Vamp Time! From the first scene, where Buffy is watching Parker in a mirror at the Bronze to the end scene when Buffy decides to send the Gem of Amarra to Angel (without speaking his name, of course), the episode is about vampires.
Watching Angel in a mirror was never an option; several episodes play with the fact that he could sneak up on her when she was looking in a mirror. He's gone, though, and Parker is here. The subplot of Buffy sleeping with, then getting dumped by Parker is woven throughout the vamp line of Spike and whiny new girlfriend Harmony looking for the gem. (Note: it's a Holy grail image for vamps, a point Giles makes)
Buffy apparently is over Angel, and the multiple ironies of her giving the gem to Angel is not even alluded to: first, Angel leaves, refusing to commit, then she gives him a ring--a symbol of commitment; also, his major reason for leaving was that he couldn't give Buffy a normal life, going outside during the day, moving around at will, but with the gem, he could do all that. He wouldn't age, of course, while Buffy would--but they could have had a long "normal" life (especially considering a slayer's usual life span). She gives him all that while still smarting from the slight wounds Parker inflicted. In fact, Oz delivers the ring so we don't even get the satisfaction of a Buffy/Angel reunion (although that does happen in a few episodes, I think). As Buffy begins other relationships, reinforcing that they are all 2nd to Angel is a reoccurring theme; the fact that her brief Parker relationship takes place at the same time she's earning a prize that could change Angel's life is not an accident--sure, she can play with boytoys, but Angel is still there in the background. There's no doubt that she'd leave Riley for Angel, and the Spike/Angel argument is one that is still being fought in fanfic!
This is a sexisode, with Xander going into full goof mode as Anya strips and announces that she thinks that having sex with him will cure her of her crush. (Note the parallel: that does cure Parker of his crush, but cements it for Anya) Amid double takes and comic reactions, the "romance" of Anya and Xander is underway, seemingly out of the blue. When Buffy accuses him in season 5 (i think) of being with Anya because it's convenient and she's willing, it seems possible that she's right until Xander makes his big speech to Anya to clarify. But that's a season (or so) away, and for now, Anya is comic relief--and she takes the role left by Cordelia's absense: truthteller, blurting out what shouldn't be said. Her reason for doing so is different, but often the purpose is the same--to call the character's (and audience's) attention to something we're too polite, or scared, or oblivious to notice.
And Spike--he's back. Mean, focused, and mesmerizing. Could Spike kill Buffy? Could Buffy dust Spike? Would Whedon let either of them win? That seems to be the question he tapdances around for the next few seasons...in this episode, Buffy wins the round and gets the ring, but it's close.
Now to more fun--the Halloween episode is next, and this is Halloween night. Guess what ghouls and ghosts will be scaring me!
Saturday, October 31, 2009
Friday, October 30, 2009
Living Conditions
This episode reminds me of some of the early David Greenwalt monster episodes. Just fun, self-contained plot, little character development...just a story, essentially, establishing the new place and dealing with stabilizing the characters in their new environment.
The main thing that caught my attention is that the theme of "soul" came up. Buffy's demon roommate is stealing Buffy's soul (in a graphic that looks amazingly like what dementors do in Harry Potter--should check dates to see who did it first), and Buffy gets cranky and paranoid and self-centered when her soul is being siphoned nightly by Miss Happy. Considering that with Angel, losing soul=turning evil, and with Spike, gaining soul=being recognized as good (I could argue that spike was good before he got the soul--and probably will argue that later). and that conscience and soul seem intertwined, Buffy's petulant displays and plan to kill her roommate on what seems to be spurious evidence do not seem to fit with the usual definition of soul in the Buffyverse.
One other quick observation, which may not be on track: this episode and last, the shooting angles are some scenes have emphasized Buffy's height, far more than usual, I think. She's feeling small, etc, and I think the directors have used Sarah Michelle Geller's size to subtly make that point--usually, she and Willow seem to be about the same height, but Alyson Hannigan has been notably taller in some scenes, and Buffy's giraffe-like roomie and Parker (and Riley) have made that even more pointed. Will watch to see if this continues or is stopped as Buffy acclimates.
This is a light hearted episode, with Xander and Oz bungling holding Buffy captive, Giles being slightly awkward, and sappy pop music permeating it. Buffy meets Parker, then goes all crazy-reaction-girl because he was talking to the roommate (a bit of foreshadowing--Parker's normal MO where females are concerned starts with light conversation).
I haven't watched early season 4 much, so I don't know when it starts getting heavier; thus far, it's glib and clever and fun, but not quite jelled yet.
The main thing that caught my attention is that the theme of "soul" came up. Buffy's demon roommate is stealing Buffy's soul (in a graphic that looks amazingly like what dementors do in Harry Potter--should check dates to see who did it first), and Buffy gets cranky and paranoid and self-centered when her soul is being siphoned nightly by Miss Happy. Considering that with Angel, losing soul=turning evil, and with Spike, gaining soul=being recognized as good (I could argue that spike was good before he got the soul--and probably will argue that later). and that conscience and soul seem intertwined, Buffy's petulant displays and plan to kill her roommate on what seems to be spurious evidence do not seem to fit with the usual definition of soul in the Buffyverse.
One other quick observation, which may not be on track: this episode and last, the shooting angles are some scenes have emphasized Buffy's height, far more than usual, I think. She's feeling small, etc, and I think the directors have used Sarah Michelle Geller's size to subtly make that point--usually, she and Willow seem to be about the same height, but Alyson Hannigan has been notably taller in some scenes, and Buffy's giraffe-like roomie and Parker (and Riley) have made that even more pointed. Will watch to see if this continues or is stopped as Buffy acclimates.
