Living Conditions

This episode reminds me of some of the early David Greenwalt monster episodes. Just fun, self-contained plot, little character development...just a story, essentially, establishing the new place and dealing with stabilizing the characters in their new environment.

The main thing that caught my attention is that the theme of "soul" came up. Buffy's demon roommate is stealing Buffy's soul (in a graphic that looks amazingly like what dementors do in Harry Potter--should check dates to see who did it first), and Buffy gets cranky and paranoid and self-centered when her soul is being siphoned nightly by Miss Happy. Considering that with Angel, losing soul=turning evil, and with Spike, gaining soul=being recognized as good (I could argue that spike was good before he got the soul--and probably will argue that later). and that conscience and soul seem intertwined, Buffy's petulant displays and plan to kill her roommate on what seems to be spurious evidence do not seem to fit with the usual definition of soul in the Buffyverse.

One other quick observation, which may not be on track: this episode and last, the shooting angles are some scenes have emphasized Buffy's height, far more than usual, I think. She's feeling small, etc, and I think the directors have used Sarah Michelle Geller's size to subtly make that point--usually, she and Willow seem to be about the same height, but Alyson Hannigan has been notably taller in some scenes, and Buffy's giraffe-like roomie and Parker (and Riley) have made that even more pointed. Will watch to see if this continues or is stopped as Buffy acclimates.

This is a light hearted episode, with Xander and Oz bungling holding Buffy captive, Giles being slightly awkward, and sappy pop music permeating it. Buffy meets Parker, then goes all crazy-reaction-girl because he was talking to the roommate (a bit of foreshadowing--Parker's normal MO where females are concerned starts with light conversation).

I haven't watched early season 4 much, so I don't know when it starts getting heavier; thus far, it's glib and clever and fun, but not quite jelled yet.

Enemies

Faith and Buffy take center stage again. The title of the episode seems self-explanatory: Faith's choices make her Buffy's enemy. Sex abounds in this episode, which opens with Buffy and Angel leaving a movie that was apparently far more "adult" than they suspected. They are lovey-dovey until Faith shows up, gently mocks them, and takes Buffy to patrol. In a sense, that's the template for the whole episode: Faith makes them look at their relationship as she inserts herself into the equation.

There's a point, of course. The Mayor and she are trying to call forth Angelus. She tries to seduce Angel, believing that he'd lose his soul that way (if you've watched Angel, you know that's a vain hope; sex alone doesn't give him the moment of happiness to break the curse or Darla would have had to deal with Angelus.) When Angel won't even kiss her, she resorts to a spell. Double-cross ensues, and Angel plays Angelus as he pumps her for info.

Buffy is jealous. She can paint it as righteous anger, because Faith is bad, Faith is everything Buffy can't be--doesn't want to be--and maybe wishes she could be. Angel was bad, very bad--he liked living on the edge; Buffy takes risks, but refuses to admit she gets a charge out of it. That would be bad, enjoying the kill, enjoying the chase. And that's without even adding the layer of wondering if Angel really likes Faith, really would enjoy it if Buffy would cut loose a bit more.

This tangled relationship doesn't end with this season, either--it's just about the only carryover plot into Angel. Angel saves Faith; Faith saves Angel. In fact, even late in the Angel show, Buffy and Angel are at odds over his relationship with Faith.

Talking about her name is obvious, and I don't currently have anything beyond the obvious to say. Commenting on neatly the names "Faith" and "Angel" fit together is equally obvious, so i won't go there, either--yet.

So are Faith and Buffy the enemies? So it seems--but the animosity is tangled, and Buffy insists that in different circumstances, she could have been Faith. Willow disagrees, claiming that some people are just born good, and experience won't change that. Interesting to contemplate that in light of season 6 and the developement of Dark Willow...

I think there well be more to say here, but I don't know what yet....I may be editing this one.

"School Hard"

Spike's here--and there's going to be a little less ritual and a lot more partying.

The "Buffyverse," a storyline with a rich history to draw from and a berth of characters and incarnations, is finally becoming evident. The characters are starting to jell, and (I think) the major themes explored throughout the rest of the series have been introduced, at least briefly. There are still more characters to come--even important characters--but the structure of the Buffyverse is fairly well established even though people, relationships, and storylines still mature.

With that said, here's my quick list of important stuff

• If your name involves time, for instance, Calendar, it's a hint that you can count the number of days (or episodes) you'll last.
  
