Out of My Mind

Transition episode, but at first glance, it looks like one of the "slice of life" metaplot episodes. And it is, beginning the Ben/Glory plot by introducing Ben and setting up the whole Mom has a brain problem--the Big Bad for this season is introduced, but we don't know it yet.

And last season hasn't quite ended: Spike is still dealing with the chip in his head, and Riley is still dealing with the complications caused late doctor's experiments and Riley's relationship with the Initiative. The link between all the slices is physical well-being: Joyce's trip to the hospital, Riley's and Spike's surgeries. At first glance, this episode seems overtly dealing with the physical conditions of life.

But underneath it, a different theme is being explored: love. Riley, who admitted earlier that he knows Buffy doesn't love him like he wishes she does, now admits that he would rather die than lose his superpowers--Buffy is getting stronger all the time, Buffy's history suggests that if he isn't unique, he's going to be history too. Buffy argues this, insisting that she's opened up to him like no one ever before, defining love in terms of emotional connection and trust...which in the next couple episodes we'll see isn't accurate; she tells Spike things she doesn't tell Riley, implying that the emotional connection she has is not as strong with Riley as she claims. Riley knows Buffy well, better than she knows herself. She is not deep and insightful; she de-stresses by killing things. She's an action figure, not a fashion Barbie or a Buddha statue. She may not realize it, but Riley is probably right. She wants to be challenged and tested by her partner; without his augmentation, he is Clark Kent, not Superman. Even though Buffy would hate to admit it, Riley at that point becomes someone she protects, not an equal--he's right that her definition of love includes dynamic that will be missing after he becomes "normal."

Camera to Spike. He wants to become "normal," which for a vampire means able to kill. As long as he can't, Buffy's code of honor won't let her kill him. He's "safe." But he's not, really. Fighting beside Buffy, he's her equal--and the opening tag, where both Spike and Riley interrupt her as she is patrolling, comically makes the point that at the beginning, there is an equality between the three; all are capable warriors, and grudgingly accept that.

The end of the opening tag, just like the end of the closing tag, focus on the counterpoint to Riley's love for Buffy. Riley is the white milk, picket fences Iowa boyfriend. There's passion, but that's not the defining quality of Buffy/Riley. Spike, however--he's all passion. At the beginning, his hate for Buffy, his desire to make her neck his chalice--passion, but negative.

The ending, though--a dream, foreshadowing the next couple seasons--has her coming to kill him (or threatening to, again...), when they kiss as passionately as they are capable of, then Spike declares his love for her. Note, not that he wants her, or any other passion/sex/emotional word. He baldly states he loves her, in the dream, which shocks him awake. The closing image is not that ambiguous: the emotion in the dream was true, and Spike is reeling from admitting it to himself.

Logically, Riley is everything Angel couldn't be--he's the man Buffy could grow old with and have a normal life with, and there could be just enough passion to make life bearable. They have shared values, shared dreams--love, as many people would define it. BUT Spike, he's the passion. Well, so far he's the only one who recognizes it as romantic, but this is the turning point for both Riley's and Spike's relationships with Buffy, even though Buffy never quite figures that out.

OH--and the title? I think it's Spike saying that. He wants the chip out of his head, but he also knows he's out of his mind for loving Buffy. However, it could be taken other ways....still thinking about that.

The Yoko Factor

Pivotal episode, in the "things that can't be unsaid" realm. The basic premise is simple: Adam will take care of Spike's chip if Spike helps deal with the Slayer. Getting her friends out of the way--and her distracted by the drama--is Spike's idea. In an insightful explanation, Spike explains that Yoko Ono didn't break up the Beatles, but they broke themselves up under the pressure of fame and time; that's his plan--plant a few seeds, and let them do the dirty work themselves.

It's been clear since season 2 that Spike understands psychology much more intuitively than the Scoobies realize; they discredit him because of his chosen image. But in the process of supplying them info about the Initiative--info which I think does turn out to be important, next episode, making him a double agent--he drops side comments to Giles, Xander and Willow that feed their basic insecurities and lead to a huge argument at the end of the episode, with Buffy walking out, implying that she can't count on Willow and Xander. Who is left? well...Riley--who ends the episode at Adam's lair, for purposes unclear (although avenging his friend Forrest's death seems likely).

Spike tweaks Giles by commenting on his uselessness and lack of control of Buffy--and, appropriately, Giles is singing Freebird when Spike finds him, foreshadowing not just what Spike talks about, but the season 6 song Standing and his ultimate leaving as Buffy's watcher. Giles spends the rest of the episode drunk, even giggling uproariously at the words "Fort Dix." Season four has been rough for Giles--no job, no standing, less than Batman's Alfred, he implies during the argument scene. Spike capitalizes on that.

In a masterful bit of triple-entrendre, Spike hints to Willow that her computer skills are weakening, that being a witch is laughable, and that being with Tara just a phase--because. like Faith, Spike realizes with only small hints that Willow and Tara are involved; something Buffy barely believes even when Willow told her, and Xander and Giles don't realize til the argument at the end of the episode. Willow falls for every one of the lines Spike throws, showing how vunerable to needing Buffy's approval she is. Again, the dialogue where Spike casually throws out those issues is intermixed with other content, making this just throw-away banter that hits home--amazing dialogue writing.

