While both Buffy the Vampire Slayer and Angel explore serious and dramatic narratives, drawing upon a range of generic conventions, comedy is one of the crucial elements to the charm of each series and their appeal to audiences. Comedy humanizes characters and also provides space for parody, pastiche and satire. It is however to the witty dialogue and use of language that most critical discussions of comedy return, not surprising in a medium in which the writer is dominant. While undoubtedly excelling in verbal humour, both series also demonstrate superlative examples of physical comedy, and nowhere is this more apparent than in the character of Wesley Wyndham-Price. This paper will analyze the role of physical comedy in both Buffy and Angel through the comedic performance of Alexis Denisof as Wesley. It will consider the range of his performance style from his exaggerated priggishness, in obvious parody of Giles in the early episodes, to more broad slapstick moments in Angel, and relate this performance to traditions of physical humour in film and television. Finally it will address how shifts in his comedic style between his brief appearance on Buffy and his return on Angel reflect the transition of his character from a comedic foil for Buffy to a well meaning, if clumsy, associate for Angel.