A lot of folks had that reaction to BtVS, myself included. The first half-season is very modest cpmpared to Season 2 and beyond, but I ended up catching the second half of Season 2 (when the show really hit its stride) in repeats the summer after it originally aired, and watched it live from Season 3 on (eventually going back to catch the earliest eps). I originally gave it a chance because Entertainment Weekly's chief TV critic at the time, Ken Tucker, was singing its praises, which rather surprised me given the poor film on which it was based. I soon realized it had a lot of critical and academic (!) support, frequently showing up on many critics' Top 10 lists, and even being studied in universities.
Anyways, a very engaging ensemble of characters, some imaginative and emotionally-complex (!) metaphorical storytelling, and a lot of very witty dialogue. Whedon was very on-point with the carefully-articulated phrase. As good as TV has gotten visually over the past 15 years (compared to what it had been, in general), there aren't many shows with such consistently creative and elegant wordplay.
It's a bit unfortunate you jumped from Season 2 to 6, spoiling a pretty huge plot development at the end of Season 5, but as with any quality show, it's more about the journey than the destination. Have fun with Season 3: it's very entertaining. And be on the lookout for some of TV's more interesting formal experiments going forward, including a mostly-silent episode ("Hush"), a hugely evocative, somewhat Lynchian dream episode ("Restless"), and a harrowing mini-art-film involving a death in the family that was startling in its immediacy (not saying which one).
Edited by J.C., 06 February 2018 - 05:59 AM.