Family

Variations on the theme: this season, identity and family have been explored, now the theme reaches out to include Tara (and by extension, Willow, who has been underutilized so far this season). Tara has, understandably, been aware that she's not really a Scoobie. Even though she's been around for a season, Buffy and Xander can't think of a thing to get her for her birthday; they claim to not know her well enough.

By the end of the episode, we've found that Tara's own family is awful, and that she believed she was part demon. It's been established that she is officially part of the group, with everyone bonding together to save her from her father--even though she cast a spell that could have caused them to be killed by demons. She is forgiven and accepted, claimed as family.

Things to note: Spike had come to see Buffy killed, but helped save her (gee, imagine that), AND he is part of the process of "claiming" Tara--he's not a Scoobie, but he is. His intervention not only saved Buffy but also established that Tara's father was lying and she was not part demon. His integration from punch line to essential side man has started.

Also, Tara has misused magic, casting a spell for her benefit that impacts others. She is contrite that she did so, accepting that it was wrong. Willow--foreshadowing next season's issues--excuses and defends the use of magic to make Tara's pain less and life better. Tara has learned from her experience; Willow hasn't.

And, very importantly, Riley helps Buffy move in, then feels shut out and leaves, heading to Willy's bar to drink with vampires--looking for darkness? Leading into something? AND, equally importantly, the big love fest at the end that solidifies Tara (and Spike and Anya) as part of the expanded group--Riley's not there. He's on borrowed time. He knows it, too.

The Replacement

Xander-angst! Last season, Xander was a misfit. He wasn't in college, he couldn't keep a job, he was at loose ends and stagnating. This episode, right at the beginning of season 5, is a logical counterpart to Dawn's "Real Me." In both, the core issue is one of identity. "Real Me" introduces Dawn's search for identity; "The Replacement" makes Xander's struggle with finding his groove as an adult into an explicit theme.

So he's twins--grown-up, responsible Xander and goofy, unreliable Xander. The twist is they are both Xander, and the clearest evidence of that is that the reliable one is doing things--getting a promotion, getting a nice apartment--based on the actions of season 4 Xander, who must have quietly been doing some of the right things in order to have the opportunities he takes advantage of in this episode.

As happens in other places, most notably the yellow crayon speech, Xander calls on his history and relationship with Willow. Despite Oz, Tara, Anya, and Dark Willow--Xander and Willow's bond is deep...arguably deeper than his bond with Buffy despite his loyalty and infatuation with her (Note, I'm excluding the last couple episodes of the series when I say that--but it's worth mentioning that he takes the side Willow is on when they throw Buffy out). True Xander, deep down, Willow knows him.

Two bits of foreshadowing occur: first, somewhat jokingly, Joyce complains about a headache. Yep, that's going nowhere good. secondly, Riley has a revealing talk with "responsible" Xander explaining that he knows Buffy doesn't really love him. The clock is ticking on that relationship, we suspect, AND we see Xander doing something that he does even more once he embraces his grown up side: he is the confidante who sees more than most people, and who is willing to say the hard things.

The resolution is simple, and Xander is restored. The Scoobies reaffirm their partnership by working together to solve the problem, and the Magic Box is established as a home base. Season continues to build from here.

SEASON FIVE: Buffy vs. Dracula

Sure, it's a cute episode. Snappy dialogue, good characterization. And it makes sense that sooner or later, the Count himself would show up.

Here's what I noticed: First, when Dracula is trying to enthrall Buffy, to get her to consider joining his side, he says almost exactly the same thing Dream-Tara said in Restless: "You think you know what you are--what's to come--but you haven't even begun." In significant ways, that's the theme of the second half of the show, and very tied in with it is that Buffy's power is steeped in darkness; that is mentioned in Restless, and Spike (and others) comment on how drawn Buffy is to men who are more dark than light--she comments herself on it as she's beginning to be interested in Riley, that "something is missing." In season 7, she finds out in one episode that the Slayer's original power stemmed from harassing demons, and she rejects getting more demon-fueled-power. Her insistence on right/wrong (as noted by Faith when they switch bodies, and Willow and Xander when they call her "judgmental" during Yoko Factor)--does that stem from a fight within herself to not go to the dark side....? maybe.

