More than 20 years after Buffy the Vampire Slayer wrapped its seven-season run, the beloved supernatural series is on the verge of a revival. Hulu is reportedly close to ordering a pilot for a new chapter in the Buffy universe, with Sarah Michelle Gellar expected to reprise her iconic role as Buffy Summers. Acclaimed director Chloé Zhao, an Oscar winner and longtime Buffy fan, is set to direct the pilot, which is being written by Nora and Lilla Zuckerman (Poker Face).
The reboot is being developed by Buffy’s original studio, 20th Television, alongside Searchlight TV, where Zhao has a first-look deal.
Excitement Builds as Writers’ Room Prepares to Launch
In addition to the pilot order, sources indicate that a writers’ room is being assembled—an encouraging sign that Hulu and the production team are confident in the series moving forward. It remains unclear if other original cast members will return, but the chances of familiar faces appearing seem likely.
Described as the next evolution of the Buffyverse, this new project will be executive produced by Gellar, Zhao (through her production company Book of Shadows), the Zuckerman sisters, and key figures from the original show—Gail Berman (The Jackal Group), Fran Kuzui, and Kaz Kuzui (Suite B). Additionally, music legend Dolly Parton, whose company Sandollar was a producer on the original Buffy, is also on board as an executive producer.
Notably absent from the project is Buffy’s original creator, Joss Whedon, who has had no involvement since leaving Hollywood following multiple misconduct allegations in 2021.
The Third Entry in the Buffy Franchise
If greenlit, the Hulu reboot would mark the third series in the Buffy franchise, following the original Buffy the Vampire Slayer (which aired from 1997 to 2003) and its spinoff Angel (1999–2004).
This is not the first attempt at reviving the series. In 2018, 20th TV explored a Buffy reboot with Midnight, Texas creator Monica Owusu-Breen writing the script and Joss Whedon attached as an executive producer. That version, which was set to feature a Black female lead, never made it to production. Still, interest in a revival has remained strong, fueled by fan enthusiasm and several high-profile cast reunions.
Dolly Parton hinted last year that a Buffy comeback was still being discussed, stating in an interview, “They’re thinking about bringing it back and revamping it.” Gellar, who previously resisted the idea of returning to the role, changed her stance in a December interview while promoting her role in Dexter prequel series Original Sin.
“It’s funny, I always used to say no because it exists in its own bubble and it’s so perfect,” Gellar shared. “But watching Sex and the City and Dexter, and realizing there are ways to do it, definitely gets your mind thinking, ‘Well, maybe.’” She also added that a revival wouldn’t necessarily have to be a prequel, stating, “It could be anything. It’s a universe. And in today’s world, we need heroes more than ever.”
According to insiders, negotiations for Gellar’s return had already begun at the time of her comments and are now in their final stages.
Key Players Behind the Revival
Sarah Michelle Gellar, a Golden Globe nominee for her role as Buffy, has had a diverse career since the show ended. She recently starred in and executive produced Wolf Pack on Paramount+, and has previously appeared in The Crazy Ones (CBS) and Ringer (The CW). She is represented by CAA, Linden Entertainment, and Yorn Levine Barnes.
Gail Berman, another key executive producer on the project, is simultaneously working on a revival of Malcolm in the Middle for Disney+. She is also behind Netflix’s hit series Wednesday, Fox’s animated comedy Grimsburg, and Netflix’s upcoming limited series The Perfect Couple.
The Zuckerman sisters, who are writing the pilot, recently served as showrunners on Peacock’s critically acclaimed Poker Face, created by Rian Johnson. Their episode “Escape From Shit Mountain” won both an Edgar Award and a Writers Guild of America (WGA) Award.
Chloé Zhao, known for her Oscar-winning film Nomadland, is also an experienced writer-director in the blockbuster space, having co-written and directed Marvel’s Eternals (2021). Her upcoming project Hamnet, starring Jessie Buckley and Paul Mescal, is set to be released soon. Zhao is represented by CAA, Lichter Grossman, and Ilene Feldman Management.
What’s Next?
With Hulu’s pilot order imminent and a writers’ room gearing up, all signs point to a return to the Buffy universe in the near future. Whether this revival will recapture the magic of the original remains to be seen, but with Gellar back in the mix and a talented creative team at the helm, excitement is growing for what could be a major television event.
COMMENTARY:
The potential Buffy the Vampire Slayer reboot has sparked excitement, but also concerns. At its core, Buffy was a show about fighting supernatural evil while balancing the struggles of growing up. It was a blend of action, horror, comedy, and deep emotional storytelling that resonated with fans for years. If Hulu and the creative team behind this new iteration stray too far from the original formula, they risk alienating the very audience that made Buffy an icon. A modern take should embrace the themes that worked—heroism, friendship, sacrifice—without forcing unnecessary contemporary politics into the story.
