtenberg (Dawn), who is trained in ballet, requested a dance sequence in lieu of a significant singing part,^[9] and Alyson Hannigan (Willow), according to Whedon, begged him not to give her many lines.^{[6] [12]} Sarah Michelle Gellar (Buffy) told the BBC that "Information technology took something like 19 hours of singing and 17 hours of dancing in between shooting four other episodes" and she was so broken-hearted about singing that she "hated every moment of it".^[13] When Whedon suggested using a voice double for her, yet, she said, "I basically started to cry and said, 'Y'all mean someone else is going to practise my big emotional turning betoken for the season?' In the end, it was an incredible experience and I'm glad I did information technology. And I never want to do it again."^[14] Davies was then impressed with Hinton Battle'southward performance on Broadway in The Wiz that he asked Battle to play the demon Sweet. Battle, a iii-time Tony-winner, wore prosthetic make-upwards for the first time to give him a demonic crimson face. Sweet was portrayed as "slick", smooth and fashionable; in contrast, well-nigh demons on the series were designed to exist rough and ugly.^[9] The gear up for The Bronze was used frequently throughout the series, simply stairs were built from the phase to maximize flooring space for Buffy's trip the light fantastic toe.^[6]

Running eight minutes longer than whatsoever in the series,^{[annotation two]} the episode was also the most technical and complex. Whedon, who has stated this is 1 of his favorite Buffy episodes, used a widescreen letterboxed format for filming (the only episode in the series to become this treatment),^[12] different lighting to bring out the sets more vibrantly, and long takes for shooting—including a complicated shot with a full conversation, a vocal, and two choreographed dances that took 21 attempts to get right. These were designed to give viewers all the clues they needed to institute all the nuances of the relationships betwixt characters.^[6] Davies commented that the intricacies of filming this episode were "infinitely more complicated than a regular Buffy" episode,^[9] and Whedon stated in the DVD commentary that he was ambitious to show what telly is capable of, saying "it simply 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 up on billboards with music notes over her optics, and held a special premiere event. Network president Dean Valentine remarked he thought it was "1 of the best episodes of idiot box I e'er saw in my life".^[15]

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—every bit in the residual of the series—the characters cocky-consciously address their ain dialogue and deportment. Anya describes her own duet "I'll Never Tell" every bit "a retro pastiche that's never gonna be a breakaway popular hit". With a characteristic dry demeanor, Giles explains that he overheard the information near Sunnydale residents spontaneously combusting equally he was eavesdropping upon the police taking "witness arias".^[xvi] In her opening number, "Going Through the Motions", Buffy sings that she feels every bit though she is playing a role: "nothing hither is real, nothing here is correct". The song introduces the character's emotional state but also removes the barrier between the actor and the audience, as Gellar the actor portrays Buffy, who feels she is merely playing the role 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 amidst cast members' singing voices added to the authenticity of their breaking out into song for the first time in the series.^{[seven] [note 3]} Whedon included self-conscious dialogue and references almost the characters being in a musical and showed their reluctance toward song and dance, then that the audience would feel more comfortable with the improbability of such a thing happening on the testify.^[6]

Themes [edit]

Information technology is function of the fascination of "In one case More than, with Feeling", that we tin, if we wish, cull to select our human relationship with the text and dwell on a happy ending—or we can share the struggle of the characters.

Rhonda Wilcox, 2005^[17]