Three other things that build throughout season five--because even though this is a light episode, it does establish the season's subtext: Dawn comes, literally. I can't imagine how confused the audience was as they waited week by week to understand how a new character shows up, accepted as canon in-world.

And, just as Giles was preparing to tell Buffy that he's leaving, she decides she needs a Watcher. She's going to accept the official (well, minus the council, so far) responsibilities and structure of Slayer-hood, training, listening, etc. The whole "should I stay or should I go" dance is static this season....he's needed.

Last..Xander, after being in thrall to Dracula, announces he's done being "everyone's butt-monkey." He decides it's time to grow up, to find a place in the adult world for himself. If I remember right, in just a couple episodes he has a defining moment, and is not the poor-little-victim...as often.

That's what I see, and more is coming. (Oh, and Riley was sure he was going to lose Buffy to Dracula, and Anya and Spike both have met him before--Anya seems quite smitten with the memory, too)

Restless

Season four ends not with vanquishing Big Bad, but with an artful, experimental show of dream sequences. Much has been written about this episode, and the dvd includes Joss' detailed commentary on the episode--I really don't have much to say that's not been said before, probably by people who have said it better.

In a sense, the Big Bad of season four is as much finding their own identity--their "true names," as comes up in a couple of the dreams. Adam, as the "am I human, or demon, or andriod--and what does that mean anyway" Big Bad they can physically fight is one manifestation of that, but this episode ties up the search in ways that killing Adam doesn't. Willow, Giles and Xander go on dream quests that end in them naming their quandaries or fears: Cool, Quirky Wicca Willow is a disguise, and nerd Willow quails beneath that disguise, fearful of discovery; as hard as Xander searches, he'll never leave his basement, never overcome the taint and heritage of his upbringing; and Giles' crossroads--am I father? watcher? should I move on?--peppers his journey with options, ones he is too stymied to grab.

Then finally, Buffy's dream-journey takes her face to face with the first Slayer, who tells her she cannot have friends, she must only kill. Buffy rejects that, ultimately saving her friends and herself.

Rife with foreshadowing of Dawn's arrival next season, sexual imagery, and commentary on various plot threads (including Joyce's death--and Buffy ignoring when her mom asks for help), it's clear that Tara is integrating herself into their lives, and that Buffy is aware that Riley may become someone she can't be with. According to Whedon's commentary, the odd cheeseman who appears in each dream really is a random motif, just as dreaming includes random imagery.

There's a lot of interesting symbolism in the episode, but honestly--it's been talked about by people who have devoted a whole lot more energy to being insightful than I'm willing to give. Note though that creative camera angles, odd dissolves, unusual depth of field, and frequent use of color and negatives give this an exceedingly dream-like feel, making it clear that Joss' at least this season was going for an artsy auteur approach to his direction.

Primeval

Buffy calls a meeting, and in an interestingly staged conversation--Giles, Willow, Xander and Buffy standing on a sidewalk (maybe, symbolically, an intersection, now that I think about it) standing in square facing each other--they realize Spike set up the arguments. Perfunctory decision that it's all good, that they need to work together, and so business as usual...but it's at best a whitewash. Until later, again interestingly, symbolically staged: Willow and Buffy repelling down into the Initiative, and Buffy broaches the subject again, apologizing for her distance and lack of attention, then Willow copping to her own secrecy and hurt. By the time they hit bottom--friendship truly reaffirmed, and Xander hops down in time for a group hug. Now, all is really well, and we know that the gang is committed to staying together. Anya, Riley and Tara are nowhere near, but the decision is clearly to not let anything impede the Scooby mojo.

