ABSTRACT
The characters in the Buffyverse do not live in the emotional world of The Sound of Music its Nazis are eminently more escapable than the vampires and demons which incarnate the evil that permeates Buffy's world. The Buffy theme tune, as Halfyard has noted, normally starts with instrumentation recalling horror movies and shifts to rock instruments, thus indicating the series's genre and gender-bending take on horror, with the rock music associated with the feminist hero Buffy. The diegesis commences with Buffy's so-called "I Want" song, "Going Through the Motions," which, similar to the later "Walk Through the Fire," is in essence a solo performance but is layered with ensemble production pieces. The formal conventions of a television series and the unsatisfactory paradox of Spike and Buffy's union both undermine the validity of the film musical's ending.
