"The Body" is the sixteenth episode of the fifth season of the supernatural drama television series Buffy the Vampire Slayer. The episode was written and directed by series creator Joss Whedon and originally aired on The WB in the United States on February 27, 2001. In the series, Buffy Summers is a teenager chosen by mystical forces and endowed with superhuman powers to defeat vampires, demons, and other evils in the fictional town of Sunnydale. She is supported in her struggles by a close circle of friends and family, nicknamed the "Scooby Gang". In "The Body", Buffy is powerless as she comes upon her lifeless mother, who has died of a brain aneurysm.
Although Buffy and her friends deal with death every week, often in very gruesome and fantastic ways, in this episode they are bewildered by the natural death of Joyce Summers, the divorced mother of Buffy and her sister Dawn and occasionally a mother figure to their friends. They struggle to comprehend what the loss means to each of them and the group. Buffy must begin to face her life and her duties as the Slayer without parental support and comfort. The episode was stripped of all music, and disorienting effects were included to convey the sense of displacement and loss associated with the death of a close family member.
"The Body" aired to wide acclaim, and has since been ranked by several critics as one of the greatest television episodes ever broadcast.
Contents
Background
Buffy (Sarah Michelle Gellar) is assisted from season one by her close friends, who collectively refer to themselves as the Scooby Gang: Xander Harris (Nicholas Brendon), whose primary strength is his devotion to Buffy, and Willow Rosenberg (Alyson Hannigan), who begins dabbling in witchcraft and grows progressively more powerful. They are mentored by Rupert Giles (Anthony Stewart Head), Buffy's "Watcher", and joined by Xander's girlfriend Anya Jenkins (Emma Caulfield), who was a vengeance demon until her powers were taken away. Anya is often at a loss to know how to communicate with humans, and her speech is frequently abrupt. In the fourth season, Willow became romantically involved with Tara Maclay (Amber Benson), also a witch.
Each season of Buffy the Vampire Slayer (often simplified as Buffy) presents an overall theme episodes tie into. Roz Kaveney identifies family and belonging as the overall theme of the fifth season. Buffy's mother Joyce (Kristine Sutherland) begins experiencing headaches at the beginning of the season, once collapsing and requiring hospitalization. She subsequently has a brain tumor removed. She has been recovering well. In the previous episode, "I Was Made to Love You", she receives flowers from a male suitor, which Buffy finds at the end of that episode. The fifth season also introduces Dawn (Michelle Trachtenberg), Buffy's 14-year-old sister. Each season has a primary antagonist called the Big Bad; in the fifth season this takes the form of a powerful goddess named Glory (Clare Kramer).
Plot
Buffy arrives home and sees flowers sent by Joyce's suitor. She calls out to her mother but hears no answer. Buffy sees Joyce lying lifeless on the sofa, staring at the ceiling.
There is a flashback to a Christmas dinner where Joyce and all the Scoobies are present, having a typical lighthearted conversation. The scene snaps back to a hysterical Buffy in the living room, shaking Joyce and screaming at her. She calls for an ambulance and attempts CPR, but to no avail. As the paramedics arrive, Buffy briefly fantasizes about Joyce reviving and recovering in the hospital, only to return to reality where the paramedics are unable to revive Joyce and pronounce her dead. Giles arrives and Buffy tells him not to move the body, shocking herself by using that word. At school, Buffy pulls Dawn out of class into the hall. Through the windows of the art room, the class watches Buffy tell her that Joyce has died. Dawn collapses, wailing.
Xander and Anya arrive at Willow's dormitory room where Tara tries to help a panicked Willow find a shirt to wear, as Willow does not know how to appear for Buffy and Dawn. Anya asks Xander what she is supposed to do; he cannot answer. Xander expresses his desire to find Glory and exact justice, then complains about Joyce's negligent doctors. Anya asks if they will see the body, then if the body will be cut open, and Willow responds angrily. Anya tearfully says she does not understand how to behave, or why Joyce cannot go back into her own body, unable to understand human death. The group then leaves to visit Buffy, Dawn and Giles at the hospital.
In the waiting room outside the morgue, the doctor tells Buffy that Joyce died of an aneurysm suddenly and painlessly. Dawn goes alone to see Joyce's body. While she is there, one of the bodies, now a vampire, gets up. After noticing Dawn has not come back, Buffy goes to look for her. As Buffy kills the vampire, the sheet falls from Joyce's face. Looking at her mother's body, Dawn asks where she went, as she reaches out to touch her cheek.
Production and writing
From the start of writing the Buffy series, Joss Whedon asserted that it would never have a "very special episode" as in contemporary series Beverly Hills, 90210, The Wonder Years, or Party of Five, where the core cast of characters addresses a single issue (AIDS, drug abuse, or alcoholism, for example) and resolve all the problems at the end. Whedon was not interested in finding a life-affirming lesson for "The Body". Rather, he wanted to capture the isolation and boredom involved in the minutes and hours after finding a loved one has died, what he termed "the black ashes in your mouth numbness of death". He did not intend to resolve any religious or existential questions about the end of life, but wanted to examine the process in which a person becomes a mere body. Whedon's mother, a teacher, also died of a cerebral aneurysm, and he drew on his own experiences, and those of friends and other writers, in constructing the episode. He tried to achieve an "unlovely physicality" in "The Body" to portray the upsetting minutiae involved in attempting to comprehend what is incomprehensible.