If this season was about Frankenstein, the conclusion must somehow address that. Adam's plan to create an army of demon/tech/human androids--beings without soul, without conscience, is viewed as bad by everyone...well, everyone good. Is technology bad? That's a bit more up in the air--Willow is more wicca, less tech this season, but she's still the go-to girl for all things computer. Maggie's use of tech to dominate humans is definitely decried, but I'm not sure that ultimately, this season adds much to the "what does it mean to be human" discussion. They could have gone there, and with Maggie, her assistant, and Forrest all joining Adam in half-death/tech life-ville, there was opportunity. The fact that Riley was targeted for that could have extended the conversation to the Scoobies, easily. But no...instead the focus is the power of love--agape (Willow, Xander, Giles, banding together for the final spell) and eros (Riley pulling out his own chip as well as whole episodes and themes: Oz overcoming/losing to wolf side and Where the Wild Things Are, specifically)

But the season doesn't end there...in another artsy move, there's one more episode, the dream episode, Restless. I need to rewatch that before I'm sure of any conclusions about the season.

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....

Where the Wild Things Are

What does it mean to be human? This episode, a road bump on the path to the end of season 4, asks that in a sense...maybe. Adam--who isn't in this episode (or if he is, it's so brief that I've forgotten)--isn't human. He lacks passion. He can't love. And instead of having an Adam-centric episode now, there's one about passion. Simply: Buffy and Riley, because of the intense sexual energy they're conjured up, raise dormant spirits of orphans who lived in that house and were strictly punished for sexually-related behavior.

So, a party raises more Cain, and Buffy and Riley are hot-n-heavy for who knows how long, unaware that killer vines are surrounding them, that there's been an earthquake, that their friends are yelling for them. We get hints that Willow and Tara are involved, and Xander and Anya argue about sex--it's a theme.

Interestingly, Anya and Spike bond at the Bronze, having a conversation about how similar they are, both demons who can't hurt people. Spike is obviously ogling Anya, far more than previously, and Anya talks more freely and normally to him than she does usually. Their brief fling--10 minutes that changes their lives--in season 6 seems less random now; there's a backstory for it.

NOTE: season 4 must be where Joss has an itch to be an artist. As well as the ground-breaking Hush, this show features some artsy camera angles, pulling up on Riley and Buffy in bed until they are a little square of white floating in black. There was some other artsy thing, too, but I'm drawing a blank what it was.

And Giles sings, guitar in hand and earring in place, at a coffee shop. He's trying to find himself, and is still oddly misplaced. Appropriately, the following scene is in a library or something similar, researching; gotta reinforce the Giles image right after the crooning. The song he sings, Behind Blue Eyes by the Who, is symbolic too:

best-song-lyrics.com No one knows what it's like To be the bad man To be the sad man Behind blue eyes No one knows what it's like To be hated To be fated To telling only lies But my dreams They aren't as empty As my conscience seems to be I have hours, only lonely My love is vengeance That's never free No one knows what it's like To feel these feelings Like I do And I blame you No one bites back as hard On their anger None of my pain and woe Can show through But my dreams They aren't as empty As my conscience seems to be I have hours, only lonely My love is vengeance That's never free When my fist clenches, crack it open Before I use it and lose my cool When I smile, tell me some bad news Before I laugh and act like a fool If I swallow anything evil Put your finger down my throat If I shiver, please give me a blanket Keep me warm, let me wear your coat No one knows what it's like To be the bad man To be the sad man Behind blue eyes

Who Are You?

This is one of THOSE episodes...lots going on, setting up lots more that's going to happen. It's a continuation of the previous episode, and clarifies a couple points from that. For Willow, Faith, and Buffy, it's a character-defining (or re-defining) episode, at least introducing some shifts.