The dynamic nature of the characters was a unique chemical element of writing in the series at the fourth dimension. Once they were established in the twelve episodes of the showtime flavour, characters began to change and relationships were adult in the second. This continued through the series to the point of unpredictability that sometimes became unsettling to fans.^[18] Buffy essayist Marguerite Krause asserts that the monsters and demons faced by the Scoobies are thin symbolism for the prove's true focus: relationships and how to maintain or ruin them.^[19] Common among virtually of these relationships—romantic, platonic, and familial—is, according to Krause, a "failure to communicate, lack of trust, [and the] inability to envision or create a feasible future".^[xx] 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 than, with Feeling" propelled the story arc for season half dozen by allowing characters to confess previously taboo issues to themselves and each other.^[22] Whedon commented that he was "obsessive about progressing a plot in a song, almost saying things we oasis't said", comparison the musical theater format to the fourth-season episode "Hush", in which characters begin communicating when they end talking.^[6] According to Buffy essayist Zoe-Jane Playdon, earlier episodes' "fake saccharine behaviour" impedes the characters then crucially that it summons a demon to forcefulness them to be 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 also face immolation for being mendacious.^[24] For Buffy, however, truth is wearisome in coming, as she continues to prevarication to the Scoobies, claiming to forget what she sang about in the graveyard during "Going Through the Motions". Buffy continues her deception in the chorus number "If Nosotros're Together", kickoff the song by persuading others to join in one past one, equally if each is convinced that she is still invested and in charge, and their strength as a grouping is infallible. Although she asks in verse "Apocalypse / We've all been there / The aforementioned old trips / Why should we care?", all the Scoobies bring together her, including Giles despite his suspicions that Buffy is no longer interested in her life.^{[6] [25]}

Secrets reveal themselves steadily throughout the episode. Xander fears that his future marriage will turn him into an argumentative boozer like his father. He attempts to avoid his fears through the song "I'll Never Tell", singing "'coz there'south nothing to tell", later on summoning Sugariness to Sunnydale to show him that he and Anya will be happy. Amid the diverse annoyances Xander and Anya express through this song, some verses are clairvoyant observations of behavior, such as Anya'due south allegation that Xander—once in dear with Buffy—uses Buffy equally a mother effigy to hide backside.^[26] Anya also avoids the truth by burying herself in wedding plans without thinking critically almost what being married will entail; instead she considers Xander an accessory to her desired lifestyle.^[27] Of all the characters, Anya is the about preoccupied with the style of singing and songs, demanding to know if Fasten sang "a breakaway pop hit, or a book number", and asking Dawn if the pterodactyl she facetiously says she gave nativity to also broke into song. Anya and Xander's duet is the simply song in the episode to address the audience direct. During the long single-shot scene when she and Xander talk over each other insisting to Giles that evil must exist at play, Anya refers to the audience, maxim "It was like we were beingness watched ... Like in that location was a wall missing ... in our flat ... Like at that place were only iii walls and non a fourth wall." Albright asserts that Anya's constant preoccupation with her and others' performances indicates that she has serious doubts about her futurity supporting role as Xander'southward wife.^[7]

Giles' truth, according to Whedon, is that he realizes he must not "fight my kid'due south battles or my kid will never grow up",^[9] which he sings in "Continuing" while he throws knives at Buffy equally part of her grooming. Whedon remarked that this bear on "is the kind of complete turnaround that is a staple of the Buffy universe".^[6] Tara's heartfelt love song also has an ironic subtext; although she appears to mean that she is fulfilled past her human relationship with Willow, the lyrics include multiple allusions to Willow working her manipulative will over Tara, overlaid with Tara's euphoric singing about her pleasance in their union.^[vii] In Sex and the Slayer, Lorna Jowett calls the song betwixt Willow and Tara the transformational event in their 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 offset of the episode, simply afterward Tara and Giles share a duet to express the macerated part each plays in their respective relationships.^[29]

Although "One time More, 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 identify. At the finish of the episode, Buffy kisses Spike, initiating a romance that she hides from her friends. Their relationship lasts until the end of the serial, marked for a fourth dimension past Buffy's loathing of him considering he has no soul. Her human relationship with Spike, notwithstanding, allows her to feel animalism and allure, which she yearns for after beingness pulled dorsum from a heavenly dimension.^[xxx] 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 Almost", she does not observe meaning again until the finish 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 grapheme throughout the series, is torn between her desires and her duty, in a Kantian illustration of free volition vs. predeterminism, symbolized by her responsibility as a Slayer and her boyish impulses. In earlier seasons, this takes the course of simpler pleasures such as dating and socializing, interspersed with defeating evil forces. It reaches a climax in the ultimate sacrifice when Buffy offers to die to salve the earth. However, "Over again, 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, but for the rest of the season she works at a humiliating job to provide for her sister and friends.^[32]

Music and style [edit]

