Reckoning with our problematic faves

Comfort watches and nostalgic TV shows occupy a special place in our hearts, but what happens when we’re forced to see our favourites in a painful new light?

There are certain TV shows that imprint on our consciousness. Typically, they’re the series we consume hungrily in our teenage years, eagerly feasting on characters and storylines that seem to understand us more than parents and peers ever could. These are the shows that resonate and become the first choice for nostalgic rewatches whenever we seek comfort as adults. Whether it’s the 1995 Pride & Prejudice – proclaimed by the Barbie movie as the millennial depression binge of choice – or a high school coming-of-age story like Gossip Girl, The O.C., or My So-Called Life, these are the enduring favourites we come back to again and again.

Of course, the problem with nostalgia is that it rarely survives untainted. Any historian will tell you a rose-tinged view of the past is rarely accurate. With the potential exception of period dramas, the ‘90s and ‘00s shows that were proudly ‘of their time’ are now, inevitably, woefully out-of-date. It’s hard to watch many of the era’s big hitters – Friends being one prominent example – without wincing at the dated dialogue, lack of representation, and problematic themes.

Time for a disclaimer; as a cis white woman, I hold an immense amount of privilege and absolutely cannot – and should not - speak for the communities harmed by outdated media. My interpretations are based on my own limited experience and perception.

With my limitations in mind, it feels that the issues affecting most media from the past 30 years, while disappointing, haven’t rendered these shows completely unwatchable. As viewers with the benefit of hindsight, we can recognise that our world has changed, our understanding has broadened, and the line governing what is and isn’t acceptable has moved. We can find enjoyment and value in shows that have also made mistakes that were commonplace ‘in their time’.

The same can’t be said of the shows that not only have problematic content but are associated with creatives who have acted problematically in more recent years (or have had their actions come to light more recently).

It’s an ethical dilemma faced by almost all consumers of media, whether it’s film fans questioning whether they should still watch Woody Allen’s work or music enthusiasts considering streaming Michael Jackson’s back catalogue. The world of TV is no exception. While deciding whether it’s right to watch and enjoy a TV show is nowhere near as important as holding space and speaking up for the victims involved, it is something that I – and I’m sure many other TV lovers – have had to grapple with.  

Every individual will make their own decisions based on their own values and experience, but I wanted to share the reasoning behind my choices when it comes to rewatching – and remembering – two of the affected shows that were once ranked among my favourites. 

Buffy and the Monster

Buffy the Vampire Slayer is an iconic TV show, spawning university courses, books, podcasts, and even a recently announced Audible spin-off series. Despite premiering over 25 years ago – in 1997 – and leaving screens in 20023, its legacy lives on.

However, 2020 proved to be a year of reckoning for the show’s creator, Joss Whedon. Ray Fisher was the first to speak out about Whedon’s mistreatment of him during the filming of Justice League, and his brave testimony was followed by revelations from several members of the Buffyverse including Charisma Carpenter (Cordelia), Amber Benson (Tara), and Michelle Trachtenberg (Dawn). Many other cast members publicly came out in support of the victims with Buffy herself, Sarah Michelle Geller, distancing herself from Whedon. In a post on Instagram, she wrote: 

“While I am proud to have my name associated with Buffy Summers, I don’t want to be forever associated with the name Joss Whedon.”

Watching and discussing Buffy since the cast’s experiences came to light has been complex. Whedon’s voice permeates throughout the series, especially in the distinctive dialogue, and he is, in many ways, embodied by the character of Xander. It can be hard to reconcile that someone who created such a brilliantly strong female character also used his power to abuse women.

Even so, I feel that the show’s incredible cast, characters, and overarching themes mean that Buffy is still worth watching in a post-Whedon world. In many ways, it can transcend its creator and his behaviour and allow viewers to find comfort, strength, inspiration, and joy within its seven seasons in spite of Whedon’s involvement, not because of it.

While the series certainly has issues beyond Whedon himself, it remains one of my comfort shows. Like many fans, my enjoyment of Buffy doesn’t condone his actions and the series will always be somewhat tainted by its connection to him. But, as Sarah Michelle Geller proves, I believe we can still love Buffy Summers and all that she represents. 

That Problematic Show

As someone born in the late ‘80s, That 70s Show was a sitcom I loved from the moment it debuted in 1998. As a teenager navigating my own awkward adolescence, tuning in to a show centred on teens but completely removed from the concerns of the modern world offered the perfect combination of relatability and escapism. That and the huge crush I had on Ashton Kutcher. Until 2017, I would have proudly proclaimed myself as one of the show’s biggest fans. 

Now, 25 years later, I find it almost impossible to think of That 70s show and feel anywhere close to comfort. For me, the actions of several cast members have tainted the entire series. 

2017 was the year that Danny Masterson (Hyde) was accused of sexual assault by three women.

2022 saw Demi Lovato release their song ’29’, reminding everyone that they were only 17 when they started a relationship with 29-year-old Wilmer Valderrama (Fez).

And then, 2023 saw Danny Masterson convicted and Ashton Kutcher (Kelso), Mila Kunis (Jackie), Debra Jo Rupp (Kitty), and Kurtwood Smith (Red) all chose to write letters in support of him receiving a lesser sentence.

The combined result of all these cast member actions has left me unable to watch the show without the actors’ real-life behaviour affecting the rewatch experience. In fact, I haven’t even tried to do a rewatch and I don’t know that I ever will. Perhaps it will be possible at one point to separate my feelings about the cast from my historic love of the show, but right now, the two are too entwined to allow for this distinction.

All this is to say that weighing up our emotions when faced with a problematic fave TV show is not as simple as just never watching it again. The shows that were part of our formative years, that held us afloat through turbulent times, hold so much meaning that the decision on whether you can or cannot rewatch has to be a personal one. It is up to you whether the characters and themes of a show can stand alone from the actions of those involved and comfort can still be derived from a piece of art that has been permanently tainted.