Buffy is in Faith's body, and she's being held by the Watchers, who are taking "Faith" back to England to be dealt with. The assumption is that it's possible the Council will execute "Faith." Buffy, true to her history, does not kill the Watcher-hit-squad goons when she has a chance. Clearly, Buffy is still "good," even under threat of death.

That's important, but it's more important in light of Faith's attitude about Buffy. In a somewhat funny scene, but a very uncharacteristically shot one, Faith (getting used to looking like Buffy) plays in front of a mirror, saying "Don't do that--it's wrong," in a variety of ways. She's trying to understand Buffy while mocking her. (Watching SMG be Faith as Buffy is interesting; SMG obviously worked at getting some of Dushku's body language incorporated into her version of "Buffy") The theme of "that's wrong," shows up again in the bar scene where she sexually taunts Spike, calling Buffy "joyless" and other similar things, ending by telling Spike that there's one reason she wouldn't have sex with him--it's wrong. She's more Faith than Buffy in this scene, but oddly, Spike--who usually has a finely tuned radar in all things Buffy--doesn't realize something's seriously askew. Perhaps that's because he's so tuned in to the sexual vibe she's generating, but even that should be a signal, I would think.

Finally, though--Faith understands. She could make a get away, be free of the Scoobies and the Watchers alike, but she sees the news: vampires have invaded a church. She believes Buffy is on her way to England and can't respond; it's not her problem--she's leaving on a jet plane, too.

But as she's lived in Buffy's skin, she is channeling Buffy too, and ultimately shows up to deal with the vamps and tells them, with conviction worthy of Buffy, that what they are doing is wrong. Originally, way back, Faith had a sense of mission and right and wrong, just different than Buffy's. She's found it again, and during the fight between her and Buffy (who has shown up in Faith's body to save the church as well), Faith (as Buffy) pummels her own face, yelling "You're nothing! Disgusting! Murderous bitch! You're nothing! You're disgusting!" She's not yelling at Buffy; it's not Buffy she hates. She wouldn't call Buffy "murderous." The fight is really between Faith and herself--and, symbolically--Buffy finds Faith in a church, and Faith faces herself in the church.

Faith heads to LA, where she ultimately gets in a similar fight with Angel, who she was going to let kill her. He refuses, causing a major breach between himself and Buffy--Buffy wants Faith dead, or at least not near any males she claims as hers. Angel is betraying Buffy by helping Faith...which echos the whole season 3 dysfunction where Buffy's jealousy of Angel and Faith causes all kinds of havoc.

That leads to Buffy--in a sense, this episode is about fear. Adam (who is the reason the vamps show up at church) asks what vampires are afraid of. He's trying to learn about fear. Through season 3, we know that one of Buffy's fears is Faith taking her place with her boyfriend, with Giles, and with the Scoobies. In this episode, Faith does all those things--even sleeping with Riiley, which is further than she went with Angel--which lead to Buffy freaking pretty seriously in season 3. Buffy is being forced to confront her fears and deal. The fact that everyone thought it was her makes it easier to deal, but being Buffy, she questions both Giles and Riley about how they couldn't realize it was not really Buffy. They deflect well enough--I don't remember if it comes up again or not in this season, so I'll have to watch for that issue.

Ironically--the person who knows is Tara--who hasn't met Buffy. When she meets Faith (in Buffy bod), Tara realizes right away something's off, and she tells Willow, who believes her and does a spell. (Note--last episode I thought Tara sabotaged a spell because she thought it was too powerful; I found an analysis pointing out that Tara believed she was part-demon, and the spell identified demons--that may explain undercutting the earlier spell. This one is powerful, and she does it.) And ironically, Faith is the first to know that Willow and Tara are a couple. Her comment "So Willow isn't driving stick anymore," was one of the Faith-like moments that SMG convincingly pulls off--she veers between Buffy moments and Faith subtext throughout the episode in an amazing performance.