"Over again, with Feeling" was Joss Whedon'south first attempt at writing music, which he had always wanted to practise. He learned how to play guitar to write several songs. Christophe Beck, a regular composer for the series, filled in the overture and coda and equanimous "Dawn's Ballet". Whedon is a fan of Stephen Sondheim, and used him as the inspiration for much of the music, particularly with the episode'south ambiguous catastrophe.^[xvi] Cast member James Marsters (Spike) said, "Some of Joss' music is surprisingly complicated. Perhaps information technology's a Beatles thing. He doesn't know enough to know what he can't do and he's keen rules."^[14]

The episode'south musical style 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 Trivial Mermaid. Whedon wanted to use a similar opening in which the heroine explains her yearning. While singing her song, Buffy fights three vampires and a demon who themselves break into a choreographed dance; Whedon wanted this to be fun merely not distracting. The song ends with chord influences from Stephen Schwartz's Pippin and a visual tribute to Disney: equally Buffy stakes a vampire, it turns to dust that swirls around her face.^{[6] [33]}

Bister Benson's performance was a surprise to many critics and scholars, who take interpreted her starring part in the episode as representing the quiet strength of her character Tara.

Whedon chose the nearly complicated scene, with the most dancers and choreography in the archetype style of musical theater, to back-trail an eighteen-2d song ("The Mustard") "to get it out of the way" for more personal numbers subsequently in the episode.^[6] Stephanie Zacharek of Salon.com considers this "vivid because it frees even people who hate musicals to settle into the story without getting hung up on the genre's conventions".^[34] The musical styles bridge from a jaunty 1950s sitcom arrangement of the Buffy theme in the opening credits—the only episode in the series to begin without the normal version of the theme song and total bandage curl, signifying a genre shift^[7]—to Anya'southward hard-rock version of "Bunnies". Whedon assigned Emma Caulfield the stone-opera format because Caulfield oft sang in such a way to him on the set.^[6] Spike's "Remainder in Peace" is as well a rock song, which Whedon wrote after completing the episode'due south starting time song, Tara's "Nether Your Spell", a contemporary pop song with radio-play potential. Xander and Anya'south duet—the most fun to shoot but difficult to write, according to Whedon^[6]—is inspired by Fred Astaire-Ginger Rogers comedies every bit evidenced past the silken pajama costumes and fine art deco apartment setting.^[35] Musically, the song uses influences from Ira Gershwin, a Charleston rhythm, and jazz-similar chord slides.^[36] Giles' "Standing" is a ballad to Buffy that she does non hear, unlike the songs revealing truths elsewhere in the episode.^[37] Whedon shot the scene so that Giles moves in real fourth dimension while Buffy works out in slow move, to accentuate Giles' distance from her. Buffy's not hearing his song was intentional; Whedon explained, "Yous can sing to someone in musicals and they can never know how yous feel or how much you love them, even if they're standing correct in front of you".^[half-dozen]

"Nether Your Spell" received attention from Buffy studies writers because information technology presents a frank and unflinching expression of lesbian romance. Buffy the Vampire Slayer was the first show in U.S. telly history to portray a long-term lesbian relationship amidst the core cast of characters.^[38] Previous televised depictions of lesbian relations were primarily limited to single "coming out" or "lesbian buss" episodes, showing lesbian-identified characters as affectionate simply not erotic.^{[note 4]} Tara and Willow demonstrate throughout the series, and specifically in "Once again, with Feeling", that they are "intensely sexual", co-ordinate to Buffy essayist Justine Larbalestier. Near the finish 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 virtually erotic scene" of the serial.^[40] Whedon admitted on the DVD commentary for the episode that the vocal is "pornography" and "probably the dirtiest lyric I've e'er written, simply as well very, very beautiful".^[6]

Buffy essayist Ian Shuttleworth writes that Amber Benson (Tara) has "the sweetest singing vocalization of all the lead players", referring to "Under Your Spell" equally "heavenly and salacious"; author Nikki Stafford concurs, writing that Benson "has the virtually stunning vocalization, 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.^[9] Alyson Hannigan (Willow) was unwilling to sing much and her performance is "humble", according to Shuttleworth. He considers this an instance of Tara's quieter force coming out in front of Willow's showy demonstrations of powerful magic.^[41] Buffy studies scholar Rhonda Wilcox interprets Willow's diminished role representing the show'south silence virtually Willow's descent into habit and darkness through the rest of the season.^[42] Benson remarked that Tara's story arc is significant inside the episode, starting out with ecstasy but before long recognizing the illusory circumstances surrounding her elation and that "life can't be perfect all the time".^[nine]