This is a light hearted episode, with Xander and Oz bungling holding Buffy captive, Giles being slightly awkward, and sappy pop music permeating it. Buffy meets Parker, then goes all crazy-reaction-girl because he was talking to the roommate (a bit of foreshadowing--Parker's normal MO where females are concerned starts with light conversation).
I haven't watched early season 4 much, so I don't know when it starts getting heavier; thus far, it's glib and clever and fun, but not quite jelled yet.
Thursday, October 29, 2009
SEASON FOUR: The Freshman
From the first shot, we know everything's different. Willow, with a new, perky haircut, is in the cemetery as Buffy wants for a newly-risen vamp to show. They are so busy discusses college that Buffy completely misses the vamp. This is not high school Buffy.
After last season, where Buffy pulled away then ending with a strong statement about the importance of her friends as the whole class battled the Mayor, starting this season with a group hug and singing KumBaYa might seem obvious. But no, the transition to college requires that the lesson about needing friends be repeated in a different context. The tension between Buffy as solitary slayer and Buffy as leader of a community is constant in the series, intensifying as the seasons progress until that's one of the fundamental issues driving the 7th season. It seems so clear that Buffy needs her friends, that she is a captain of a team, but she doesn't seem to ever really embrace that. The solitary slayer identity is too deeply embedded.
As part of the transition, we find that Oz is in his element at college, more outgoing and popular there than in high school, and while Buffy is tongue-tied and awkward, Willow is right at home. Giles has become a "man of leisure" (unemployed), and--very oddly--seems to have a young, sexy, black girlfriend, which makes Buffy even more uncomfortable. Most importantly, Giles refuses to help Buffy with a vampire nest she needs to clear out. She reaches out, looking for the familiar ties, but Giles believes that she's leaning on him and the old ways instead of growing. So...she's on her own. When he sings "Standing" in the musical in season 6, he's completing the journey that he didn't succeed in making in this episode. He believes she can do it without him, and needs to, but as the episode ends, he comes running with an armful of weapons, unable to leave her to fate.
Even her mom has "borrowed" her bedroom, emphasizing that every aspect of life has changed, Buffy doesn't have Giles or her mom the same way she did before. Interestingly, Buffy makes a random comment about her mom "having an aneurysm"--
Xander doesn't show up until half way (or more) through, when he runs into Buffy at the Bronze. She's alone, and sad, and Xander sits her down and talks her out of her funk and back into action Barbie mode. The Xander problem is acute this season: he's not in college, and he goes between a goofy extra and wise, insightful exposition device---I think. I'm going to be watching for this. Even though he's funny in this scene, implying he worked for a night as a male stripper and telling Buffy that she's his hero--that he often asks "What Would Buffy Do" (an obvious play on the popular What Would Jesus Do), but concedes that sometimes alone, late at night he does ask "what is Buffy wearing."
This episode ends by showing how much the same things really are: Giles didn't abandon her; Willow was very upset when she thought Buffy left/died, and dropped everything to help; Oz and Xander fought by her side--it's all good. She's mourning Angel slightly--thinks she sees him at the Bronze--but it's subtle. And we're ready to start the season....
After last season, where Buffy pulled away then ending with a strong statement about the importance of her friends as the whole class battled the Mayor, starting this season with a group hug and singing KumBaYa might seem obvious. But no, the transition to college requires that the lesson about needing friends be repeated in a different context. The tension between Buffy as solitary slayer and Buffy as leader of a community is constant in the series, intensifying as the seasons progress until that's one of the fundamental issues driving the 7th season. It seems so clear that Buffy needs her friends, that she is a captain of a team, but she doesn't seem to ever really embrace that. The solitary slayer identity is too deeply embedded.
As part of the transition, we find that Oz is in his element at college, more outgoing and popular there than in high school, and while Buffy is tongue-tied and awkward, Willow is right at home. Giles has become a "man of leisure" (unemployed), and--very oddly--seems to have a young, sexy, black girlfriend, which makes Buffy even more uncomfortable. Most importantly, Giles refuses to help Buffy with a vampire nest she needs to clear out. She reaches out, looking for the familiar ties, but Giles believes that she's leaning on him and the old ways instead of growing. So...she's on her own. When he sings "Standing" in the musical in season 6, he's completing the journey that he didn't succeed in making in this episode. He believes she can do it without him, and needs to, but as the episode ends, he comes running with an armful of weapons, unable to leave her to fate.
Even her mom has "borrowed" her bedroom, emphasizing that every aspect of life has changed, Buffy doesn't have Giles or her mom the same way she did before. Interestingly, Buffy makes a random comment about her mom "having an aneurysm"--
Xander doesn't show up until half way (or more) through, when he runs into Buffy at the Bronze. She's alone, and sad, and Xander sits her down and talks her out of her funk and back into action Barbie mode. The Xander problem is acute this season: he's not in college, and he goes between a goofy extra and wise, insightful exposition device---I think. I'm going to be watching for this. Even though he's funny in this scene, implying he worked for a night as a male stripper and telling Buffy that she's his hero--that he often asks "What Would Buffy Do" (an obvious play on the popular What Would Jesus Do), but concedes that sometimes alone, late at night he does ask "what is Buffy wearing."
This episode ends by showing how much the same things really are: Giles didn't abandon her; Willow was very upset when she thought Buffy left/died, and dropped everything to help; Oz and Xander fought by her side--it's all good. She's mourning Angel slightly--thinks she sees him at the Bronze--but it's subtle. And we're ready to start the season....