As well as confronting fears--this episode is about sex. The spell Willow and Tara do gives some of the most sexually graphic imagery on Buffy thus far--clearly hinting at their relationship for any viewers that didn't understand what Faith meant; Faith's seduction of Riley is very blatant and un-Buffy-esque, enough so that Riley stops her and asks "What are we playing at," clearly uncomfortable with what "Buffy" was doing. When he says he loves her, Faith freaks. She's good at sex, but love--that's when Faith has a moment of facing her fear. And whether that could be a trigger for her decision to go back a save the church....hmmmm.....gotta think about it. And even though we know Spike has an interest in Buffy (Drusilla leaves him because of it), this episode is the most blatant at establishing the degree of his sexual attraction to her.

There's one component missing here--Xander. I have a theory about why he is so absent in this episode, and the one time he's in a scene with Faith, Anya is literally draped over him. With fear and sex as the major themes in this episode, there's only one direction a Xander-centered scene could go: Faith would seduce Xander, who would believe he'd finally gotten Buffy. He didn't realize "Buffy" was Faith in the scene in Giles' apartment. He's spent four seasons wanting Buffy--a dynamic that arguably never changes over the life of the show. (yes, he turns her down in the episode where he cast the love spell--he knew that would be his fault and he'd be taking advantage of her. In this case, he wouldn't know).

Faith is well aware of Xander's obsession; she's a student of male reactions, so she must know. She couldn't interact with him in any way but the most superficial without having it turn sexual, in the context of the episode. In fact, the one comment she makes to him is taunting him--Anya says they have plans for the evening, they are going to have sex. Faith says something like, "well, what are you doing after that seven minutes is done?" The ramifications to the season if Faith slept with Xander are much more disruptive than Faith sleeping with Riley; that's why Xander isn't in this episode very much.

The next episode is one I remember not liking. I'm interested now to see if there are tie-ins or foreshadowing I didn't catch the one time I've seen it before.

The I in Team

I've procrastinated about writing about this episode....not because it's so seminal or baffling, just....there's a lot going on, but it's mainly plot level. This episode is more soap opera structure, multiple storylines that only tangentially impact each other at this point, but all building towards further plot complications. Nothing is resolved in this episode; there's no satisfying "win" for the Scoobies, but the promise of more Big Bad action is clear--and this is the episode where the season metaplot really starts. All the players are in place, and they've introduced and established the Initiative, Riley, Oz's departure, Anya, Maggie, even Adam. We're pretty fair into the season for the big picture to just be emerging, but that becomes more the modus operandi in the later seasons (Willow isn't revealed as the Big Bad until the last couple episodes in season six; season 7, it seems like the Bringers, then Caleb, then....underlying Big Bad.).

The title for this episode is an onion: obvious, Buffy joins the Initiative (Note, it starts with an I, and is a Team), but it's clear that she is not good at being a Team Member--there's too much "I" in her makeup (which ties in with Giles' insistence to Kendra and the Council that Buffy can't be treated like the other slayers, that she doesn't fit the subservient pattern). A couple brief conversations with Riley where it's clear that he doesn't question, he does what "the team," usually Maggie, tell him because he's a team player just emphasizes Buffy's difference as well as setting up Riley's loss of innocence.

Riley knows he is part of the good guys, and he trusts without question that his leaders--Maggie--are doing everything for the greater good. Hence, he doesn't need to question. Just act. In Maggie and Riley's eyes, Giles is wrong for fostering the collaborative approach that he has permitted with Buffy (and the Scoobies--note that slayers are NOT team creatures, usually--flashback to Kendra's amazement about Buffy having friends and help).

So....Buffy, who has been the core of the Scooby team, has left that affilation (or so it seems based on her lack of connection emotionally and in daily ways with the others) in favor of Riley...not the first time she's chosen a man over her friends, notice. Season three had large helpings of Angel-secretiveness and pulling away, too.