The nigh complicated song, "Walk Through the Fire", leads all the characters to the climax from different locations for unlike reasons, reminiscent of the "Tonight Quintet" from West Side Story.^[43] When they all sing the chorus at in one case to the line "We will walk through the fire / And let information technology — burn", two fire trucks race behind the Scoobies every bit they proceed to the Bronze. Whedon called the shot the "single greatest affair we ever did".^[six] Each of the singers in this song, which "marries soft rock to the function of a chant", connects musically to earlier songs while foreshadowing Buffy'southward next number and the concluding chorus, providing an ominous anxiety.^[44]

Whedon's use of "literal choreography" in "Where Practise We Go from Here?" expresses the anxiety of the characters in relation to the group afterwards they have all divulged their secrets.

Buffy's numbers are the virtually complex, changing central and tempo when she begins to reveal the secrets she swore she never would.^[12] This appears specifically in "Something to Sing Nearly", which starts with uptempo platitudes: "We'll sing a happy vocal / And you can sing along: / Where there's life, at that place's hope / Every day'south a gift / Wishes can come up true / Whistle while you lot work ..." While singing, she kills Sweet's minions with a pool cue. Whedon attempted to brand the vocal tuneful yet cluttered to express the primary point of the episode.^[6] It transitions of a sudden into her desire to be like normal girls, then changes again, slowing the tempo as she challenges Sweet not to give her a song, merely "something to sing near".^[45] Musicologist Amy Bauer categorizes the tempo shifts every bit "rock ballad to punk polka to hymn" that indicates Buffy's turmoil. The central and tempo slow again, equally Buffy finally reveals "I live in hell / 'Crusade I've been expelled from sky / I think I was in heaven" with the chord changing from B minor to B macerated, each fourth dimension she repeats "sky".^[46] When replying to her, Spike has the same shift from minor to macerated each time he repeats the word "living."

The episode nears the end with "Where Practice We Go from Here?", as the Scoobies stand dazed and disoriented, facing dissimilar directions. Every bit they sing "Empathise we'll go hand in hand / Only nosotros'll walk lone in fright", they line upwards, hold easily, then fling each other'south hands abroad in a piece of what Whedon calls "literal choreography".^[6] Each of the viii characters in this line wears a color in the visible spectrum, a witting decision past the costume designer. The couples in the group vesture opposite colors (Giles in green and Buffy in ruby-red, Anya in bluish and Xander in orangish, Tara in yellowish and Willow in imperial), and Rhonda Wilcox interprets the colour-coding and choreography to represent the "tension between the private and the group".^[47] The characters every bit a chorus sing "The curtains close on a kiss, God knows / Nosotros can tell the end is near", moments before Buffy runs out to kiss Fasten and the show closes with actual curtains. As Fasten and Buffy kiss, a bully of music accompanies them, similar to the ending of Gone with the Air current. Lyrics sung moments before, however, forecast the uncertainty of the relationship between Fasten and Buffy, as well as their contrasting reasons for initiating any romance; Spike wants to feel love from Buffy, while she simply wants to experience.^[42]

Reception [edit]

When the episode was originally broadcast in the United States on UPN on November 6, 2001, information technology received a Nielsen rating of 3.4 and a share of v. This placed the episode in sixth identify in its timeslot, and 88th among broadcast television for the week of November 5–11, 2001. It was the most watched plan on UPN that night, and the 3rd most watched program that week, trailing episodes of Star Trek: Enterprise and WWF SmackDown.^[48] This was a decrease from the 3.vii 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 later the series concluded. Although Salon.com writer Stephanie Zacharek states "(t)he songs were only half-memorable at best, and the singing ability of the show's regular cast ranged only from the fairly practiced to the non and so great", she also asserts that it works "beautifully", paces itself gracefully, and is "clever and affecting".^[34] Zacharek's unenthusiastic assessments of the music and cast's singing abilities were not shared by other writers. Debi Enker in Commonwealth of australia's The Historic period writes, "Giles (Anthony Stewart Head) and Tara (Bister Benson) are terrific, Xander (Nicholas Brendon) and Dawn (Michelle Trachtenberg) struggle valiantly, and Willow (Alyson Hannigan) barely sings a note".^[fifty] Tony Johnston in The Lord's day Herald Sunday writes that Gellar "struggles on some of her college notes, simply her dance routines are superb, Michelle Trachtenberg's Dawn reveals sensual trip the light fantastic toe moves way 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 lucifer like ready-fabricated Broadway troupers." Johnston counts "I'll Never Tell" as one of the episode's "standout moments".^[13] Connie Ogle in The Miami Herald calls the songs "amend and far more clever than most of the ones you'll hear on Broadway these days".^[51]

