Within the interview, the query Whedon was requested implied that though a fan base may need characters to get collectively, “that usually would not go away the narrative with anywhere to go.” Whedon talked about Sam and Diane and stated: 

“That is why we had Angel go dangerous when he and Buffy received collectively. As a result of — and I’ve gotten into a lot hassle for this phrase — what individuals need is just not what they want. In narrative, no person needs to see fats, married Romeo and Juliet, even when fats, married Romeo and Juliet occur to be [Dashiell Hammett’s detective couple] Nick and Nora Charles they usually’re actually cool and having a good time of their pretty relationship and actually care about one another and have good, well-adjusted kids. Guess what? Individuals do not wish to see it.”

Fatphobic remark apart, Nick and Nora are the protagonists of “The Skinny Man” motion pictures. The primary one got here out in 1934 and spawned 5 sequels, a collection, a radio play, and extra, so Whedon’s instance already disproves his method.

This is smart for a present like “Moonlighting,” which is about a relationship, as a result of as soon as the pair will get collectively, what’s left to observe? “Buffy the Vampire Slayer,” nonetheless, wasn’t nearly Buffy (Sarah Michelle Gellar) and Angel (David Boreanaz) and the entire will-they-won’t-they of all of it. It was additionally about preventing monsters, highschool/school friendships, a mentor coping with his personal previous, a younger girl who’s attempting to navigate being a hero, in contrast to those she grew up studying about, and attempting to have a traditional life as nicely.