But everyone is, in some manner, exploring connection and team:

• Spike starts off the episode by declaring that he's bad, and he will not come running if "teen witches' spells go wonky" or "Xander cuts a new tooth," cutting ties with the group even as Giles is there in the background trying to offer Spike status and involvement. What exactly Giles was intending is never made clear, as Spike is rude and dismissive, closing all discussion....until, of course, Spike is shot with a "tracer" and shows up at Giles door for help. A smidgen of Giles' hardass background--a hint of Ripper--comes through as he neogotiates with Spike about why Giles should help him. (The chemistry between those two characters is interesting; I wish Joss did a bit more with it...well, the whole season 7 Giles plotting to kill Spike excepted, I guess.) This episode makes it clear that although Spike refuses to fit into the Scooby team, he is part of the gang in more than a peripheral manner.
  
• Willow's turned gay--she's left the Scooby team with her own secret, and it's only later that the significance of this episode is clear. Tara, a stuttering, shy misfit, has been in most of the season, but just as "a witchy friend," filling a gap for Willow because Tara has more background in ways. But the scene where Buffy, after spending the night with Riley in one of the more graphically sexual scenes in the series, comes back to the room only to find that Willow has been out all night too. Buffy is so keyed into herself that she misses Willow's evasiveness and unease about saying where she was; Buffy isn't a Scooby at that point, isn't thinking as Willow's best friend. When Giles calls Willow for help with Spike's tracer, it's an affirmation that Giles is still assuming the Scoobies exist and function, but based on Willow and Buffy....that's shortsighted.
  
• Xander is floundering, and because he has no job, no Scooby imperative--Anya is with him constantly, and he hangs out with Giles, who is equally at loose ends. Xander's foray into selling the granola/power bars--which no one likes, and he justifies by explaining that he needs to buy pretty things for Anya (who embraces capitalism with a vengeance...so to speak!) Xander can't hold onto the sense of gang that they had; it's too clear that Willow and Buffy have other interests (and, as the poker game makes clear, Willow feels left out from the Anya/Xander vibe, too--making her relationship with Tara more likely, as well. Tara needs her friendship; Buffy and Xander don't)

BUT--pesto chango. The point of this episode may be to shake up Riley and make it clear that the Initiative (read: Maggie) has spawned the Big Bad: Adam, the cyborg-demon-human that Maggie has created and Riley has inadvertently helped with by supplying parts, never questioning what he was doing. Maggie reveals herself as evil--as not really being part of the Team, in once sense--when Riley finds that she has set up Buffy to get killed. The farm boy's world is rocked, and he's questioning everything. Buffy--who had been enthusiastic about the Initiative, barely considering the ramifications of that for the Scooby gang, is now Maggie's sworn enemy--and Maggie is dead...but by Adam. not Buffy.

One other curious thing: during a big fight scene, the graphic sex scene with Riley and Buffy is intercut. That's a technique that is unique to this episode, I think....I can think of times that things which we happening simulataneously are intercut, but the fighting and the sex couldn't be simulataneious--in fact, when Buffy asks Riley at the end of the fight, "what now," the audience knows exactly where they end up--and that conclusion of that sequence of events is when we find out that Buffy spent the night with Riley. Why they chose to juxtapose the action of the two scenes is curious. In a later season---five or six---Spike needles Buffy about the sexual thrill of battleing demons, declaring that it just primes the pump, or something similar--and Buffy vehemently denies it. The filming here may be the first exploration of that idea, which is pivotal in parts of season six....maybe.

The most important point: they have been losing the "team" experience and "team" feel this season, and the barely interlocking plots are designed to emphasize that; the end-of=-season melding that requires all their gifts to beat Adam also reaffirms that they are still a "team," not just the "I."

Now, on to the next episode, which continues the soap opera feel, if I remember right.

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.

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.

Pangs

This is a popular episode--funny, good lines, and quirky. Even though the plot looks like a stand-alone, not strongly related to the season's Big Bad, this episode has undercurrents that resonate throughout the rest of the series.