Writers agree that the episode was risky and could take failed spectacularly. Jonathan Bernstein in the British newspaper The Observer writes "What could have been, at best, 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 i he's demonstrated for the past six seasons with dialogue, character and plot twists. Rather than adopt the 'Hey, wouldn't it exist wacky if we suddenly burst into song?' approach practised past Marry McBeal, the Buffy musical was entirely organic to the series' labyrinthine progression."^[52] Johnston in the Sunday Herald Sun says, "In that location is just then much to this marvellously cheeky episode that suggests the bear witness can take any route information technology pleases and pull it off",^[13] while Debi Enker in The Age comments, "Whedon demonstrates yet again what Buffy aficionados accept known and appreciated for years: that his wit, playfulness and readiness to take a risk brand his television set efforts rise way above the pack."^[l] Steve Murray in The Atlanta Journal-Constitution characterizes the episode equally "scary in a brand-new way", proverb "Once More, with Feeling" is "as impressive equally Whedon's milestone episodes 'Hush' and 'The Trunk'"; the episode is "often hilarious", according to Murray, and acts as "(b)oth spoof and homage, [parodying] the hokiness of musicals while also capturing the guilty pleasure and surges of feeling the genre inspires".^[53]

Writing in the Toronto Star, Vinay Menon calls "Once More than, with Feeling" "dazzling" and writes of "Joss Whedon'south inimitable genius"; he goes on to say "(f)or a evidence that already violates conventions and morphs between genres, its allegorical narrative zigging and zagging seamlessly across chatty comedy, drama and over-the-top horror, 'Over again, with Feeling' is a towering achievement [...] The prove may be anchored by existential weightiness, it may be painted with broad, supernatural brushstrokes, simply in the end, this coming-of-age story, filled with angst and alienation, is more real than any other so-called teen drama [...] So let's add another line of gushing praise: 'Over again, with Feeling' is rhapsodic, original, deeply affecting, and ultimately, transcendental. Quite only, tv at its best."^[54]

The episode was nominated for an Emmy Laurels for Outstanding Musical Direction, but 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 past mailing a postcard informing its voters that it should exist included, but the episode did not win. NATAS' oversight, according to the Washington Post, was "another instance of the lack of industry respect afforded one of telly's well-nigh consistently clever shows".^[55] Ogle in The Miami Herald vigorously protests this omission, writing, "[T]he most astonishing, entertaining hour (hour plus, actually) of TV in the past year slips by about unnoticed. Nothing hither is existent; zero hither is right. Buffy the Vampire Slayer's musical episode, 'Over again, with Feeling', registers a paltry outstanding music management nomination. Overnice for the musical directors. A stake through the aspirations of writer/director Joss Whedon, the beating creative heart of Buffy, the only TV writer brave and clever enough to utilise horror equally 1 great big wonderful metaphor for growing upwardly [...] 'Once more, with Feeling' is TV of a different sort, something that comes forth once in a lifetime and should not exist buried but celebrated and rewarded."^[51] The episode was too nominated for a All-time Dramatic Presentation Hugo Award and a Best Script Nebula Laurels, both given for excellence in science fiction and fantasy writing.^{[56] [57]} In 2009 TV Guide ranked the episode #14 on its list of "Television receiver's Acme 100 Episodes of All Fourth dimension".^[58] For its 65th anniversary, Tv Guide picked it as the fifth all-time episode of the 21st century.^[59]

Soundtrack [edit]