One of the biggest fears with modern reboots is the tendency to push divisive political messaging at the cost of good storytelling. Too many reboots and adaptations today prioritize identity politics over crafting compelling narratives. If Buffy becomes a vehicle for activism rather than a gripping supernatural drama, it will lose the essence that made it special. The focus should be on well-written characters and strong storytelling, not on filling quotas or ticking diversity boxes to satisfy industry trends.
A perfect example of how things can go wrong is Walker, which abandoned its roots and injected unnecessary ideological messaging. The Buffy reboot must avoid falling into the same trap. The original Buffy handled social issues subtly, using metaphors and strong character arcs rather than lecturing its audience. The show was progressive in its own way, but it never felt like it was pandering or forcing a political agenda. If this reboot turns Buffy into another overly “woke” series, it will push away longtime fans and fail to capture new ones.
Another key factor is maintaining Buffy’s tone. The show was dark, yes, but it was also fun and self-aware. It never took itself too seriously, and that balance was part of its charm. Modern reboots often forget this and either lean too heavily into self-importance or turn into complete parodies of themselves. The Buffy reboot should respect its origins by keeping the same blend of humor, action, and drama that made the original so beloved.
Casting is another major concern. The original cast was filled with actors who embodied their roles perfectly, chosen because they fit the characters, not to fulfill some arbitrary hiring standard. If the new Buffy is cast based on ideological considerations rather than talent, it will be a disservice to the show. The priority should be hiring the best actors for the job, not making sure the cast meets some DEI (Diversity, Equity, and Inclusion) checklist.
This isn’t to say that Buffy should be afraid of diversity—it already had it in a natural way. The difference is that in the original, diversity was a byproduct of great storytelling, not the main selling point. If the reboot wants to introduce new characters, they should feel organic to the story, not forced into it to satisfy industry trends. Fans want a compelling series, not a lecture.
Joss Whedon’s absence from this project is another red flag. Regardless of the controversies surrounding him, there is no denying that he was the creative force that made Buffy what it was. His signature style—witty dialogue, strong character arcs, and genre-bending storytelling—defined the show. To exclude his input entirely is a mistake. If the new showrunners truly care about getting this right, they should at least consult him in some capacity.
The original Buffy had layers—it wasn’t just about vampires. It was about overcoming adversity, dealing with personal demons, and finding strength in the face of darkness. If the reboot shifts its focus to modern ideological messaging, it will lose the deeper meaning that made the show so special. We’ve seen it happen to other franchises that became more concerned with checking political boxes than telling good stories. Buffy deserves better.
Even politically, Buffy should remain neutral. The show worked because it appealed to a wide audience, not just one side of the political spectrum. If the reboot leans too heavily in any direction—especially into progressive activism—it will turn off a significant portion of its fanbase. Television should be about escapism and entertainment first. The original Buffy managed to explore complex themes without ever feeling like it was preaching to the audience.
One of the reasons the show remains so loved is because it never felt exclusionary. It welcomed all viewers, regardless of background, and resonated with people on a personal level. That kind of universal appeal is rare, and it would be a shame if the reboot lost that by turning Buffy into a political mouthpiece.
It’s also important to respect the show’s legacy rather than trying to “modernize” it for the sake of being trendy. A good story is timeless. The best way to make Buffy relevant again isn’t by forcing it into today’s political landscape but by staying true to the original themes of heroism, sacrifice, and friendship. That’s what made it work then, and it’s what will make it work now.
Another crucial aspect is the writing. The original Buffy had some of the best dialogue on television—smart, witty, and emotionally impactful. If the reboot replaces that with forced, agenda-driven storytelling, it will fail. The writers must understand what made Buffy’s dialogue and character interactions so compelling and maintain that same level of quality.
The supernatural elements should also remain front and center. Buffy was never just about personal drama; it was about facing literal and metaphorical monsters. The reboot should double down on creative, well-developed supernatural threats rather than focusing too much on modern-day social struggles. The real world has enough of that already—people watch Buffy for escapism, adventure, and excitement.
Ultimately, the reboot has the potential to be great, but only if the creators stay true to the original spirit of the show. They need to focus on strong storytelling, compelling characters, and exciting supernatural battles—not on using Buffy as a platform for ideological messaging. If they get that balance right, they could create something truly special.
The fans don’t need Buffy to be reimagined through a modern political lens. They need Buffy to return as the powerful, witty, and inspiring character she always was, leading a show that respects its past while embracing its future. Hopefully, Hulu and the creative team understand that, or else this reboot might just be another disappointing entry in a long line of failed revivals.
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