And Xander, who has been as much adrift as Giles this season, quickly believes that his friends think he should enlist. It's curious that no one asks why Spike was in conversations like that with other people--since when does Spike sit and chat? But he is integrated enough with the gang that they do all accept without question that Spike would know; his plan only works because they trust him. Again, they've forgotten that he's "evil." a point he's made repeatedly this season.

There's the whole Angel comes back, and Riley freaks because he thinks Buffy's leaving him for Angel subplot--important in the Riley/Buffy arc, maybe, because he now knows everything about Buffy and Angel (tying in well with Yoko, Xander spilled that by accident, thinking Buffy explained why Angel turned evil). That's as much finishing an arc from Angel as impacting this show, though--Buffy fans who also watched Angel had to see a semi-reconciliation after the serious break that happened on Angel when Angel gave Faith a second chance.

So what's it all about? Simple: in high school, they were without question a gang, committed to each other. Are they going to recommit, or are they going to float apart without regret as they grow up? Thus far in season 4, it seems that they are on a floating apart track--Riley doesn't really become a Scooby, Willow and Buffy don't like Anya, Xander feels like the others don't respect what he'd doing...which, in fairness, is nothing except hanging with Anya., and Willow is hiding her new relationship. Yep, they are going separate ways, to all appearances. All Spike did was tear the band-aid off the wounds.

And....to be continued....

This Year's Girl

Last episode, the metaplot was heating up: Riley was in crisis mode, questioning his worldview, Adam was loose, Maggie was dead. Then....Faith wakes up? It seems like a step backward, and oddly timed at that. Shouldn't Buffy be chasing Adam? Shouldn't Riley be playing double-agent man?

The whole Faith/Buffy dynamic is complicated--and when the whole arc of their relationship, to the end of season 7, is considered, Buffy doesn't come off as any more mature than Faith, just different. Despite the series emphasis on Buffy, Faith is really The Slayer....Buffy died, and Kendra came. Kendra died, and Faith came. That matters in season 6, when no new Slayer shows up after Buffy dies--again. If Buffy did kill Faith like she sat out to do a couple times--plot twist! New character! And Buffy knows this....as conflicted as she is about Faith (jealous where Angel is concerned; appalled at Faith's morals; yet aware that she could easily have been Faith), better the Slayer you know than....yea.

I've got a theory about why Faith wakes up now. Well, beyond the obvious: she was needed in LA with Angel. Buffy has clearly been the "good guy" up til now this season. Riley sees the world so very black and white, unquestioning. Seeing Buffy set out to kill (or at least immobilize, but she and Giles know what that needs to mean) a human makes her slightly more morally ambigous, which is important right now. Riley is looking for a substitute for Maggie, for a cause and person he can believe in. He's chosen Buffy, but this episode introduces at least a smidgen of gray into her pristine white appearance. Riley has already been confused by the fact she's harbored a vamp--Spike--but he's chosing to ignore that.

Buffy is lying by omission to Riley, though. He knows something is missing in the story, but the idea that Buffy tried to kill a human to save her vamp lover.....hmmmm.....how would that fit in Riley's moral structure? Buffy would rather be an evasive quasi-liar--even realizing that Riley knows she's doing that--then confess to the whole Angel relationship and why Faith was in the coma. Faith had gone to the dark side before Buffy tried to kill her, sure--but Angel's illness determined the timing and the course of action.

So Riley needs to have a realistic view of Buffy and the moral framework she's operating within; he needs to learn that the world isn't black and white. I need to see the next episode to see if my theory holds up about why this episode is here. Stay Tuned.

A New Man

This seems like another monster-of-the-week shows with a twist: Giles is the monster, transformed by Ethan Raines (of course). But even though it is essentially a stand-alone, not an integral part of the Big Bad plot this season, this episode more clearly introduces the philosophical question at the core of this season, and, in ways, the series.

What does it mean to be a man? Put in a less (potentially) sexist manner, what does it take to be human? Even though he looks like a Fyarl demon (note how close the word is to "feral"--it's pronounced Furr-ral; as Jung said, there are no coincidences), Giles retains his intellect, his human emotions, and his soul. Ultimately, Buffy doesn't kill him because she recognizes him when she looks into his eyes as she's about to stake him--the saying "the eyes are the windows to the soul" seem especially appropriate.

Spike, who just happens to speak Fyarl, agrees to help Giles...for a price, of course--which comes into play in the next episode. Spike is an interesting counterpart to Giles in this episode. Is Spike a man? That question may be unvoiced, but it resonants loudly from this season until the end of the series. He has no soul, hence the Scoobies and the Initiative quickly deem Spike as "other"--"Hostile 17," in fact. Spike's insight, emotions, and intellect are not in question; he's only one soul (and one beating heart) away from being a real boy--in the Buffy spin-off Angel, that issue is explicitly addressed as it applies to both Spike and Angel (who, because he has a soul, is closer to human and worthy of Buffy's affection). In this episode, also, Spike declares himself off-limits for the Slayer and her "Slayerettes." Giles, who was obviously assuming Spike would want to work with them since he can fight demons, was taken aback by Spike's strident insistance that he is evil, that he's a Big Bad they should beware of. (Point of Fact: Spike is never the Big Bad. Season Two, when it looks as if he will be, Angel emerges as the threat--and Spike partners with Buffy to quell him.) Spike looks like a human, thinks and acts like a human in most ways...and in this episode, he again protects and helps humans.

