Buffy the Vampire Slayer became a genre-defining television mainstay when it premiered in 1997, not only launching Sarah Michelle Gellar to superstardom but positioning Joss Whedon as one of the biggest geek creators of the era. The series was a major influence on the medium of television, not only in how its structure defined long-form storytelling for shows that would follow, but in how it broke down barriers and pushed forward progressive ideas when it wasn’t fashionable to do so. Furthermore, Buffy was never afraid of trying something new, especially when it thought that the series was spinning its wheels.
That brings us to today’s big anniversary, as December 14, 1999, twenty-six years ago today, marked the arrival of one of the best episodes of the entire series, Season 4, Episode 10, “Hush.” Written and directed by series creator Joss Whedon, “Hush” was conceived by Whedon since Buffy, as a series, had developed a reputation for leaning on its biggest strength, the dialogue. As a result, Whedon challenged himself to make an episode that had as little as possible, and in doing so set up stories and pushed characters forward in ways that defined the show.
At the start of the episode, the characters are in a place where their lines of communication are breaking down. Buffy can’t fully connect to her crush, Riley, while Willow is having trouble making friends in her Wicca group, Xander and Anya are arguing over their status, and Giles is anticipating the arrival of his long-distance girlfriend. This all coincides with the arrival of the ghastly “The Gentlemen,” described as fairy tale villains that steal the voices of the town and use it to steal seven hearts from their victims, and the only thing that can defeat them is the scream of a princess. With no one capable of even talking, defeating these figures is clearly a problem.
The Gentlemen are, in a word, terrifying. Not only do they have a twisted grin that implies no joy and only pain (with fan favorite actor Doug Jones playing one of them), but they’re accompanied by feral goons that wear ancient straitjackets as part of their wardrobe. Compared to many of the other Monster of the Week villains on Buffy, The Gentlemen don’t need to state a threat or run after their victims in pursuit to be scary. Instead, they float slowly, their chase defined by knowing their victims cannot really get away and that they’ll get what they want. Buffy uses this to its advantage, allowing the score by Christophe Beck and the silent acting of its cast to not only keep the audience engaged but also compelled by the lack of dialogue.
For fans watching “Hush” in 2025, there’s an added element to the story that keeps it relevant. As the news of Sunnydale residents no longer being able to speak begins to spread on local news, it’s referred to as a case of mass laryngitis that is called both a citywide hoax and also blamed on a flu vaccine. It’s crackpot stuff for the time, but now, perhaps hits a little too close to home.
“Hush” Actually Pushed the Buffy Story Forward, and Set a Shocking Record
After everyone can no longer talk in “Hush,” they’re finally able to stop playing games and start understanding each other, solving problems non-verbally, and even finding wild new issues that result from the curse. It’s not until their words are gone that Buffy and Riley actually address their feelings, albeit non-verbally, sharing their first kiss and setting up an even bigger story for their relationship. Furthermore, Tara and Willow can actually connect, realizing that they’re both practicing witches and have something no one else in their Wicca group possesses. These two things are major markers for Buffy as a series, seeds that continue to be explored both throughout Season 4 and even the rest of the series.
Though “Hush” has since been defined for how it broke the mold of a Buffy episode and set aside its biggest strength in favor of trying something else, it’s the final sequence of “Hush” that not only ends everything with a bang but also solidifies Whedon’s place as a great writer. Riley and Buffy, having finally kissed amid the silence pandemic in Sunnydale, come together again now that everyone can speak. In her dorm, Riley says, “I guess we have to talk,” with Buffy replying, “I guess we do.” The conversation then only has silence, followed by the episode’s credits, which play out with no music. It’s a gut-punch of a final sequence, bringing the thematic arc about communication in the episode to a close while also setting the stage for the next week’s episode.
After its premiere, “Hush” was an instant favorite and ironically remains one of the most talked about episodes of the series (it’s the #2 rated episode on IMDB, behind only the musical episode, “Once More With Feeling”). Furthermore, “Hush” marked the only episode of the entire Buffy the Vampire Slayer series to be nominated for the Outstanding Writing for a Drama Series Primetime Emmy Award. Though the series didn’t win, it had stiff competition as two episodes of The West Wing and two episodes of The Sopranos were the other nominees, a great sign about how well-received the episode was. There’s no better time to revisit the episode than right now, especially since time has only been kind to the form and function of the episode as a whole.