Two intertwined plots: Buffy wants an old-fashioned, family Thanksgiving, but with her mom away, Willow, Giles and Xander are the family she wants to be with. Second, an ancient Chumash warrior spirit has come back, and is seeking revenge for what the European settlers did to his culture. Appropriate for the holiday, and fodder for theoretial arguments between Willow and everyone else. The twist: Angel (who is in season one of his own show) has been warned that Buffy is in danger, and sneaks around trying to protect her without her knowledge.

The family theme is important. Giles and Xander have been marginalized this season thus far, and Willow is floundering due to Oz's departure. The Scooby Gang is growing up, and it looks as it they are losing their sense of "us." The meal, and the symbolism of the holiday, are a re-affirming of their "tribe," in an ironic sense considering the other plot. Even the arguing with Willow about whether the Native spirit should be killed fits with the family squabbling that is often part of the family ritual, as is the discussion where Willow admits that she'd like to not invite Anya (foreshadowing the issues they will have as part of the undercurrent over the next several seasons). Also, Spike's showing up, as desperate as any Dicken's character, begging Giles to take him in after Harmony refuses to let him stay (juxtaposed against another character's observation that home is where you go because they have to take you in. Like it or not, Buffy and co. are Spike's home.) The shot where Angel looks in the window, watching Buffy as she prepares the dinner for her "family," is poiniant. Angel is on the outside now...and Buffy's frequent staring out of the windows, looking for something but not sure what, underscores that she senses him, is connected to him, but he chooses to stay just out of reach. Spike is never exactly one of the gang--something made painfully clear in season 7--but he's at the table, part of the family. Angel isn't, by his own choice.

The Chumash tribe theme, while appropriate for the holiday, in ways is not about the Native Americans. Sure, there's some interesting controversy where Spike is the voice of reason, in ways, pointing out that the Europeans won, that's what conquerors do, so can the guilt. And Giles gets to mumble some hilarious lines about the Colonies. But the essence of the argument Willow makes, in ways, harkens back to the whole werewolf/human dilemma. Was Oz wrong to kill Veruca? Was she human? Should Oz be considered human--or not? When is mercy appropriate? Willow sees the spirit as human and wants to treat him thus, suggesting amends and reparations. Failing negotiations, she turns to magickal remedies, again trying to avoid an unpleasant situation via magick. Giles and Buffy both insist that magick is not the answer. Xander, sick from the Chumash warrior's curse, says it's a vengence demon, and vengence demons should be killed, which is not Anya's view at all. Until the war party attacks, Willow continues her argument.

The episode ends with the meal, one of the few times a sit-down meal is featured in the series. The symbolic value of breaking bread is important in the Buffyverse, and not done lightly. The episode ends with comments about how good it is to be together, like old times, affirming the family...and Xander slips, mentioning that Angel was there. Everyone looks at Buffy, cut to black. Oops.

Wild At Heart

This is the big "Oz is leaving" episode...but it's not. Sure, Oz's fight between the wolf and the human sides of himself is important, but that is not the most significant part of the show. Willow's reactions to being hurt is what matters in the long run. Early in the episode, Willow's jealousy is a topic. It's somewhat humorous in the exchange about Buffy academically succeeding more than Willow, but the emotion expressed is definite jealousy. Then, Willow's reaction to Veruca is not subtle--she's aware that Oz is attracted to the musician even before Willow (and Oz) find out that Veruca is also a werewolf.

The attraction is explained as primal, animalistic--the wolf side of each character calling out to the other. Willow, who is usually the intellectual, represents the human, logical side--ironically, of course, since her reaction is entirely emotional. Continuing that thought, though, is the fact that we see (not for the first time, either) that intellectual Willow doesn't deal well with negative emotions. Finding Oz and Veruca together, naked, then having Oz chose to risk turning wolf while not locked up so that he can look for (and presumably neutralize) Veruca sends Willow over the edge emotionally: Willow is trying to use magic to hurt Veruca when the almost-changed werewolf comes into the science lab.