It's worth noting that Giles starts off the episode feeling lost and out of place, at a birthday party for Buffy at the college. He discovers that Buffy has a boyfriend--which everyone else obviously knew--and Riley inadvertantly rubs in Giles' displacement when making small talk. Giles is a man, no question about that...but old, worn, out of place. This episode is the first clear marker that eventually, he will have to leave--that Buffy is outgrowing her need for him, and that he is becoming redundant.

Then....Maggie makes it worse, telling Giles that Buffy needs a stronger father figure, more discipline and focus. Those are Giles' jobs, ones that he defined himself by, yet both the Watcher's Council and now Maggie (unknowingly) question his ability to do this job. Giles is ripe for a crisis, for a re-definition of himself--thanks to Ethan, his crisis is a doozy, blatantly leading to question who he is, how he fits in, and if he is, in fact, human. Giles' totally out-of-character terrorizing of Maggie while he is Fyarl is an interesting peek both at his latent "Ripper" persona, and at the emotion he swallows when Maggie insulted him; as a soulless demon, he was free to react. As a reasonable man, he wasn't.

That Buffy and the gang do not question Giles' humanity once they realize he the "demon," magicked by Ethan, is interesting. Their definition of "human" is fluid; it will be tested by the creation of Adam, the person/demon/cyborg Maggie has created that will be unveiled in the next episode--and the question will echo next season as Buffy refuses to kill "Ben" because he is human, even thought he's a conduit for the evil Goddess Glory. But I'll talk more about that later, I'm sure!

Harsh Light of Day

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!

Graduation Day, Pt 2

Maybe the most significant part about this is that almost everyone "graduates" in some way. (Giles is the exception)

Buffy forces Angel to drink her blood (in a scene that's at least as sensuous as their lovemaking way back), then watches him walk away, leaving her in a heartbreaking "graduation." And she's again embraced her slayerhood, marshaling the forces to fight against the Mayor. Significantly, she doesn't do it alone. As someone (Spike?) will observe in another season, her strength comes from those around her. She's faced the darkness--trying to kill Faith, trying to BE Faith, nearly dying to save Angel--and she's come through stronger than ever.

The flip side of that, Willow and Oz finally consummate their relationship, beginning with a cute dialogue where she's freaking out and wishes he'd show that he's concerned too. In an understated comic moment, they are late to graduation, presumably because they are at it again. Their relationship has graduated to a new level.

Wesley's graduation takes the form of deciding to do the right thing, stay and take orders from Buffy even though she has fired him. His usefulness is questionable, as he is on the ground flailing at the graduation attack, but for someone who has been a tool of the Council, it's a step in the right direction--and possibly causes the self-reflection leading him to become a "rogue demon hunter" at the beginning of Angel. His transformation from tool of the system to morally ambiguous, which heightens as his character develops in Angel , is another thing I want to explore sometime. Basically, he goes from externally driven definitions of "right" to internally driven.

Cordy never says what she's doing next, and it's clear from The Kiss with Wesley that their infatuation has ended. Significantly, she is hanging out with the Scoobies at the end, part of the money shot closing the season and that phase of their lives. We also know she can't go to college and has no resources because of her father's legal/financial trouble. Cordy has graduated from pampered princess to real girl, in a sense.

Xander is perhaps the least obvious one. His role in the last part of the season is understated, and the last two episodes he's lucky to speak if he's in a scene. The writers began the show, 3 years ago, identifying with Xander more strongly than anyone. Look at season one, and even some of season two. The number of Xander-centric plots where notable, and is buffoon traits muted. It feels as if they hadn't quite hit on Xander's EveryMan qualities yet, or his "seeing" ability--in fact, Oz is the one who "sees" at the end of this episode, and makes everyone else see, too. In retrospect, it feels as if that should have been Xander. But Oz was good, too. He's got his Zen Master moments.

So how does Xander graduate? In the graduation battle scene, he's the commander. He has authority, knowledge and judgement. Buffy has the crucial job--getting the Mayor in the school--but Xander controls the battle. For the guy who was reviled as Cordy's boyfriend and marginalized as a social force, that's important. He found his strength there at the end, and even though his character takes a while in season 4 to find his place...well, maybe all of season 4...there's a clear sense of his importance to the team. He's been deliberately taunted, as the Zeppo, by Anya--being the field commander helps redefine his position, somewhat.

The Mayor's speech, which is cut short due to his ascension happening a bit ahead of schedule, follows Whedon's pattern of having the truth spoken by the unexpected character:Cordelia, Anya, the Mayor, Spike...probably more that I will have to watch for. He acknowledges that the kids don't care that this day is the 100th anniversary of Sunnydale, knowing that they have more immediate concerns. He acknowledges that everything will be different after today, as well--dramatic irony, knowing the Mayor's plans, but exceedingly valid for a graduation speech. Just as he chose to attack Buffy in the school cafeteria with the truth about her relationship with Angel, now he confronts the graduates with the truth about their ritual.

Human weakness, by the way, is another theme: the Mayor's feelings for Faith are how Buffy gets to him, which Faith in a dream sequence told Buffy (another human weakness, Faith and Buffy feeling connected despite all the baggage).

And it all ends with a tableau, the Scoobies looking at their high school, taking a moment before this phase of the series--and their fictional lives--change.

Oz: "Guys, take a moment to deal with this. We survived.
Buffy: "It was a hell of a battle."
Oz: "Not the battle. High School. We're taking a moment. And we're done."

