Many argue that “Buffy the Vampire Slayer” was high on feminism and LGBTQ empowerment, but fell short on cultural and ethnic diversity. Consider Chao-Ahn, a Chinese slayer introduced in season 7, whose first line was, “Like many in Asia, I am lactose intolerant. I am very uncomfortable.”

These days, many would cringe seeing an actor nonchalantly walking in and saying that, on top of speaking little English. 

In early February, Deadline announced that a “Buffy” reboot will officially happen after years of anticipation. Hulu, a network that showcases much diversity, would pick up the pilot. Chinese filmmaker Chloe Zhao would be the director, working alongside writers Nora and Lilla Zuckerman (“Suits,” “PokerFace”), Dolly Parton, and Sarah Michelle Gellar, who played Buffy in the original. Gellar would likely play an older Buffy as a recurring character, with the plot mainly focusing on a younger slayer.

The Representation Problem in “Buffy”

A cult teen favorite of the ’90s, “Buffy the Vampire Slayer” was a fantasy fiction show that spanned seven seasons, ending in 2003. Centered around Buffy Summers, a teenage vampire slayer, and her “Scooby Gang,” the series revolves around slaying the “demons,” of adolescence in order to grow up. Themes explored were toxic relationships, terminal illness and loss, sexuality, addiction and more. 

“Buffy” was highly praised for featuring a lesbian couple and showcasing steamy sex scenes, which was a big deal in the ’90s. However, creator Joss Whedon admitted years back that he did not have the tools to properly represent other cultures. As a result, the show often preyed upon racial stereotypes the few times characters of color were brought on. 

The above-mentioned Chao-Ahn only spoke Cantonese, got little spotlight, and was the second Asian slayer in the entire series. There was another slayer with a forcefully contrived Jamaican accent, killed off at the end of one season. There was also an episode, “Pangs,” which showcased a violent Indigenous tribe member that the crew fought. The episode was critiqued for being both stereotypical and for saying controversial things about the origins of Thanksgiving. Other episodes stereotyped African Shamanic tribes as uncivilized. There were just two African American cast members in the last season, which refreshingly, were not portrayed with heavy stereotypes.  

Could the new director redeem these “mistakes”? 

How Chloe Zhao Could Equal Potential

Zhao, a self-proclaimed “Buffy” fan, was the first woman of color to win an Oscar for Best Director for “Nomadland.” In 2021, she joined the Marvel Cinematic Universe and created the movie “Eternals.” Not only was Zhao the first Asian Marvel film director, but she brought on a highly diverse cast, including a deaf actor, an openly gay superhero, and several women and people of color … plus a sex scene. Zhao is passionate about identity and belonging. She also has her characters get in touch with their feminine or “softer” side, including showing male superheroes crying.  

In an interview, Zhao said she believes in the Taoism philosophy of balancing yin and yang: feminism and masculinity. “Often in our society, the masculine strength is celebrated, and that’s a painful way to exist for women and men,” she said. 

“Buffy” was a groundbreaking show that sends empowering messages to women and young people alike: Don’t be afraid to slay your demons. While social media users are on edge about a reboot, the request for more representation is undeniably strong. But the work cannot be entirely on Zhao. 

Podcaster Lani Diane Rich of Chipperish Media said it best: “I believe the ‘Buffy’ writers were good people who did great work and whose intent was good, even when the product carried within it had some destructive elements. For a person of privilege in this culture, not seeing is an option for us. The only way to combat privileged blindness is to normalize populations that have access to mass communications. It’s important to have the representation in front of the camera, but it’s essential to have it in our writers — the people who write the characters and hold our microphones. One person on the writing staff is not enough.” 

If Chao-Ahn returns, hopefully Zhao will do the character justice, and Asian American viewers will be proud to watch her. And if she works with a team that cares about inclusivity as much as she does herself, the show will get what it lacked in the ’90s, without losing the core of what made it a cult classic. 

Cover illustration by Kaayla Lee