• This episode has one of the first overt mentions of religion, I think, when Willow tells Cordelia to pray as they are hiding in the closet from the vamp attack. Even though religious imagery abounds, like when Xander used the cross to make Angel listen and cooperate last season, religious references are worthing noting when they happen. In this case, when nothing else seems possible, prayer is last resort--and then, Cordy's prayer is humorous and ironic.
• Spike claims to feel more "manly" when he uses weapons, but what this means is subject to interpretation. She knows he's not a man, he knows she knows--it could be meant ironically humorous, or to underline that as a non-man, he doesn't need a weapon (his speech to her in "Fool for Love" about how a vamp always has his weapon, but she has to reach for hers is an interesting contrast.). Note that he's lying/manipulating the truth in that scene--the last slayer didn't beg for her life (we see flashback in a later season), Angel is his grandsire (although in another show he clarifies: Dru made me a vampire, you made me a monster, he tells Angel)
• Joyce stops Spike. After hitting him on the head with the axe, she says something about not hurting her daughter. Irony/foreshadowing: we know Spike has a weakness for mothers and had a loving relationship with his. And Joyce and Spike end up getting along well, even though she knows he's a vamp. (Contrast that with Angel, who she didn't especially like even when she didn't know he was a vamp; knowing it didn't improve the situation any either)
• "A slayer with friends and family...never heard of that before," or something close. Spike makes that point two times, underlining how unusual that is. It keeps her alive, he says later--and it throws his plans for a loop; Xander gets Angel as reinforcments to help, and Joyce bops Spike and stops the crisis du jour.
  
• Foreshadowing: When Spike sets up the vamp attack at the Bronze, it's so he can see Buffy's fighting style. Buffy doesn't have a stake--a spike--on her person (and how often does that happen in 7 years?? Once, I think) so Xander dashes to her purse, grabs her stake, and throws it to her. Buffy then dusts the vamp, and Spike appludes the show. Notice that Spike gets to see how emeshed Buffy is with her friends--and symbolically, Xander has handed her (or thrown her) to another man, the one who ultimately is a bigger threat to his relationship with Buffy than Angel is.
• Spike's image is all emotion, red hot. Where Angel is dressed in black, or black and white, blood red is spike's color--in this season, I think he's always got some red on somewhere. His speech in season 5 about blood--of course it's blood, that's the color of life...etc--underlines how important blood is to him, and of course to all vampires. The color of life, of passion--that's Spike's trademark color, at least for now.
• Despite how strongly Spike is identified with emotion, impatience, and the Id, notice the strategizing and planning. He wants to see Buffy fight before fighting her, he approaches the Annointed to gain an "in" there before incinerating the Anointed. His talk with Angel isn't about bonding, but digging for info--but Spike is as much about deliberation and power as about emotion.
• Spike is as tied into pop culture as the Scoobies. He calls Angel his "yoda," and he makes another few references just in the time between Angel and the fight with Buffy. He lives in the human world in many ways.
• Spike is gentle and caring towards Drusilla, his ill (mentally, primarily) partner. He's more overtly gentle than Angel is--at least towards their respectivie romantic interests--and that's even though Spike doesn't have a soul. Soul doesn't control empathy, at least totally.
  

That's the short version for now...

Season 2.1: When She Was Bad

Season one is over...but it's not. This episode demonstrates part of why BtVS was able to have characters that grow deeper and engage audiences in their journey. It has history, and the history matters. Buffy fought the Master, and died, and then they went to the dance at the Bronze. End of story, end of season.

And that's how season two begins, with business as usual--well, over the summer, Buffy's been in LA with dad, not slaying, not in touch with Willow or Xander. Willow and Xander have apparently been spending a great deal of time together, Willow's infatuation remains--and they nearly kiss when a vampire interrupts and Buffy materializes from the shadows. Life on the Hellmouth is back in full swing.

I could argue that for all her angst, Buffy is a fairly simple creature. She's not hardwired for deep thought and philosophy; she takes action, usually the most direct course and as time goes on, relishing the release of fighting. Dealing with emotion isn't easy for her, and that shows in a variety of ways. Tree pretty, fire bad--the world is more simple for Buffy than for many people, and the issues where it's not simple, she seems to lack the tools to express and deal with the issues. That's often when she isolates herself, as she shows repeatedly. As important as a soul is to Buffy--that nebulous spark that differentiates man from monster--even soul seems to run on a binary code: yes, no; black, white; right, wrong.

SO....Buffy was killed by the Master, and she doesn't deal with it well. Instead of starting season two with a new Big Bad right off, with shiny happy plots and people, the emotional baggage of season one has to be dealt with. Buffy can't articulate her issues, so she turns mean, insulting and hurting not only Cordelia (who may deserve it) but Willow, Xander, Angel and Giles. She's hurting, so she's lashing out. Cordy, who lives up to her name, tells Buffy the hard truth: you're going to lose your friends if you don't deal with whatever is causing the Joan Collins-tude, so "spank your inner moppet and get over it."

