There is a striking tendency among YouTube reactors that is quite noticeable to the critical ethnographic observer. It is a tendency that is hardly new and it is a tendency that is hardly a monopoly of YouTube reactors. It has long been quite common and widespread in the human community for some time, probably, in fact, since the beginning of thinking and speaking human community time. And it is a tendency, as a consequence, that has long been present among contributors to YouTube
While a lot if not most YouTube reactors are characterised by this tendency I am going to focus on three YouTube “reactors" who are, paradoxically, also amongst, in my opinion, the better Buffy the Vampire Slayer reactors on YouTube: domi e, TheLexieCrowd, and Sofie Reacts. All three have been reacting, if sometimes fitfully to Buffy as they have other things in their YouTube barrel they are reacting to in order to generate notoriety and, as a consequence, generate monies, for years now. Of the three domi e is the only one not to have finished the series at this point.
The human tendency I am referring to relates to method, if one can assume that there is indeed some method to the YouTube “reactor" madness. Like most humans most YouTube reactors and most YouTube Buffy reactors, even the best of them, apply a faulty method of “analysis” to the text they are reacting to, in this case to the Buffy text. Instead of starting with exegesis or a close textual analysis and one that draws on what the authors of a text professed to be up to when they created it and moving on next to an exegetically grounded hermeneutics, putting, in the process, the Buffy text in its empirical economic, political, cultural, demographic, and geographic contexts, most YouTube reactors and our three YouTube reactors in particular, start with the third aspect of the method in this chain of interpretation instead of the first, homiletics. They, in other words, begin and largely end their "analysis" by inscribing their ideologies into the Buffy text sans essential exegetical and hermeneutic analysis both of which should check and balance speculative readings of any text.
One recent example of this tendency or method—beginning and ending with homiletics—is particularly apparent when one explores how all three watched and reacted to the Buffy episode “Once More With Feeling”, the seventh episode in the sixth season of Buffy the Vampire Slayer. Buffy, of course, as those who have watched the show know, died at the end of the fifth season as heroes often do during the heroes journey sketched out by Joseph Campbell (see Campbell’s book The Hero With a Thousand Faces). In the heroes journey the hero doesn’t stay dead and in Buffy’s case her friends Willow, Xander, Anya, and Tara refuse to let her die and literally resurrect her in the first episode of season six of the show.
Buffy, however, doesn’t come back right. Her friends assume she was in a hell dimension, a hell dimension similar to the one Buffy sent Angel to at the end of season three of the show. She has been instead, as she tells the vampire with a chip in his head Spike in the third episode of season six, in what she describes in her theologically naive way, heaven. So like the damaged men of Wuthering Heights, Pride and Prejudice, and even Buffy itself, Buffy is returned to what she calls hell, a real life in the real world, an ordinary life in an ordinary world (a shout out to Sartrean existentialism) that for her is literally hellish.
Buffy faces not only emotional and psychological problems after she returns to life, problems related to that eternal existentialist question of why am I here. She also faces economic problems given that her mother’s long illness and death has left her in financial straights (a shoutout to the broken US health care system that often leaves many in debt and with debt even if they have medical insurance). She needs to get a loan to pay her many piled up bills and get a job in order to make ends meet and to fix the broken water pipes in her basement (metaphors and allegories become more tangible and obvious in season six of the
BtVS bildungsroman, in the
Buffy growing up tale of season six, for obvious reasons).
Getting either a bank loan or a job proves difficult for Buffy in season six. Buffy has no collateral and her home, which she inherited from her mother Joyce, and which she tries to use as collateral to get a loan from the bank, has already, as the bank loan officer she goes to for a loan tells her, been fully leveraged and has been losing equity for years (a shout out to the fact that Joyce’s and Buffy's home has been trashed on many occasions given that Buffy already has a job, slaying). So she can’t, like many poorer Americans, get a loan. As for getting a job, Buffy never graduated from college dropping out from UC-Sunndyale in season five in order to move home to help take care of her sister Dawn and eventually her sick mother as well so her job options are, as little sister Dawn notes in season six, pretty much limited to poor paying retail and service industry work that literally in the Buffyverse, turns many fast food workers into retail automatons. Moreover, Buffy, who is called to be a slayer—it is her vocation not her job—can’t charge those she aids for killing the monsters, demons, and vampires of Sunnydale that are out to kill them.
Fortunately, for Buffy and those, like Willow and Tara who live with her in her home and who don’t have jobs or much income either, Giles, Buffy's mentor, is there to help. He gives Buffy monies to fix the broken water pipes in her house and to take care of her other financial issues. Instead of trying to find a job immediately, however, Buffy, admittedly somewhat depressed thanks to her resurrection to the hell of ordinary life, rushes off to meet her former boyfriend Angel somewhere between Sunnydale (a low rent Santa Barbara) and Los Angeles, where Angel now resides, shirking, as Giles sees it, her more mundane financial and familial duties foisting the disciplining of her sister off on Giles in the process.
