For years, fans eagerly anticipated the oft-floated idea of a spinoff from the cultishly beloved 1997-2003 TV series Buffy the Vampire Slayer. As described by creator Joss Whedon, this miniseries would not follow beloved supporting characters like nerdy witch Willow, sardonic vampire Spike or laconic were-teen Oz. It would be called Ripper, and it would focus on the younger days of Rupert Giles, the school librarian and “watcher” character played by Anthony Head. Giles served as the tweedy mentor and father figure to Buffy, the woman chosen to keep vampires at bay, throughout the show’s seven seasons.
Sadly, the show never came to pass – and now, with Head’s death at the age of 72, it probably never will, at least not with its signature star. (And probably not its creator, who has since faced multiple accusations of on-set misconduct.) But both creative and fan interest was consistently high; just think about that for a moment. This 90s-originated teen drama tantalized viewers with the promise of spinning off a token grownup character into his own adventures. To picture Buffy’s contemporaries following suit is downright laughable; consider the equivalent spinoff from Dawson’s Creek, for example. Would it star Jen’s Gram? The female teacher who committed statutory rape with Pacey? Even given the expanded possibilities of a more fantastical world, Sabrina the Teenage Witch’s aunts were never exactly in talks with the BBC, either.
Such was the power of Anthony Head. He walked on to Buffy as a British stage actor, sometime singer and frequent TV guest star with a sideline in coffee commercials, and inspired as much devotion as any of his younger teen-idol co-stars. Giles was positioned as the main cast’s serious foil, the stuffy British overseer of irreverent, slang-using Californians, and Head certainly played those notes perfectly. But over the course of the series, he brought some darker, funnier and stranger notes to the character, too; he provided such a clear and charming framework for Giles that the writers clearly reveled in opportunities to subvert his soft-spoken dry wit. That’s why the idea of a TV series about “Ripper” (Giles’s past nickname) felt so enticing: Among a bunch of characters who were still figuring themselves out, Head played Giles as a man offering both book-smart authority and hard-lived experience chased with obvious regrets, sometimes playing out in his eyes even when exposition wouldn’t allow for it.
Buffy also called upon some of Head’s past-life skills, clearly shaping Giles to fit the multitalented actor, especially when it came to singing. It became an occasional running gag to have Giles demonstrate unexpected facility with his voice and a guitar in private moments (or in one case, during a dream sequence), which pays off spectacularly in the show’s sixth-season episode Once More, With Feeling. Part of the episode’s game involves getting characters and actors who might not normally excel at song and dance to get into the musical spirit; no such coaxing is necessary for Head, who solos with a vaguely Bowie-ish croon on Standing, a tune about how he feels like he’s impeding Buffy’s development as a young adult. He brings the house down – just as ably as he performs interlocking comic patter with the ensemble in I’ve Got a Theory earlier in the same episode.
Head also had the opportunity to show off his pipes in a genre context with the even cultier Repo! The Genetic Opera, an adaptation of an offbeat, gothic-flavored sci-fi musical released in 2008. Head plays a rare leading role as the heroine’s father, who secretly moonlights a repossessor of organ transplants – a part that takes advantage of his ability to play potentially silly material with a straight face, while not ignoring its comic dimension. His other film roles tended to be smaller character parts, in part because he had the instantaneous gravitas that doesn’t require much introduction. (It was a pleasure to see him pop up in projects from Woody Allen’s Scoop to an underrated Ghost Rider sequel.) Head was also a TV fixture following Buffy, most prominently on the BBC sketch series Little Britain. But he’s probably most famous to contemporary audiences as another Rupert: the sleazy, petty ex-husband of Rebecca (Hannah Waddingham), and the reason she winds up owning a football club that employs as coach one Ted Lasso (Jason Sudeikis).
Was it a tribute to his Buffy character, that Head again played a man called Rupert in Apple’s sitcom hit? Or did Head just exude Rupert-ness? Either way, this later-life Rupert couldn’t have been more different from the one he played two decades earlier: Flashy, smug, largely unconcerned with how his actions affected others (or, worse, preferring the negative effects) – a villain, though in Head’s hands not quite a cartoonish one. Though he had less screen time than he did as Giles, the mechanism was similar: quickly project how this man presents himself, so that he can have some fun filling the less expected details (here of his treachery rather than his decency). Head’s legacy as an actor mimics the rock-solid contributions of his watchful, rational Giles: across TV, film, theater, and music, Head was a workhorse who never let you see the work.