An album including all 14 songs in the episode, with Christophe Beck'due south scores for three other Buffy episodes, was released past Rounder Records in September 2002 equally season 7 premiered. John Virant, president and principal executive of Rounder Records, told the Los Angeles Times, "I remember watching the episode when it aired last October, and after it was over, I said to my married woman, 'That'due south the best hour of Television receiver I've ever seen. Someone should put that [soundtrack] out.' I inquired at Fox, but post-obit upwardly, and they said, 'Well, we tried, it didn't happen. If you want to take a run at it, feel costless.'"^[sixty] AllMusic gives the album v out of five stars, stating that the music is "every scrap every bit fun as the episode itself", praising the voices of Benson, Marsters and Head. Reviewer Melinda Hill states it is "a must-accept for Buffy fans, but it wouldn't be out of identify in anyone's collection".^[61]

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

DVD releases [edit]

In addition to featuring on the sixth season box prepare, "Over again, with Feeling" was individually released on DVD in Region 2 format on April fourteen, 2003,^[64] the just episode to be individually released.^[65] In Region 1, the episode was released on the sixth season box set up on May 25, 2004, over a yr later than the Region 2 release.^[66]

Influence [edit]

Since the musical episode of Buffy aired, several other series have worked musical format into episodes, including Scrubs, ("My Musical") in 2007,^[67] an episode of Grey'southward Anatomy entitled "Vocal Beneath the Song" in 2011^[68] and Batman: The Brave and the Bold, ("Mayhem of the Music Meister!") in 2009. The musical television 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 magazine, however, declared "Once More than, with Feeling" the "golden standard" for musical episodes.^{[69] [70]} Despite this, Joss Whedon recognized the influence "One time More, with Feeling" has had on other shows, just denied that it was primarily responsible for the rise in musical television episodes or serial such as Glee, citing the popularity of Loftier School Musical instead.^[71] Director John McPhail cited "Once More, with Feeling" as 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, with Feeling" where attendees are encouraged to clothes like the show's characters, sing along to the musical numbers, and otherwise collaborate in the manner of The Rocky Horror Flick Testify.^[73] Clinton McClung, a New York-based film programmer, got the thought for a sing-along from audition-participation showings of The Sound of Music in 2003. The next year, he began putting on sing-alongs to "In one case More, with Feeling" in Boston's Coolidge Corner Theater, which became and then pop that it went on the route. Audience members received props to use during key scenes, also as directions (for example, to yell "Shut up, Dawn!" at Buffy'south younger sister), and a live bandage performed the episode alongside the screen.^[74]

Buffy sing-alongs received growing media attention as 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 brief speeches to the audition.^[75] In October 2007, after a dispute with the Screen Actors Guild over unpaid residuals, 20th Century Play a joke on pulled the licensing for public screenings of "One time More, with Feeling", effectively ending official Buffy sing-alongs. Whedon chosen the cancellation "hugely depressing" and attempted to influence the studio to let futurity showings.^[76]

Run into also [edit]

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

Notes [edit]