Before she does "deal with it" by smashing the Master's dones, Buffy tortures Xander with the sexiest moment seen till season 6, then walks away; she tortures a vamp girl by burning her with a cross; and she puts them all in danger by refusing to listen--leading Xander to tell her "If they hurt Willow, I will kill you"--and at that moment, the audience believes he could do it. Early in the episode, he's said he's over his infatuation with Buffy, but it's clear he wasn't; when he threatens Buffy, he has no vestige of affection for her. When she starts sobbing after pulverizing the bones, though, as Angel holds her, the expression on both Giles' and Xander's faces are heartrending.

But the writers are so clever. They do begin the season's meta-plot when Buffy and Angel have a emotionally vicious conversation. Buffy asks: "You think you can take me?" She needles him, saying she knows he's thought about it--implying that she has thought about it? Yes. Angel answers that he won't fight her, and Buffy still eggs him on, "Come on, kick my ass." Yep, that's season 2 in a nutshell. That's the question it will take 22 episodes to answer--who's stronger, Buffy or Angel?

At the end, Buffy is older and wiser. She realizes she was a moron, and can't figure out how to apologize. She fears that Cordelia is right and she's pushed away her best friends. But at the end, they save a seat for her and welcome her nervously, but genuinely. She's back, and it will be ok.

But in those shots, we see Xander intimately talking, and Willow laughing--seems fine, business as usual--but we only see Buffy's back. Is she still holding back? Has she found the redemption she needs? Not sure...stay tuned.

Episode 7: Angel

Surprise: I liked The Pack better then this one, but this episode is fundamentally a building episode. Yes, Angel and Buffy finally kiss. Yes, we get a much fuller explanation of history--but...it's all plot. There's not that much going on below the obvious level.

The head writer on this one is David Greenwalt, who wrote "Teacher's Pet" and "Reptile Boy" (next season)--he seems to be more plot-oriented, maybe even monster-movie oriented, when I look at the list of episodes he authored. Willow is even more stereotypical "best girl friend" in this one, and Xander's jealous streak isn't subtle. After seeing this episode, it's difficult to imagine how nuanced the relationships and characters become in the series. The writers and actors are still in the character-building phase; that's my excuse!

Buffy finds out Angel is a vampire, but I'm not sure why she didn't realize earlier. She touches his skin and wore his coat--the total lack of body heat went unnoticed every time? Spike more than once mentions that Buffy is drawn to cold bodies (he's more specific than that, but it's still network TV). Does she no yet realize that vampires have no body heat? Curious, and not really salient. Even after she realized he's a vampire, even before she knows he's got a soul, she's drawn to him. Is Xander right that she's drawn to danger? Seems that way right now.

It may be important symbolically that Angel is the one to kill Darla, his sire--he's firmly aligned with the good guys and has definitely renounced his evil ways. (Of course, no one's ever totally dead in the Buffyverse. Darla shows up in flashbacks and on Angel's tv show!) Just to make sure the audience knows that Angel's willing to suffer to do what's right, at the end, Buffy's cross necklace (A gift from Angel in episode 1) burns into his chest as they kiss, tattooing his righteousness for all to see.

The only other thing worth mentioning: Angel defines soul primarily as conscience, knowing what he did and understanding the consequences and suffering it wrought. That expands but still fits with Giles introduction to it earlier.

And yes, I'm doing very little except watching Buffy and writing these this weekend. Bronchitis is not getting much better yet,....

Episode Six: The Pack

Wow, was this one a surprise. I'd only seen it once before, and I didn't like it then. It's Xander-centric, but he's mean and rude and I thought it interrupted the flow of the season. I was considering skimming the scenes, whipping out a paragraph, then going to the next episode, "Angel," which is where I'd been waiting to get--it's where the love story picks up, and Angel's so... Anyway, I turned on The Pack and--taken in the context of the series, it's the most interesting episode yet.

First, what's BtVS really about? Girl Power? Sure. The existence of evil, and the fact that good people have to fight the good fight? Ok. That everybody needs people, who need people, are the luckiest...you know? Of course. That High school and life in general can be hellish, with metaphorical monsters stalking you? Umm...yeah. That redemption is difficult, but essential? Definitely. AND, that everyone has a dark side, that we are yin/yang, and need to seek balance, not letting the darkness take us? YES--and that's introduced in this episode.

This is the first episode with a dark tinge, foreshadowing the tone that is more prevalent in later seasons. While on a school field trip, Xander has been possessed by the spirit of a hyena and is now running with the pack of Sunnydale bullies--he quickly becomes the Alpha, of course. Whedon's trademark quick wit and fast lines abound, but not in every scene, and Giles' dry wit is more on display in this episode than previously.