Graduation Day, Pt 1

Lots happening, but the focus is on the Buffy/Faith story line. Faith distracts Buffy from the Mayor's plans by poisoning Angel; he's dying and the only cure is--guess what we've feared, yearned for from the the beginning--the blood of a Slayer. To "drain" a Slayer, the book says. Yep, that's been the unspoken boogie man since the beginning, Angel deciding that Buffy-snacks would slake his thirst. (In fairness, Xander may have said that once, but he was jealous so it was ignored)

Their relationship is ending; it has to because the Scoobies are transitioning to a new phase of the series, and Buffy can't grow with him there. Plot-wise, it makes sense, although I'm sure Joss et al could have made it work if they'd wanted (Boy Meets World? Joanie Loves Chaci?). That's without even considering that Angel and Cordy (and a bit later, Wesley) have a new show to make.

We've known for a while that Faith couldn't be redeemed, at least not now, at least not by Buffy. Faith's death seems likely, but the idea that Buffy would be the one to do it turns our understanding of Buffy's values in their side. If she'd succeeded, would she have turned dark earlier? A new Slayer would have emerged--think about it, Buffy's already been replaced. In a sense, she's not the "real" Slayer now. Plot possibilities there; it'd be interesting to know if Joss's band of merry wordsmiths played with those possibilities.

But Buffy and Faith, the Remus and Romulas of Sunnydale. Both look at the other and see what they might have been. To save her lover--which is what Buffy calls him when standing up to Wesley--she will kill her shadow. Powerful Freud stuff there, and the fact that she breaks from the Council to save a vampire is even more overtly significant. Since Giles is no longer her Watcher from the Council, it's not a break from her real father-figure, but in a more formal sense, it is a leave-taking from her parent. This time, though, Giles is on her side. (Sometime, I want to look at the Giles/Angel relationship more, especially in light of the Spike/Giles relationship)

Faith doesn't die, but Buffy comes close. Willow is freaking, Anya tries to get Xander to leave with her (in a touching but comic scene, which foreshadows many Anya scenes to come). The episode ends with the audience knowing that Faith got away, the Mayor is unchecked, andBuffy is desperate---even though she knows that Angel will leave her if he's well.

The Prom

A break from the Big Bad, with mentions of the Mayor and the Ascension, but early in the episode, Buffy sets the tone when she tells Giles that for once in their high school career, they were going to have a normal, fun event. That's especially crucial because they expect graduation to be a typical Sunnydale event: totally atypical, in other words.

As someone who has gone through more senior years and more prom seasons than should be legally allowed (my own while in high school, then 23 as a teacher), I am very struck by what Whedon, etc got right. Prom is romanticized and glamorized by Hollywood, but in truth, it's bittersweet. Very bittersweet. For all the excitement of dressing up and having a "grown up" night out, a significant portion of the kids realize this is their swan song, and probably the last social event they will have with these people who have been a huge part of their daily life.

So we know that Willow is staying, and Xander is planning to travel a la Kerouac for a while, Oz has been quiet about his plans, and Cordy has secrets but no plans--as far as we know now. Giles is staying put, and at this point, Wesley is too--but again, just as we know that Cordy is leaving for LA, we know Wesley ends up there too, rouge Demon Hunter persona blazing into Angel Investigations.

Which brings us to the point of the episode: the 3 season meta-plot, the Angel loves Buffy loves Angel story. They've fallen in love, he's turned evil , she's killed him, he's come back, they're back in love---and Angel knows it can't work. Even the Mayor and Joyce talk to Angel about it. For all Joss' feminism, notice that the man (well, the male vamp) controls the relationship in this instance. By the time Buffy knows what he's thinking, he's decided--and it's because it's her best interest.

This is tricky, really. The audience has loved the Angel/Buffy pairing, and it has to be broken off in such a way that the audience feels the pain of both sides while retaining affection for both--that's crucial if Angel's new show is going to work, of course. Pissed off Buffy fans couldn't be counted on to watch the new show, or to continue watching Buffy.

And prom is the perfect setting to be in love, and know it's ending. How many teen couples have prom as one of their last memories together, before college and jobs and grownup life separates them? More than you might think. So Angel showing up at the last minute, gorgeous in a tux, clarifying that he isn't changing his mind, but....Buffy snuggles and they dance, sometimes staring in each other's eyes exactly as Buffy and Spike will do in one of the last shows of the series.

There's also another person worth noting: Xander. He's been snarky and hateful to Cordy, he's been obsessed with her, and denying it because he knows he caused the problem, but in a series of actions foreshadowing the insightful, mature Xander of later seasons (after 4, for sure--they flounder with him then), he pays for Cordy's dress and lies to help hide her secret. That's especially poignant given how often she derided him for his lack of money. He took the high road, and redeemed himself in the process.

And replacing Cordy as the truth-teller, Xander has Anya by his side, beginning the transition from high school romance to adult relationship. We don't know this yet, but in retrospect, the scene is being set to let the characters evolve.

Tucker and the Hellhounds are symbolic, and the Class Protector award a nice touch, tying up her high school experience nicely, but the main lasting benefit is when Andrew is introduced, he's always "Tucker's brother."

And now, to the Ascension.