Small details became significant: to protect her dignity, Buffy pulls the hem of Joyce's skirt down after it rode up when she attempted CPR; the camera focuses on a breeze through wind chimes while Buffy vomits; to emphasize Buffy's isolation, the scene has no exterior establishing shots of the house.
The opening sequence of "The Body" was also the closing scene of the previous episode, "I Was Made to Love You"; this is the only episode in the series that was first aired without a "Previously on Buffy" lead-in. The Christmas dinner scene was used both to contrast the stark reality of the rest of the episode and to avoid having the credits appear over the beginning scenes where Buffy is trying to revive her mother.
The episode is presented in four acts, each beginning in total silence and with a close-up shot of Joyce's pale, staring face. Shooting the first act was difficult for Gellar (Buffy). Whedon shot the scene where she finds her mother as one long take, showing her move through the house and calling the paramedics, about seven times. The rest of the scenes in the act were shot in sequence. At the end, Giles arrives and also attempts to revive Joyce, but Buffy blurts, "We're not supposed to move the body!" Both Gellar and Trachtenberg (Dawn) were raised by single women, and Gellar later spoke about the experience of acting something that was very real and close to her, stating, "you try to separate it as best you can and at the same time it adds that extra layer". As soon as the scene was finished with Gellar "at a fever pitch", they restarted it where she comes in the door happily, which Whedon regretted for the emotional range Gellar was required to endure.
Themes
Grief
In Nikki Stafford's analysis, the reactions of Buffy, Dawn, Xander, Willow, Anya, and Tara represent stages of Elisabeth Kübler-Ross' five stages of grief in different parts. Joss Whedon stated on the DVD commentary how surprised he was at the response from viewers who wrote to say that the episode allowed them to accept the death of a close family member, even if they had not acknowledged it for months or years. Joyce's death was the first by natural causes in the series.
In The Psychology of Joss Whedon, two academic psychologists identify the source of Buffy's strength as her mother, paired with Giles' mentorship. Joyce did not know all along that Buffy was a Slayer and had difficulty accepting what her daughter was called to do. She was nonetheless always attentive and available when Buffy's confidence was shaken, and both Joyce's and Giles' devotion to her "gave her the self-assurance to wield her power to its full potential". Joyce served as a parent figure to all of Buffy's friends, whose home lives were often unstable or unloving, thus making her death more poignant to all of them. Willow mentions her parents several times throughout the series, but her father is never seen. Her mother is portrayed only once in "Gingerbread", at first as an academic so preoccupied with her career that she is unable to communicate with Willow, and then—with Joyce—under the spell of a demon and in the throes of moral panic, attempting to burn her own daughter at the stake for being involved in witchcraft. Xander's parents are described by him and those who have been to his house as alcoholic and verbally abusive. Even Anya, severely wanting in social graces, has lost someone she admires and trusts. Giles also grieves for the loss of a friend and—in one episode when the adults fall under a spell making them retreat into an adolescent state—a lover. Lorna Jowett in Sex and the Slayer writes that Joyce represents stability and normality. For the Scoobies, her death destroys the illusion that normal life is trouble-free; it is just as challenging as encountering supernatural forces.
Finding her mother's body, Buffy at first denies what she sees, to the point of imagining alternate realities. Whedon stated that these mini dream sequences were like documentaries; people who find their loved ones dead are desperate to imagine a different, better outcome, and they create fantasies that cause much more pain when they are forced to return to the harshness of reality. Later in the hospital, Buffy imagines what she might have been able to do to save Joyce, although the doctor tells her there was nothing to be done. Willow and Xander express anger and helplessness. Anya, new to mortality and human connections, is childlike in her innocence and questions. Xander's anger and Anya's confusion allow them to be mothered somewhat by Willow, who needs to take care of someone. Dawn is deeply in denial, unable to understand that the woman she thought she had known all her life was gone. Tara, who has gone through the ordeal before, represents the acceptance phase, soothing and helping the others to work through what they are experiencing. Buffy toward the end also begins to see acceptance when she tells Dawn that the body in the morgue is not their mother; Joyce is gone.
Reality
Whedon uses several disorienting effects to heighten the reality of the situations in the episode to the point that they seem surreal. The long opening shot of Buffy coming home and finding Joyce was filmed with one hand-held camera in constant movement as she walks through the house to the phone and back to her mother again. The buttons on Buffy's phone are abnormally large, an effect that Whedon added because he experienced it when his mother died. Buffy is so bewildered by the paramedic telling her that Joyce is dead that she can only focus on his mouth in an attempt to understand what he is saying. The camera uses her perspective and only the bottom part of the paramedic's face is in view. Instead of a normal "over-the-shoulder" view, Buffy is shot at the same height as the paramedic's shoulder, barely squeezed into the frame as if to portray her, according to Whedon, as trapped by reality. Kristine Sutherland stated that the script was "amazing", specifically at capturing the detachment: "It's not something you can process. I mean mortality is just not part of your vocabulary when you're that age."
