Doomed

If I'm feeling generous, this is a "slice of life" episode, a little bit of normal life with a monster thrown in. It's good, and recaptures the ambiance of earlier seasons--which ties in with what seems to be one theme in the episode: you can't go home again--exactly, might be the way to say it.

If a person is less generous, the episode could seem like a checklist of "gotta do's" in season and character development. Buffy, after being analyzed briefly by Riley (sounding like a pysch grad student for one of the few times in the series), does start a relationship with him. Willow and Xander are again hanging out, researching sans Anya, like old times, and Giles is leading the research. Spike--who often is far more insightful than he appears to be--realizes that he can use words to wound as he calls Xander and Willow the same 10th grade losers they used to be (echoing a feeling Willow had from comments made at a party early in the episode), and accuses them of being Buffy's groupies, not valued assistants. He also discovers that he can kill demons, which beings him closer to being a de facto Scooby as well as feeding his need for violence.

At the end, though, Buffy couldn't have beat the demon du jour without specific things Willow, Xander, Riley and Spike did to help--Willow and Xander are not just groupies, and Spike and Riley are, whether they realize it or not, on their way to becoming honorary Scoobies. They are fighting in the high school, but it's not the same--Willow comments on that, in fact, noting that it looks smaller. Things have changed, and the characters are starting to change as well.

And the title? Could go many ways, but most obviously--Riley and Buffy's relationship is doomed; she knows it won't be true love that lasts forever...but she's going for it anyway. Also, reference to Buffy's almost certain demise is referenced, I think, and the implication that the high school, located on the hellmouth as it was, had been doomed from the beginning as well--but I need to double check that.

Hush

Yea, this is the award-winner. It's brilliant, writing and acting-wise. There are episodes of specific shows that give us a glimpse of what TV as a medium is capable of, if used well and creatively--the newsreel episodes of "MASH," the Twilight Zone (can't think of specific ones), "All in the Family" with Sammy Davis Jr, the live, real-time episode of "ER"--this episode of Buffy, with the prolonged silence and fairy-tale/horror vibe, qualifies as an all-time great, I think.

However,...I really don't have anything insightful to say about it. So many people have written so much about this episode...at least right now, I'm pretty blank. It's clever, and the tie-ins to upcoming shows (Tara being integrated, Riley being out'd) is subtle and well-done. And truthfully, while I recognize that this episode deserves the accolades...it's not one I am really drawn to. It's brillant and artistic, and I highly recommend it to people--but it doesn't catch my imagination the same way some other episodes do.

So...that's all for now, but I reserve the right to add more!

Something Blue

Time for a fan fav because it's just so fun--as Willow tries to magically zap the pain of Oz leaving, she causes mayhem for everyone around her...which ends up comic, no harm done. BUT...this is far more than just a detour from the season's Big Bad. In significant ways, this episode foreshadows huge shifts in the characters and the series as a whole, especially later seasons when the whole vibe is much darker.

Here's a question: who's journey is the focus of "Buffy, the Vampire Slayer?" Based on the title, it's reasonable to say that Buffy's evolution and actions are the crux of the show, but...not so fast. Because she's "the chosen," because her prime directive can't change and her course is predestined, there are some pretty clear parameters. Yes, they play with "Buffy should go away to college" and "When Buffy gets married and has kids...." but really? Those violate the universe that Buffy exists in--and yea, I know at the end of the series, we can discuss if Buffy has found a way to beat the system, pulling a Kobayashi Maru. We're several seasons away from that discussion, though, so the question stands: who is the series really tracking?

Willow. I can make a serious argument that Willow's journey and evolution are in significant ways what gives the series depth and momentum. The clearest images of the episode may be Spike and Buffy getting engaged, making out non-stop as magically blinded Giles tells them that he can hear the smacking of their lips. But why is Buffy sitting on Spike's lap? Willow felt jealous and rejected, and---oops--magic happened. Xander, Amy, Anya, Spike, Giles, Buffy--they all feel the ricochet of Willow's inability to deal with negative emotions and reliance on magic as a mystical band aid.

D'Hoffern, the boss of vengence demons, tries to recruit Willow--that's not a wake up call to Willow that she has issues dealing with negative emotion, but it foreshadows to the audience that Willow's issues are not solved by the handing out of fresh chocolate chip cookies, which she's sweetly and humbly doing as penance at the end: "Eat a cookie, ease my pain" with the wistful little-girl, how-can-you-be-mad smile. Buffy's comment about possibly wanting a forgetting spell to erase her feelings for Spike is especially pointed; Willow loses Tara, then turns completely dark, because of the sequence of events from using forgetting spells. For every Scoobie character, this episode is a template of what happens in some significant ways in the next few seasons.

Giles is blind--yep, his solo in "Once More With Feeling" echos that sentiment; because he loves Buffy, he's blinded to what he needs to do to let her grow up. And, more immediately, he's not seeing clearly about his role since he left the high school.

Xander is a demon magnet--again, significant points are made about he and Anya's relationship, which is still in a fledgling stage. And although the yellow crayon is not referenced (the touching speech he gave to Willow when she went evil, ultimately saving her...and the world, of course), Xander is the one who tries to reach out to Willow in her pain, before anyone realized that she was inadvertently casting spells.

Spike and Buffy, well--they are crazy in love, planning their wedding--and arguing, not really liking each other, but still incredibly connected...sound familiar? When they do start a "relationship," Buffy doesn't like him, they argue constantly, she admits she's using him, yet the connection is strong. Pretty much a mirror image of the show, down to the intensity of the physical relationship.

And the short bit where Buffy talks to Riley about being engaged, then later explains it away? We see her with a "nice, normal guy" and get to imagine what if that would work...the idea of Buffy settling down in a suburb with a mini-van and a hunky husband is appealing, and this episode juxtaposes life as a Slayer--and a vamp boyfriend--with the "what if" image we get from Riley...so far.

The title is interesting. Obviously, the wedding is referenced: something old, something new, something borrowed, something blue. But...D'Hoffern is blue--the underlying point of the episode could be that connection between Willow and the potential she has for evil as symbolized by D'Hoffern. And blue can be shadowy, dark--this episode seems innocuous, but really, it's also shadowy and dark, simmering beneath the surface.

I like this episode. The dialogue is snappy and fun, the out-of-character actions work thanks to both strong writing and good acting, and overall, the structure is tight. But the more I think about it, the deeper it is, and even little lines have a great deal of significance in the context of the series as a whole. I suspect I'll reference this one again.