Choices

Faith  "Give me the speech again, please. 'Faith, we're still your friends. We can help you. It's not too late'." 
Willow - "It's way too late. You know, it didn't have to be this way. But you made your choice. I know you had a tough life.
I know that some people think you had a lot of bad breaks. Well, boo hoo! Poor you! You know, you had a lot more in your life
than some people. I mean, you had friends in your life like Buffy. Now you have no one. You were a slayer and now you're
nothing. You're just a big, selfish, worthless waste." 
[Faith knocks Willow to the ground.] 
Faith - "You hurt me, I hurt you. I'm just a little more efficient." 
Willow - "(stands up) Aw, and here I just thought you didn't have a comeback."

Sweet Willow is hostage, kills a vamp with a pencil, and tells Faith some hard truths. This is an action-packed episode focused
on the meta-plot,but it's more importantly an episode where issues are laid out. Willow and Buffy have to make choices about
college, Faith decides to kill a man again, and the Mayor uses his bully-pulpit not to
pontificate on his upcoming ascension or related issues, but to taunt Buffy and Angel with
the futility of their relationship--a topic that was humorously alluded to in the opening
of the episode when Buffy comments on how routine their evenings have become, wondering if this is what it will
be like when she's 50 and Angel is...well, the same age he is now.

In other news: Cordy is unusually bitchy, even for her, and we find out that she's working in a dress shop. Also, Willow
wants to stay in Sunnydale for college so she can stay with Buffy, fighting evil.

There are lots of little things happening in this episode, and multiple choices being
set up, but the big one is unspoken for now: will Angel stay, committing to a future with
Buffy? That's being set up, but not explicity stated. Yet.

Earshot

This is an infamous episode, the episode that was delayed because of the Columbine school shootings. That's too bad, because the threat of violence really isn't an important part of the story--well, it is, but not why it's significant.

Buffy gets demon blood on her, then gains a trait of the demon--telepathy. She "hears" what others are thinking. At first, that's fun. She impresses her English teacher with insightful, unusual interpretations of Shakespeare and she finds out that her mom and Giles....on the hood of a police car...twice! But even as it's fun, it's revealing. When Buffy scores points with the English teacher, we find that Willow really doesn't think Buffy's very bright, for instance.

Buffy expects to have power; Buffy expects to be in control. In some ways, everyday ways, Buffy is clueless and whiny and plays "girl" very well, but deep down, she wants to be in control and powerful. An aspect of that is what this episode explores: Buffy has the power to know everything, essentially--and the power will kill her. She wants to use her power for good (a la Angel much later as he takes over Wolfram & Hart), trying to save the student body from the unnamed "killer," but instead, she is also in need of rescuing.

How many times will Buffy play out this scene: Buffy is the strong, powerful one who will solve the problem, only to finally concede that her power comes in part from her friends. Ironically, many times in the show, she desires knowledge of what they are thinking while keeping her thoughts and feelings bottled away.

And of course, Buffy recovers in time to save the day--only not. Ultimately, Xander does by realizing the lunch lady, not Jonathon, is the threat. Buffy gets the big, flamboyant action scene while Xander's just dorky, dumping over tables and yelling--he's not suave superhero, but boy doing the right thing.

And Buffy gets her version of the yellow crayon speech as she talks Jonathon down--insightful and all, but notice that later, she won't go to prom with him bc he's short, etc.

And Angel lurks in the background, Buffy's shadow and savior--as unreadable as ever, touting Buffy trying conversation and honesty instead of trying to read his thoughts.

Amends

What can I say about this episode that hasn't been said better by someone? It's almost fairy-tale like in its ending, a sudden, unexplained snow storm, hiding the sun so Angel doesn't commit suicide. Buffy had told him that they were done, finito--yet she was the one beside him as the miracle occurred, tearfully admitting that she loves him. Snow--white, pure, miraculous--all the things Angel isn't, yet apparently the Powers that Be decide to use super-symbolic-mojo to insure that Angel is around to get his own series.

Angel is trying to make amends for the evil he's done, but he's not the only one. Buffy reluctantly makes overtures to Faith, and Oz decides that he and Willow belong together. Xander and Cordy are still not civil, and we see Xander sleeping outside in the sudden snow as he avoids his family's dysfunctional Christmas eve celebration. White, fluffy snow baptizes the sleeping xander, symbolically exonerating him even though Cordy won't.

In the plot line and symbolically, the destruction wrought be Spike is washed away, but it's worth noting that unlike many television shows, the characters retain the memories of their flaws and failures, and grow--or at least change--from the experiences.

Worth noting: Joss uses very overtly religious symbolism in this one--and it does take place Christmas Eve/Morning--and Willow mentions several times that she is Jewish, although her last name (Rosenberg) is the main evidence of that. In the episode about forgiveness and redemption, even avowed atheist Joss heads to religious, probably because those are the archetypes we understand....I think.

In the Buffy-verse, the last several episodes are crucial to the myth-making and character development. Soon, season 3 will kick up a notch--but for now, we've had a respite from the Mayor as we explore and build the characters more.

The Wish

Another often-cited episode. It's Joss' version of "It's a Wonderful Life," in a sense, answering the question "what if Buffy hadn't moved to Sunnydale?" The inciting action: Cordelia, now recovered from her near-death experience and facing taunts and rejection from the cool kids (lead by Harmony), wishes that Buffy had never come to Sunnydale. Abracadabra!