Oz kills Veruca. She's in wolf form and trying to hurt Willow; Oz is a wolf then too, but we know a line is crossed. If we are to view Oz as essentially human--except for 3 days a month--then the same logically should be true of Veruca. Oz killed, and being responsible for killing a human has repercussions--just ask Faith. (Yes, Xander escapes that clause in season 6. I'm not there yet.)

Other notes: Willow mentions the Wicca group, leading into meeting Tara, and Buffy finally decides that she's interested in the mysterious soldiers--who captured Spike before the opening credits. The metaplot is picking up....slowly.

Beer Bad

This is not one I like well, but it may just be because Buffy acts against type so drastically--which is in ways the point. Even this early in the show, relatively, she's having problems dealing with her losses and her position, but in this episode, lots of beer with frat boys is the "cure." Of course, the beer is cursed and we get the theme of the show: Primal. Buffy and Oz, in particular, go primal.

Buffy fantasizes about saving Parker, her way of then being able to make him appreciate her. Before the end of the episode, CaveGirl Buffy gets to do just that. Is he purged from her system? Symbolically, probably--and much mention of Parker in the series ends fairly soon as Riley takes the helm. This episode pretty much wraps up the Parker arc, while beginning the Oz leaving arc as he reacts on a level he doesn't understand to the lead singer of a band at the Bronze.

Notably, Xander is nearby to help Buffy. He's watching, seeing what she can't see. It's interesting that early in the episode, he makes a comment (that I forget now) that displays deep, well-rounded knowledge, but when faced with the college kids mocking him, he can barely form a sentence. Through the series, Xander claims to be dumb, but his vocabulary and allusions prove it's not true. The choice to have his character not go to college is an interesting one.

Willow's discussion with Parker is interesting, but right now, I'm not sure I can articulate why. Maybe later...

Fear, Itself

I've been procrastinating about writing this one. Even had to watch the show again because I wasn't sure I remembered it well. On the surface, it's a fairly light show, doing a bit of relationship and character-building. Underneath, it's foreshadowing character traits that will ultimately threaten their relationships and all of Sunnydale.

The Anya/Xander relationship becomes an ongoing feature, and based on how it begins, Buffy's reaction early in season 5 when she accuses Xander of just letting Anya hang around so he's not alone seems true. Even though the relationship rarely takes front stage and Anya is often merely a plot device, the genesis and evolution is fun to watch.

More importantly, though, we see what each character fears most, and we see what happens to their friendships when they are under stress. Willow turns petulant and uses magic indiscriminately, just to prove she can--and she can't control it. The slight jealousy she feels about Buffy's importance overtly surfaces. Oz fights for control of his werewolf side, and abandons Willow as he deals with that. Buffy decides to take charge, alone, and closes her heart and ears to others' input. And Xander, who is totally marginalized by his non-college status (which is emphasized a couple times early in the episode), becomes invisible.

If the major foreshadowing department, when the demon is revealed in a trickster-twist, he tells Buffy as she kills him, "They're all going to abandon you, you know." She says, "yea, yea," as she stomps him. He wins, though. All their fears come true, even though it's the very end of the series when Buffy is abandoned and it's season 6 before Willow completely loses herself in her magic. The seeds are planted this early for us to know that those are possibilities.

As for Oz...it's not long before the wolf wins, and Xander is dealing with his metaphorical invisibility even in the last season as he tells Dawn about the challenge of not being special.

Giles rescues them, but throughout this episode and much of season 4, he's clearly at a loss as a character. He's comic relief in this episode, wearing a huge sombero and wielding a chainsaw. Getting his credibility back is his struggle this season, and this episode clearly shows his current lost-puppy status.

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!

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....

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.