In the hospital, as Buffy listens to the doctor confirm how Joyce died, the doctor says something, but the words "I have to lie to you to make you feel better" are spoken discordantly, as though, according to cinema scholar Katy Stevens, Buffy "constructs what she believes to be an unmentionable truth—her culpability in her mother's death". In the same scene, Dawn is shot with a hand-held camera that drifts, giving her a slightly unreal moment as she struggles to believe, unlike what Buffy already knows, that her mother's body is down the hall on a steel table. The scene with Buffy and Tara sitting in the waiting room was noted by Rhonda Wilcox for its reality in showing Gellar as ragged and distinctly unglamorous, particularly because she had been presented in a specific way to attract male viewers and was a spokeswoman for Maybelline while Buffy aired. Buffy sits with circles under her eyes, unflattering hair, and slumped posture next to Tara, who had been criticized for being too heavy, despite her body type being more typical of women her age.
Foremost of the disorienting effects, to critics and scholars, is Whedon's use of sound and silence. While Buffy performs CPR, she cracks one of Joyce's ribs with a startling snap. After Buffy vomits on the floor, she stands in the back doorway listening to life carrying on: children playing, someone practicing a trumpet, and birds singing. Long pauses between dialogue create gaps that turn awkward as the characters try to think of what to say, made especially notable in a series famous for its rapid banter. The transition between the Christmas dinner scene and the living room scene is abrupt, and the sound of Buffy and Joyce shouting because they dropped a pie on the floor carries over into the silence of Joyce's lifeless face and Buffy standing alone in the living room. This effect is also used when shifting between Buffy's alternate version of her mother being "good as new" in the hospital and the paramedics trying to revive her. In the car on the way to Willow's dormitory, Anya is shot by a camera mounted on the front bumper, separated from the audience by the windshield. Xander, driving, faces the other way; neither of them speak and only the sound of the car can be heard. Joyce Millman at Salon.com writes of the sound issues, "The effect was almost Bergmanesque in its starkness. The spooky stillness and the long, spacey pauses in conversation as characters struggled to articulate their feelings exaggerated the sense of time elongating and standing still."
Reception
Critics praised the episode, and have continued to count it as one of the finest episodes of television ever broadcast. David Bianculli in the New York Daily News commends the acting abilities of Sarah Michelle Gellar, Michelle Trachtenberg, Alyson Hannigan, and Amber Benson. "The Body", according to Bianculli is "Emmy-worthy ... It also will haunt you—but not in the normal way associated with this still-evolving, still-achieving series." Television critic Alesia Redding and editor Joe Vince of the South Bend Tribune write, "I was riveted by this show ... This isn't just one of the best Buffy episodes of all time. It's one of the best episodes of TV of all time." Redding adds, "If you watch this incredible episode and don't recognize it as great TV, you're hopeless ... A 'fantasy' show delivers the most stark and realistic take on death I've ever seen, deftly depicting how a loved one who dies suddenly becomes 'the body'."
Gareth McLean in The Guardian rejects the notion that Buffy is similar to other "schmaltzy American teen show(s)" like Dawson's Creek: "This episode was a brave, honest and wrenching portrayal of death and loss. The way this was handled by Joss Whedon ... was ingenious. Time slowed down and the feeling of numbness was palpable as Buffy and her gang tried to come to terms with Joyce's death." McLean especially appreciated the small details of Buffy protecting Joyce's dignity and the confusion shown by the characters. He concludes, "Joyce may be dead but long live Buffy the Vampire Slayer." Joe Gross in the Austin American-Statesman calls the episode "devastatingly calm" and states that "the entire cast and crew should have received some sort of Emmy for 'The Body'".
At Salon.com, Joyce Millman writes, "there hasn't been a finer hour of drama on TV this year than ... 'The Body' ... You have to hand it to the writers; Joyce's demise came as a complete surprise. In that instant, Buffy's childhood officially ends. Even if Buffy gets stiffed in every other Emmy category this year, 'The Body' should convince the nominating committee that Gellar is for real ... I can't remember the last time I saw a more wrenching portrayal of the shock of loss." Andrew Gilstrap at PopMatters declares it "possibly the finest hour of television I've seen, bar none ... It is an incredibly moving episode, one that finally admits that you don't walk away from death unscathed. It also shows that, for all the group's slaying experience, they really weren't prepared for death when it stole a loved one." Gilstrap went on to say the series did not again address death and grief of this magnitude until, in another shocking turn of events, Tara dies of a stray gunshot in the sixth season. Jerry McCormick in The San Diego Union-Tribune agrees, rating Joyce's death as having the same emotional impact as Tara's in "Seeing Red", both of which he listed as the saddest in the series.