Anya is on the scene, vengeance demon extraordinaire! This is the first time we meet her, and she seems to be a plot device. She makes a passing reference to Xander as a loser, but other than that ironic moment, it's all vengeance, all the time.

The meat of the episode is simple, in my mind. A couple episodes back, Willow and Xander were bad. They kissed, they lusted, Willow tried to use magic in a manner foreshadowing later issues--just not the happy go lucky kids we expect. They were not truely bad, but they feel they've fallen--and, presumably, the audience is at least aware that they were not the "white hats" for an episode.

So...let's push that further. Vamp Willow and Vamp Xander are bad, no doubt. And they are obviously together, not just giving into a moment of temptation. In a sense, Joss and his merry band of elves are giving us the worst case--what if Willow and Xander had fallen as far as they seem to think they have? They are busy berating themselves for being human--and hurting Cordelia and Oz, who they really do like--so Joss created a reality where they joyfully hurt people.

And, as is usual in Sunnydale, true evil is named an punished. A scarred, leather-clad Buffy--the bad girl mirror of Faith--kills the Master, Vamp Willow and Vamp Xander, with the help of Angel, suggesting that they are destined? Maybe? And that Buffy is good and human and not Faith because she's got friends like Willow and Xander? Maybe?

In the alt-world, Giles is an ex-watcher, and Oz and a couple others work with him to fight the evil, but without Buffy, the fight is futile.

Redemption is needed, all have fallen in one way or another, and....that's where the next episode goes.

Lovers Walk

Big deal episode. Spike's back for an episode, and manages to upset the status quo enough that people and situations are different at the end of the episode than they were at the beginning. Even though the last episode was called ""Revelations," this is the episode where the secrets hit everyone in the face--and, in a proto-Spike way--he not only instigates it, but like the court jester, he voices what people aren't willing or able to say...maybe even to think.

The episode begins happy: SAT scores are back! Willow's faux depression over her very high but not perfect score is played for laughs, and she and Oz are adorable. fawning over a Pez witch. Cord and Buffy have much higher scores than would be expected, and Xander's less then stellar score is laughed off; he didn't expect better--and, more importantly, Cordy has pictures of him in her locker! That's much better than being smart.

The end of the episode, though...wrenching. Cordy nearly died, and tells Xander unequivocally to never come near her again; Oz and Willow are separate since Oz saw her kissing Xander; Joyce knows Angel is alive--and she isn't happy about it; and Buffy has told Angel they aren't friends and she's not coming back.

There's only a hint of Season three in here; the mayor appears, but briefly. No Faith, little Giles even. This episode is seminal, though, setting up or making explicit dynamics that push the show for the next 4 seasons. Spike is almost an emotional savant, a constant victim of his own emotions, but acutely aware of other's emotions as well--which means he often understands their actions and motivations better than they do. His prodding causes too nice Willow to stand up to him and say there will be no biting. He tells Angel and Buffy that they are not friends, ending an epic, foreshadowing speech with "I may be love's bitch, but I'm man enough to admit it," causing Buffy to confront her conflicted feelings about Angel and ultimately tell him that the only way they can be friends is if he tells her he doesn't love her. He can't, and the rest of the season is spent untangling their relationship (so he can go begin his own show, yes, I know).

Understanding the title is crucial to understanding the subtext. There's no apostrophe on the dvd. It's not the romantic balcony people stood on to see into the distance (also called Widow's Walk); it's saying that lovers walk away. Cordelia doesn't come back; Dru doesn't come back; Buffy basically doesn't come back, although they have their moments; Willow walked away briefly, and we know that ultimately, she chooses Tara instead of Oz. This is an episode about leaving--not even about the pain and aftermath, but the turning point where it happens.

And in the seeds of the end of Buffy/Angel, there's Spike. He doesn't tell us that Dru says he's obsessed with Buffy; we learn that later. But the loathing/working together dynamic of Buffy/Spike, and the trust that they both want to deny they feel towards the other--that's integral to this episode even as Spike has kidnapped Willow and Xander. And when Joyce dies and Spike tries to bring flowers (which Xander rejects without Buffy even knowing), it's easy to believe that Spike genuinely liked and mourns Joyce; that dynamic is set up in this episode too.

The dialogue in this episode is tight--Joss at his best. Some samples: http://www.buffyguide.com/episodes/loverswalk/loverswalkquotes.shtml Joss and co. rock at using language well!

Revelations

Yes, more than one revelation. The obvious one is that Angel is alive, and Buffy's been lying to everyone about her whereabouts when she's been stealing time with him.

Some people might argue that another revelation is that Mrs. Post is an evil former watcher--maybe, but that's really too simple, too tied to a single episode plot line. That revelation isn't worth the time and energy, I think.

So.....hmmmmm......well, Xander and Willow have a secret--they are attracted to each other and "accidently" kissing every chance they get, but that isn't revealed, so that's not a revelation...

How about this: Buffy's tragic flaw, the heroic blemish that will ultimately define her, is very evident here, I think for one of the first times. Hubris. She believes that the way she chooses to do things is the only way: she "had to" keep Angel a secret. No, she really didn't. She seemed to hope that it would not come to light, which means when it finally did, the situation was compounded by her friends' feelings of betrayal. And, as will be her pattern later, if people disagree with her decisions, she turned it back on them. She claims that Xander is motivated by jealousy of Angel, not from a desire to keep his friends safe. She apologizes to an obviously upset Giles for not telling, but her subtext is "I'm sorry you don't understand why I thought this was best."