1. ^ Anthony Stewart Head and James Marsters were exceptions. Head had musical theater experience in Godspell, The Rocky Horror Evidence, and Chess. Marsters had experience singing in a band.^[eleven]
2. ^ This episode is the longest only every bit 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 Cistron".
4. ^ Other series portrayed lesbian relationships amongst secondary characters (Friends), one-time encounters, or relationships that lasted through several episodes (Ellen), just did not show the characters touching (HeartBeat). Willow and Tara's 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 set during prime time. (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. 13–42.
3. ^ Stafford, p. 24.
4. ^ Stafford, pp. 284–285.
5. ^ Dial-Driver, et al, pp. 38–50.
6. ^ ^{a b c d e f grand h i j 1000 fifty k n o p q r} Whedon, Joss (2008). Buffy the Vampire Slayer: The Complete Sixth Season; DVD commentary for the episode "Once More than, with Feeling". [DVD]. 20th Century Play tricks.
7. ^ ^{a b c d east f} Albright, Richard (2005). "Breakaway pop hit or ... volume number?": "In one case More than, with Feeling" and Genre Archived March 12, 2017, at the Wayback Machine, The Online International Journal of Buffy Studies. Retrieved on June 5, 2010. "Archived copy" (PDF). Archived from the original on July six, 2011. Retrieved June 8, 2010. {{cite web}}: CS1 maint: archived copy as title (link) CS1 maint: bot: original URL status unknown (link)
8. ^ ^{a b c} Stafford, p. 286.
9. ^ ^{a b c d e f grand} Fury, David (2008). Buffy the Vampire Slayer: The Consummate Sixth Season; David Fury's Behind the Scenes of "Once again, 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 fourteen, 2002). "Something to Sing About", The Sunday Herald Sun (Melbourne, Australia), p. X06.
14. ^ ^{a b} McCabe, Kathy (Apr 14, 2002). "Buffy Hits a High Note", Lord's day Mail (Queensland, Australia), p. 6.
15. ^ Keveney, Neb (November 6, 2001). "Joss Whedon Gets the Cast Vamping", USA Today, p. 12D.
16. ^ ^{a b} Kaveney, pp. 271–272.
17. ^ Wilcox, p. 204.
18. ^ Stafford, pp. 9–xvi.
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. ^ Southward, pp. 177–178.
31. ^ Davidson, pp. 181–182.
32. ^ South, pp. 190–191.
33. ^ Wilcox, p. 198.
34. ^ ^{a b} Zacharek, Stephanie (November vii, 2001). "The Hills Are Alive with the Sound of ... Vampire Slaying! Archived October 16, 2012, at the Wayback Car", Salon.com. Retrieved on June vii, 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, November 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 – November four, 2001)(Statistical Data Included)". Dissemination & Cablevision. Reed Business organization Information, Inc.
50. ^ ^{a b} Enker, Debi (April eleven, 2002). "Buffy serves up musical feast with enough of seize with teeth", 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 (November 17, 2001). "The Guide: Aeriform view of America", The Observer, p. 98.
53. ^ Murray, Steve (November 6, 2001). "' Buffy ' and friends fight fiend with a vocal in their heart", Atlanta Journal-Constitution, p. C3.
54. ^ Menon, Vinay (Nov thirteen, 2002). "Brilliant Buffy still slays u.s.", The Toronto Star, p. D01.
55. ^ Harrington, Richard (July ii, 2002). "Unsung 'Buffy': Props for A Magical Musical Moment", The Washington Post. p. C07.
56. ^ 2002 Hugo Awards Archived Baronial xv, 2009, at the Wayback Machine, Hugo Awards. Retrieved on June vii, 2010.
57. ^ 2003 Nebula Awards Archived February 17, 2004, at the Wayback Machine , The Locus Index to Science Fiction Awards. Retrieved on Baronial ii, 2010.
58. ^ "TV's Tiptop 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". TV Guide.
60. ^ Randy Lewis (September 23, 2002). "In The Know; Musical 'Buffy' Finally Lands in Stores", Los Angeles Times. p. F6.
61. ^ Hill, Melinda Buffy the Vampire Slayer: Once More than with Feeling [Musical Episode Soundtrack], Allmusic.com. Retrieved on June 29, 2010.
62. ^ "The ARIA Study: Issue No. 664" (PDF). AriaNET. November eighteen, 2002. Archived from the original (PDF) on January 6, 2003. Retrieved Apr v, 2012.
63. ^ ^{a b} "Buffy the Vampire Slayer: Again with Feeling - Original Goggle box Soundtrack | Awards". AllMusic. Archived from the original on May 17, 2016. Retrieved September 11, 2014.
64. ^ "BBC – Cult – Buffy Stuff – DVD and VHS". BBC. Archived from the original on Nov 6, 2012. Retrieved July five, 2010.
65. ^ Pateman, p. 181.
66. ^ Pierce, Scott (May 25, 2004). "Will Buffy-poesy expand?". The Deseret News. Salt Lake City, UT.
67. ^ Cohn, Angel (January 18, 2007). "Why Y'all Must 'Melody' In to Tonight's Scrubs Musical!". Idiot box Guide. Archived from the original on March 22, 2009. Retrieved July 6, 2007.
68. ^ Gallo, Phil (March 11, 2011). "'Grey'southward Anatomy' Musical Episode to Feature Cast Singing Fray, Snow Patrol". Billboard. Prometheus Global Media. Archived from the original on March nine, 2014. Retrieved September 17, 2013.
69. ^ Lyons, Margaret (2011). Grey'southward Anatomy's Doc/Horrible Sing-along Archived April 4, 2011, at the Wayback Auto, New York. Retrieved on April 18, 2011.
70. ^ Williams, Mary (March 29, 2011). Musical Television episodes: The gimmick that won't die Archived April 4, 2011, at the Wayback Motorcar, Salon.com. Retrieved on April 18, 2011.
71. ^ Itzkoff, David (April eighteen, 2011). Once More, With Feeling: Joss Whedon Revisits 'Dr. Horrible's Sing-Along Blog' Archived April 23, 2011, at the Wayback Machine. The New York Times. Retrieved on Apr 18, 2011.
72. ^ Fletcher, Rosie (June 30, 2019). "Anna And The Apocalypse interview: the director on his zombie musical". Den of Geek . Retrieved June 30, 2019.
73. ^ "Fangs for the memories". Retrieved June viii, 2010. ^{[ dead link ]} , Associated Printing (Jan 19, 2007). Retrieved on June 8, 2010.
74. ^ Schwartzapfel, Beth (Feb 25, 2007). Sing Out, Buffy! Archived March 1, 2018, at the Wayback Machine, The New York Times. Retrieved on June eight, 2010.
75. ^ "Buffy-oke" does it once more, with feeling Archived May 26, 2010, at the Wayback Car , Variety (June 28, 2007). Retrieved on June eight, 2010.
76. ^ De Leon, Kris (Oct 16, 2007) Fox Pulls the Plug on 'Buffy' Sing-Along Archived June 16, 2008, at the Wayback Machine , Buddy Goggle box. Retrieved on June 8, 2010.

