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Riley is in bad shape due to the drugs pumped into him by Prof. Walsh from the Initiative. A special government doctor needs to operate on Riley before his body can no longer support his heart rate of 150. Riley, however, is doing everything he can to avoid the medical treatment. It may be because he is scared of what the doctor may do to him, or he may just not want to be a normal man again. It's up to Buffy to get Riley to the operating room on time, which of course she does, but someone else gets in the way. Spike's plan is to force the doctor to remove the chip from his brain, therefore freeing him for slayer killing.

Episode Title: Out of My Mind
Airs: 2000-10-17 at 08:00 pm
  • John Levesque

    Sarah Michelle Gellar plays Buffy to perfection in this witty, intelligent and thoroughly entertaining series based loosely on the 1992 film, and if she isn't the next closet-door poster queen - or the Internet-shrine equivalent - I'll be stunned. [10 Mar 1997, p.C1]

    Seattle Post-Intelligencer Full Review
  • Steve Johnson

    The performances are generally strong, but the devilishly clever, culturally hyper-attuned dialogue (by executive producer Josh Whedon, who wrote the original and worked on "Speed" and "Toy Story") is what makes this stand out. [10 Mar 1997, p.C8]

    Chicago Tribune Full Review
  • Matt Roush

    The winsome Sarah Michelle Gellar is a huge improvement over bubblehead Kristy Swanson as the new Buffy, moving with her mom to the "one-Starbucks town" of Sunnydale, Calif. She's cute and pert but nobody's fool. [10 Mar 1997, p.3D]

    USA Today Full Review
  • Alan Sepinwall

    Whedon tries to blend comedy, horror and action, a very combustible mixture - as evidenced by the wildly uneven "Buffy" movie - but he seems close to perfecting the formula here. [10 Mar 1997, p.31]

    Newark Star-Ledger Full Review
  • Howard Rosenberg

    Deliciously funny satirical gore. [10 Mar 1997, p.F1]

    Los Angeles Times Full Review
  • Michael Farkash

    This supernatural series has fast, raucous music, attractive heroes and heroines, and nifty morphing effects for the vampires.

    The Hollywood Reporter Full Review
  • Tom Gliatto

    All in all, this looks like one of the brightest new shows of the season.

    People Weekly Full Review
  • David Okamoto

    Think of it as My So-Called Afterlife or Nancy Drew Blood: Despite some lapses into acute self-awareness, Buffy is a biting, stylish high-school drama masquerading as a vampire-movie spinoff and cleverly combining the dark humor of Heathers, the homeroom angst of Beverly Hills, 90210 and the goofy, mystery-solving camaraderie of Scooby Doo, Where Are You? [10 Mar 1997, p.15A]

    Dallas Morning News Full Review
  • David Bianculli

    For fans of youth shows, occult shows and action shows, this new, weekly Buffy the Vampire Slayer is the right program at the right time. [10 Mar 1997, p.70]

    New York Daily News Full Review
  • Frederic M. Biddle

    The only objection to this well-made comedy is overfamiliarity. [10 Mar 1997, p.C10]

    Boston Globe Full Review
  • Wendy J. Williams

    Unlike most movie-inspired TV series - in which the TV version is usually a soggier incarnation of its movie original - this Buffy, created by Joss Whedon, an Oscar nominee for his "Toy Story" script, fulfills some of the promise sorely lacking in the 1992 big-screen version. [10 Mar 1997, p.32]

    Boston Herald Full Review
  • Ron Miller

    A pretty lively and entertaining show, maybe the fledgling WB network's first real shot at a breakaway hit. [10 Mar 1997, p.10E]

    San Jose Mercury News/Contra Costa Times Full Review
  • Lon Grahnke

    With its stylized violence, pop-culture jokes and self-mocking attitude, Buffy deserves positive comparisons to Wes Craven's "Scream." [10 Mar 1997, p.33]

    Chicago Sun-Times Full Review
  • Todd Everett

    Buffy the Vampire Slayer plays like an uneasy cross between "The X-Files" and "Clueless," with a slightly harder edge than the original, if less outright gore.

    Variety Full Review
  • Hal Boedeker

    The results are mighty ragged in the series opener. The show takes strange shifts in tone, the dialogue isn't campy enough, and the violence grows tiresome.

    Orlando Sentinel Full Review
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