Giles is subtle, but important here. He's very disappointed in Buffy, and begins questioning his methods in dealing with her--especially claiming that she doesn't respect him or his job. He makes a good case for that, too. And he suffers again--last season, tortured by Angel, this season, carted to the hospital because of an evil watcher. Giles bears the brunt of bad decisions.

And that tragic flaw has cemented Faith's distrust of her, a large part of the reason Faith turns to the Mayor. Faith wanted to be accepted, wanted to be a Scooby--but it was made clear that she wasn't. The opening couple of scenes, she's like the sister Buffy never had (hehe--yet!), then it turns sour as Faith is excluded from the Scooby intervention--which comes after Buffy lies by omission about Angel.

When hard emotional choices must be made, too often, Buffy opts to follow the path of least resistance, and to not seek or disregard wisdom from others. She chooses isolation when community would help. As I watch more of these and as the plots turn darker, I think I'm going to see that as Buffy's tragic flaw....gotta watch more!

Beauty and the Beasts

On the surface, this is just a throw-away episode. Mysterious deaths, scooby gang doing scooby stuff (Willow even has a Scooby Doo lunchbox in this). Buffy's kind of seeing Scott, but doesn't seem that interested. No big revelations, no huge angst.

However, there is a bit of interesting forshadowing. Buffy is seeing the school counselor, and he echos Joyce's comments from last season about "you're seeing a guy, you get intimate, the guy turns mean..." The theme of Men Turn Mean is not explored in any depth, but is assumed. More interestingly, he also previews Spike's "I'm love's bitch" speech. "Sometimes you love too much, and Love becomes your master, and you're love's dog" was roughly the way it was worded. He made it seem bad; Spike embraced the title. (I think that's this season, too, but I'm not sure.)

Also, Buffy is hiding that Angel's back, and she's obviously worried that he's damaged. In talking with Giles about what it's like to come back from a hell dimension, he explains briefly what it means to have humanity left within you. If it's not there, the returnee can't be saved. If the humanity is, the human can be redeemed. These questions also arise in season 6 after Buffy is resserected--with similar assumptions about her being in a hell dimension, in fact.

Other little things, but overall, not a must see episode--that's my opinion right now. We'll see if I change it, which has happened!

Faith, Hope and Trick

Big news: Angel's back, somehow. We don't know details, that's the closing shot: Angel, naked, laying on the floor.

This episode is an intro episode, starting the season's meta-plot. Character development is key; with the arrival of the somewhat morally ambiguous Faith, Buffy's jealous streak, and intro of Trick (who never quite works for me), a couple interesting things may be missed.

One, Willow knows that she's doing things with magic that Giles wouldn't approve of. She underplays and tries to lie about what she's been attempting, and Giles warns her--one of the first times I remember getting an undercurrent of "this isn't good."

Two, Giles is more subtle and aware than he may seem. A recurring bit during the episode (maybe the first couple?) is Giles pressing Buffy for more info about Angel's death so he can do a "binding spell" to insure there are no problems with the statue (or something similar). Buffy sticks with "I came, I saw, I conquered" as her line until the end of the episode. Finally, with no emotional fanfare, she starkly tells the truth: She kissed Angel, who was back to himself, then killed him. She admits it feels better to have told, but in an understated manner. It's not until after Buffy leaves that we find out Giles' only magic involved healing Buffy's pain--he knew she hadn't faced it all, and he played her to get the rest of the story. That degree of emotional insight wasn't typically observed in Giles earlier, but it becomes more common. Also, Faith suffers because she doesn't tell; Buffy sees that, and realizes that like Faith, she is part of the walking wounded. Telling Giles the whole truth helps.

Last, Joyce finds out that Buffy can't quit without dying--and that she died once and that led to Faith. She hates Buffy's calling, but supports her too. That's a recurring theme.

Next--I don't remember! Fun ahoy!

Dead Man's Party

Xander summed it up: If you try to bury things, they'll come back up. He was talking about the issues related to Buffy's running away, but zombies were attacking them as he said it. So this is one time when the metaphor is impossible to miss!

Willow and Buffy talk, finally, after dancing around issues the whole episode. Buffy and her mom apparently do, too--but if Xander and Buffy do, there's no hint. However, he makes the strongest statement about Buffy needing to talk, to not isolate herself. He supports Joyce, siding against Buffy in the big argument. Willow backs away from confronting Buffy, but Xander does it because it needs done. Is that part of how he shows manhood and loyalty? Could be.

Notably, Buffy is still dreaming about Angel, sensuous, death-filled dreams

One thing worth noting: some of the intense emotional scenes include dialogue that is ridiculous. It fits with the situation and characters, but the sincerity of the actors in the emotions they bring to the scenes create credibility. Because they take it seriously, we can also. That's a large part of why the show resonants. It is campy, but not because the actors triviolize it or treat it frivolously. That is part of what makes the show.

