Buffy Cancelled- Who saw this coming?
So, it looks like the new Buffy show has been cancelled, who saw this coming… I fucking did!
Thou shalt not steal!
On 24 February 2026, I published and circulated my monitoring article, “Monitoring Assessment – The Fateless Child and 2026 Buffy the Vampire Slayer: New Sunnydale and The Double Blunt-Tucci Triangle,” to relevant industry recipients, including agency, publicity, representation, and development-linked contacts. The purpose of that article was not to assert a concluded act of infringement, nor to allege wrongdoing by every person connected to the project, but to place those involved on notice that I was already actively monitoring the development in light of my prior disclosures, ongoing infringement concerns, and the wider RECO-related claim I am preparing in Los Angeles. It was also intended to preserve chronology, record relevant professional intersections, and make clear that any overlap in theme, narrative architecture, naming structure, mythology, character function, or development chain would be documented for evidentiary review.
You can read this blog here- https://www.mwwolf-fiction.co.uk/mw-wolfs-blog/monitoring-assessment-new-buffy
The underlying reason for monitoring the Buffy development was not mere genre similarity. It arose from a combination of prior access, timing, and contextual overlap. On 7 November 2022, I informed Jonny Geller by email of a new work in development titled The Fateless Child. That concept involved a dark vampire-based mythology, a central young female figure of unusual power and uncertain nature, a wider supernatural-political framework, and broader world-shift implications extending beyond ordinary genre tropes. My earlier monitoring report noted that the reported Buffy continuation also appeared to centre on a newly introduced young female Slayer named Nova, set within a rebuilt Sunnydale and framed within an ongoing vampire mythology. Standing alone, such features do not establish derivation. However, the introduction of a new central girl figure named Nova within a vampire continuation was sufficiently notable, when combined with prior disclosure and access concerns, to justify formal monitoring.
The original monitoring report also recorded a broader network of contextual intersections surrounding the project. These included representation and corporate links involving Curtis Brown Group, United Talent Agency, Hulu, 20th Television / 20th Century, and individuals or structures already appearing elsewhere within my wider evidentiary review. The report further set out why those links mattered in context: not because proximity itself proves misconduct, but because repeated proximity across representation, production, development, and publicity channels can become evidentially significant when considered alongside prior submissions, alleged derivative development patterns, and repeated timing correlations across multiple projects already under review. In that sense, the report was a structured notice of active monitoring, intended both to preserve the record and to make clear that the development chain was being watched from an early stage.
It is also important to stress what the February report did not say. It did not conclude that the Buffy project had infringed The Fateless Child. It did not claim that Chloé Zhao had knowledge of any alleged wrongdoing. It did not claim that publicly available pilot information, standing alone, was enough to establish substantial similarity. Rather, it identified specific criteria for continued observation, including whether the project would go on to feature deeper parallels beyond broad vampire conventions, such as a central mythologically significant young female figure, large-scale supernatural unrest, public vampire politics, world-restructuring themes, or other structural features requiring side-by-side comparison once more material became available.
Then came the next chronology point. On 14 March 2026, it was publicly confirmed that Hulu had decided not to move forward with Buffy: New Sunnydale. That places the project’s reported collapse less than three weeks after my 24 February 2026 publication and targeted circulation of the monitoring notice. The timing is notable and should be preserved in the evidentiary chronology exactly as such. Causation cannot be inferred from timing alone. But the sequence gives rise to legitimate questions. Did relevant industry professionals take note of the fact that I was already monitoring the development and had set out the wider background of my infringement and RECO concerns? Did the circulation of the article contribute to internal caution, reputational reassessment, or legal review within the development pipeline? Does the outcome suggest that some actors within the industry are beginning to recognise the risks of proceeding where prior access, overlap, and contested provenance may later become issues? Or is this, once again, another remarkable coincidence in a longer sequence of projects whose trajectories seem to shift shortly after I publish, circulate, or formally document my concerns?
That question becomes sharper when viewed against the wider pattern I have been documenting for some time. I have repeatedly alleged that projects emerging through or around the CBG / UTA pipeline, and distributed or developed through a relatively narrow cluster of major companies including Netflix, Disney, 20th Century, Riot Games, and the BBC, have shown concerning timing and overlap in the months and years following my submissions to senior Curtis Brown figures including Jonny Geller and Felicity Blunt. That broader allegation remains subject to evidentiary standards, documentary review, and legal process. But the Buffy chronology now joins a wider monitoring record in which the recurrence of overlap, access, and timing has become difficult, from my perspective, to dismiss as random noise without serious scrutiny.
For that reason, the Buffy development remains important even in cancellation. Its significance is no longer limited to whether the series might eventually have displayed deeper similarity to The Fateless Child. It also now serves as a case study in what happens when a development is publicly placed on notice, contextualised within a wider evidentiary framework, and preserved as part of an active monitoring record. Whether this latest outcome reflects institutional caution, internal risk recognition, outside scrutiny, or coincidence, it forms part of the same chronology and should be recorded accordingly.
Almost everything I have written and shared with CBG seems to be followed by an “Independent creation” with remarkable similarities between 18 months and a few years after I shared the source material with Jonny Geller and Felicity Blunt of CBG. Wow, I'm either the worlds most talented oracle, or a few senior literary agents have utterly filthy hands and should be sharing a prison cell with the corpse of Jeffrey Epstein.
Side Note- FELICITY BLUNT AND STANDLY TUCCI shared a dinner table with Epstein on multiple occasions long after he was known to be an evil, filthy child sexual predator still on the prowl. Did they eat human food? Or human beings? Also, Standly Potato Head Touchy-Tucci used Peggy Siegal to beg for CONVICTED PAEDOPHILE EPSTEIN To attend his private screenings and after parties. Felicity Wicked Witch Blunt is now also a producer, having a credit for Rivals (2024– ), the distributor of which is Hulu, which also just happens to be the distributor of Buffy the Vampire Slayer: New Sunnydale, which also happens to have been produced by production company 20th Television, and Sarah Michelle Geller just also happens to be represented by CBG/ UTA, who’s CEO just happens to share the same common Jewish surname Jonny Geller, and all this also happens to be happening after CBG had access to the plans of The Fateless Child… Just saying.
I mean, come on, you fucking Aleister Crowley loving filthy beasts. Your not even trying to be discreet about it. It’s filthy, it’s blatant, and it will be exposed.
I predict that once the dirty laundry has been aired out in public, a few names in this blog will be clambering over each other to share a cell with the filthy, maggot ridden, rotting carcass of Jeffrey Epstein. It might even be the safest place for these Epstein beggars. When this happens, feel free to write fan mail to M.W. Wolf, as we know that The Wolf’s obsessed mega-fan can not keep his sticky-fingers and sinful eyes off The M.W. Wolf Megaverse of Fiction.
I’ll send you a signed handkerchief to cry into. If you ask the prison officers nicely, they might even let you go up to the library to read the M.W. Wolf books which you have been violating since 2019. If you toss each other under the bus, a few of you might get away with slaps on the wrists and fines of every penny you ever stole returned to its rightful owner.
Thou shalt not steal!
M.W. Wolf LTD