Giles, Buffy’s watcher and mentor, is concerned with Buffy’s shirking of her adult responsibilities and this concern along with his feelings that he is “standing in the way” of her growing up comes to a head,
in “Once More With Feeling. Buffy is not the only Scooby in season six shirking her adult responsibilities. Willow is using magic to make things easier for her including making things easier for her in her relationship with her girlfriend Tara, who, after an argument, she casts a forgetting spell on. Xander and Anya are having second thoughts about their forthcoming marriage. Sister Dawn is stealing in order to get attention. All these oh grow up story and character arcs come to a head in the episode “Once More With Feeling”.
In “Once More With Feeling", a musical episode, our characters sing out, thanks to a spell cast, their deepest feelings and, in the process, they learn about some of each others deepest secrets. It the episode it is revealed that Buffy was not in hell as her friends thought but in heaven, that Willow has been manipulating Tara’s mind, that Xander and Anya have things that bug them about each other, that Giles is sensing that he is standing in the way of Buffy becoming a responsible adult, and that Dawn is feeling alone and unwanted.
What is happening in season six up to and after “Once More With Feeling” is part and parcel with what Buffy creator, show runner, writer, and director said was the broad theme of season six of the show, the need to grow up and take responsibility for your actions. All the Scoobies, save for Giles, are stuck in pre-adult overdrive, including what seem like the villains or big bad of season six at first (they actually aren’t, the inability of our Scoobies to grow up is), the trio of Jonathan, Warren, and Andrew who, after graduating from high school, decide to become supervillains just like those they emulate in the science fiction and action adventure media they devour like fanboy kids.
It is this, this exegetical fact, the fact that Buffy season six is about growing up and taking responsibility, that many YouTube reactors including our own trio of domi e, TheLexieCrow, and Sofie Reacts, miss because they have not (and perhaps will not) engage in empirical analysis and explore what those who made Buffy say about their intentions for season six. They prefer to “approach” Buffy tabula rasa (which is, of course, impossible given the reality of socialisation), paradoxically "Tabula Rasa” is the title of the episode of Buffy that was broadcast right after “Once More With Feeling”.
All three reactors are, as their reactions to “Once More With Feeling” reveal, particularly angry with Giles who sings to a Buffy who is not paying attention and who is lost in her own little hermetic world that he feels he is standing in the way of Buffy’s life course development and needs to leave, which he does in the next episode, so she can become a responsible adult. They want him instead to continue to play the father to Buffy, not the father who realises that some tough love is sometimes necessary to aid someone to grow up but a father who solves all problems with the wave of the money want.
It is not surprising that many “reactors” read
Buffy in this way and take Buffy’s side against Giles in this episode. Buffy, after all, is the main character of the show and though many reactors identity with Giles and other of the Scoobies, many, including our trio of “reactors" also strongly identify with Buffy and take her side in crises like the ones Buffy faces in season six. One might also argue that it is not surprising that reactors take Buffy's over that of Giles because they too in a world where good and good paying jobs are fewer and fewer, where the service sector with its poor paying and poor benefit jobs is dominant, where sons and daughters sometimes have to live with their parents to make ends meet, where marriage is being delayed, and where pregnancy is delayed, where delaying growing up is kind of a functional strategy for life in the real world.
One thus has to wonder whether many of our “reactors" are, like their fictional counterparts in
Buffy the Vampire Slayer, stuck in life course neutral and consequently take the side of someone who is delaying growing up just like they are (though I suppose one can argue that engaging in the mundane and banal not so fine art of YouTube reaction video capitalism is not unlike working in the fast growing fast food industry). One has to contemplate, in other words, whether YouTube
Buffy “reactors" are creating a reality in
Buffy that mirrors their own in reality, something made possible if not probable by their studied ignorance of the
Buffy text the creators of the show actually made and the meanings they, and particularly Joss Whedon, put into the show, along with an ignorance of the broader economic, political, cultural, demographic, and geographic aspects of the show into which the television show fits. Needless to say this studied ignorance is something very much akin to the situation that the Trio find themselves in in
Buffy season six, a situation where the Trio of stuck in neutral males who are still living in the basements of their parents' homes, who don’t have jobs, who are still playing with their beloved
Star Wars toys (the detritus of a mediocre adolescent franchise), discoursing on who was the best James Bond, and who seemingly can’t or don’t want to grow up. Oh the humaninanity...