Becoming, pt 2 (I'm awake now)

I said that the episode is about the power of love, in both the negative and positive forms. Here's the list:

• Good--Because Spike loves Dru, he works with his enemy to get Dru back from Angel and protect her. This is a beginning (remember my Janus reference) because he goes beyond defining himself as evil, switching sides to align with the Slayer. Yep, a trend begins.
• Good--The power of love is possibly why Willow wakes from her coma. Xander gives a big speech to her, saying he loves her, and she starts rousing. She asks for Oz right away, though. (Closure of her infatuation with Xander? We'll see)
  
• Bad--Because Giles loves Jenny, he tells "her" (really Dru magicked to be Jenny) the secret of how Angel can wake the demon. He resisted torture; he can't resist love.
• Bad--Because Joyce is so concerned about Buffy (mother's love), she argues with Buffy to make Buffy stay home, not fight Angel--which leads to Buffy running away. Joyce said don't come back;Buffy didn't,
  
• Bad--Buffy has to balance her love of Angel with her duty; love loses. Buffy realizes that Angel is back, Angelus gone, and she still kills him to close the portal.
• Bad, maybe Biggest Bad--Because Xander loves Buffy (and he's proven repeatedly that he does, it's not just infatuation), he believes Angel is dangerous to the world and Buffy. Obviously, jealousy plays a big part here, but I'm willing to credit Xander with seeing the Angel's potential evil, SOOOO....he lies to Buffy for the second time in their relationship. He delivers Willow's message, but instead of "delay as long as possible, I'm trying the spell again," Xander claims Willow said, "Kick his ass." Symbolically, even happy, faithful, optomistic Willow has seemingly given up on Angel, sealing his fate with Buffy? Perhaps. It's noteworthy that the phrasing is very un-Willow-like. Xander would say that, not Willow. But Buffy is focused on the mission and doesn't question the false note.

Other Xander-centric note: He's evolved this season, maturing. In this episode, he comfortably, casually calls Cordy "honey," he pulls Giles to safety, he's calm and dependable---except the lying, of course. The first episode of next season, he's goofus and immature. Not sure what happened over the summer, but.... And the lying will come back to haunt him, season 7.

Blood is the key that opens and closes the portal....hm...that seems vaguely familar, like the premise of season 5, maybe...It's done differently, but on retrospect, it's odd that only Spike understands it in season 5.

Isolation and loneliness are a major theme here. Ultimately, the slayer is alone. Whistler says than, and Buffy ends the show watching as an outsider before leaving. There's more to think about....

Oh, and Kendra's dead, killed by Dru--which activates Faith, but we don't know that yet. And Spike is there with Buffy when Joyce finds out that Buffy is the Slayer. Joyce trying to make small talk with Spike even after realizing when and where she met him (as he was trying to kill Buffy early in the season, attacking the high school) is a marvelously fun bit. We find out later that Spike has great affection for Joyce, and that even when they are enemies, Buffy and Spike can do some of the facial shorthand communication stuff that becomes even more evident later.

Becoming, pt 1

Obviously, part one isn't the big finish, and I'm just going to ramble about a few things here then see if there's a big point after I watch part 2.

First, the flashbacks are interesting. We want to like Angel and root for he and Buffy, yet the writers have gone out of their way to make him reprehensible: casually killing unnamed people, killing Jenny and setting up the tableau for Giles; taunting Willow and Buffy; telling Joyce about he and Buffy--it's clear that we're not supposed to like him. But the flashbacks--Angel as Liam, meeting Darla. It's hard to not be a bit appalled and confused. Is Angel the Big Bad or not? Well, yes, and he's trying to reanimate the demon--but wait, he can't. He's not bad enough. We'll see.

And Xander, who has been Buffy's top leutenant thus far, yells at her and Willow, insisting that Angel should be killed, soul or no soul. Willow is trying to restore Angel's soul, Giles and Buffy are doing a hurry-up-happy-dance, and Xander is incensed. Xander doesn't seem to believe in redemption.

Kendra shows to help; that's going to be an important point, but not right now.

Season 2 is the big intro Spike season, but it's striking how little he's really on screen. He's not even quite on the radar as a problem. He's evil, yadayada--but an afterthought. He's not a main player, except in a couple episodes.

Ok, that's all off the top of my head. On to part 2!

I Only Have Eyes For You

Guilt, Forgiveness, Redemption--those are the words of the day. Although the obvious correlation is Buffy's guilt over causing Angel to lose his soul (which she seems to believe she is responsible for, but am I seriously supposed to believe it's entirely Buffy's doing that they had sex? And that Angle never considered what the curse meant??), it's framed in a tragic love murder/suicide story from 1955, and it's plausible that the underlying significance could be missed until Cordy snidely asks Buffy, "Over-identify much?" Even then, Giles and the Scoobies assume Buffy has the woman's role in the tragedy, the victim; when Buffy and Angel--enthralled by the spirits--reenact the deaths, Buffy is the male, the shooter. The one who is angry and seeking redemption--not the victim. Angel plays that role.

The gang believes the morality play can't be resolved; it will just keep going in an endless loop because the victim can't forgive the shooter. That may be true most places, but not when a vampire is involved. Being shot and falling from a balcony are no big deal, so Angel finishes the drama by stopping Buffy's impending suicide and forgiving her for causing the situation, pledging enternal love. Notably, Angel is wearing his claddaugh ring through this whole episode, too, making the symbolism even clearer.

A couple episodes back, Buffy announced that she's ready to kill Angel. In this episode, she essentially gets absolved of the guilt for her actions--which may include what she has to do, perhaps? And interestingly, back at the mansion, Angel has been taunting Spike, who we discover can walk now--a little fact Angel doesn't know yet. The pieces are falling in place...