Bibliography [edit]

• Attinello, Paul; Halfyard, Janet; Knights, Vanessa (eds.) (2010). Music, Sound, 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 i-4129-0999-half dozen
• Davidson, Joy (ed.) (2007). The Psychology of Joss Whedon: An Unauthorized Exploration of Buffy, Affections, and Firefly, Benbella Books. ISBN 978-one-933771-25-0
• Dial-Commuter, 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 and the Slayer: A Gender Studies Primer for the Buffy Fan, Wesleyan University Printing. ISBN 978-0-8195-6758-1
• Kaveney, Roz (ed.) (2004). Reading the Vampire Slayer: The New, Updated, Unofficial Guide to Buffy and Angel, Tauris Parke Paperbacks. ISBN 1-4175-2192-ix
• Mitchell, Claudia; Reid-Walsh, Jacqueline (2008). Girl Culture: Studying Girl Culture: A Readers' Guide, Book ane, Greenwood Publishing Group. ISBN 0-313-33909-0.
• Newcomb, Horace (2004). Encyclopedia of Television receiver, Museum of Broadcast Communications, ISBN one-57958-394-6.
• Pateman, Matthew (2006). The Aesthetics of Culture in Buffy the Vampire Slayer, McFarland and Company. ISBN 0-7864-2249-one
• South, James (ed.) (2003). Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale, Open Court Books. ISBN 0-8126-9531-3
• Stafford, Nikki (2007). Bite Me! The Unofficial Guide to Buffy the Vampire Slayer, ECW Press. ISBN 978-1-55022-807-6
• Sweeney, Kathleen (2008). Maiden United states: Girl Icons come of Age, Volume 3, Peter Lang. ISBN 0-8204-8197-i
• Tropiano, Stephen (2002). Prime Time Closet: A History of Gays and Lesbians on Tv, Applause Theater and Movie house Books. ISBN 1-55783-557-8
• Danuta Walters, Suzanna (2001), "All gay, all the time?", in Danuta Walters, Suzanna (ed.), All the rage: the story of gay visibility in America, Chicago: University of Chicago Printing, 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). Seven Seasons of Buffy: Science Fiction and Fantasy Authors Discuss Their Favorite Idiot box Testify, Benbella Books. ISBN ane-932100-08-3

External links [edit]

• "In one case More, with Feeling" at IMDb
• "One time More than, with Feeling" at BBC.co.united kingdom of great britain and northern ireland

gregoryhemple.blogspot.com

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

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