There's one specific aspect of the show that strikes me: Xander turns predatory, mean, aggressive--and at the end, the girls explicitly allow him to take no responsibility for his actions because they know he was under the influence of the evil hyena and--importantly--they believe he has no memory of what happened. In their minds, none of it was Xander's fault, so they don't even tell him what he did, much less discuss the dynamics underlying Xander's actions. However, Giles outs him to the audience: Xander is well aware of what he did; amnesia isn't part of the animal spirit possession package. And Giles literally pats him on the shoulder, blessing Xander's sins of omission.

So what did Xander do? The less damning actions were against Willow. First, to the amusement of his Pack, he says that because he's going to drop geometry, he'll "never have to look at her pasty face again." He's well aware that she's got a crush on him, as proven by dialogue with Buffy later in the episode, and Willow has been his best friend since before kindergarten, as every Buffy fan knows. But hurting her in public, then later (after Buffy has caged him) wheedling and appealing to her as his best friend, claiming they were happy before Buffy : "Weren't things much simpler when it was just me and you," he asks, knowing how much Willow wants the "me & you" aspect of their relationship to blossom. At the end, although he doesn't apologize to Willow or acknowledge what he said hurt her, he saves her from the crazed zookeeper the second he is rid of the hyena-spirit, and he later hugs her as he says, "nobody messes with my Willow." For a love-struck 16 year old girl, that qualifies as affirmation, I'm sure.

But that wasn't all Xander did. In a very intense, fairly lengthy scene, Xander tries to rape Buffy. He is aggressive and mean, claiming that "We both know what you really want. You want danger, don't you? You like your men dangerous...dangerous and mean, right? Like Angel, your mystery guy. Well guess who just got mean." The transformation from goofy, harmless Xander to threatening, predatory Alpha is complete--and surprising, especially given Nicholas Bredon's scant resume at the time he started playing Xander. Later in the scene, he slams Buffy into a vending machine, saying "C'mon, Slayer, I like it when you're scared. The more I scare you, the better you smell." Then--instead of forcing a kiss--he goes for her neck, vamp-style.

Fast forward to season six and seven. Xander is overtly rude to Spike, especially after Spike attempts to rape Buffy. Xander repeatedly ridicules Spike's feelings, and rarely relates to Spike without that subtext. Is it because Xander knows that he is Spike? That when the guise of humanity was stripped away, he did exactly what Spike did--only with less justification? Spike and Buffy had been aggressively sexual; Spike's attempted rape didn't look that much different than the beginning of some of their consensual activities. And once Buffy kicked Spike away, he realized what he'd tried to do and was immediately upset.

Xander, however, gets kicked away and comes back for more--and that's without ever having any encouragement from Buffy that would imply interest. (Interestingly, I didn't time it, but I'm sure that the Xander attempted rape scene is significantly longer than the one with Spike) Without a soul, Xander is less human than Spike before he earns back his soul. Popular theory is that Xander's dislike of Buffy's boyfriends (except possibly Riley) is that he's jealous that Buffy doesn't ever respond to him romantically. And in the first season or two, that's an ongoing subtext. Later, though, I'm not as sure. It may be there somewhat, and Anya implies it a time or two, but as Xander matures, I think there's a chance he's more aware of the yin/yang within himself and how easily he crossed it. His evolution into the person who sees others, as is made explicit in season seven, comes because he has seen himself.

But in this episode, he's teflon. Any possible guilt slides off him, and the girls see only Xander's goofy, friendly demeanor at the end. After his conversation with Giles, though, he walks away with his head hanging. He knows what he did, and presumably is at least embarrassed, maybe appalled--and the girls don't even really have a clue about what's going on inside of Xander. Throughout the series, neither of them is gifted with emotional insight; in another gender twist, Xander evolves into the emotional savant of the Scoobies (another trait he shares with Spike, who without fail has more insight into people--especially Buffy--than they have themselves. Spike even echos Xander's speech about danger, claiming that Buffy "likes a little monster in her men.")

It's worth noting that because Xander never acknowledges what he did, he can't seek forgiveness or redemption; in contrast, although Spike doesn't exactly apologize for attempting to rape Buffy (saying that it's beyond simple words, or something like that), they do talk about it and is forgiven, even redeemed. Perhaps it is logical that Xander, young and inexperienced, doesn't find the way to broach the subject with Buffy. It's hard to imagine the more mature Xander of season six or seven not seeking resolution after letting his id loose. But still, it's possible that Xander's reactions to Spike says as much about Xander's own baggage as it does about Spike.

So Xander and Spike in a yin/yang do-si-do? Before this episode, I wouldn't have seen them as the negative image of each other, but now I'm thinking. Could be.

Three other quick points:

1. This is the first mention of "soul" in the series. Giles mentions it in connection with animal possession, saying "Humanity, the soul, is a perversion, a dilution of spirit The animal state is holy (to the Maori, who worship animal spirits)." The concept of soul is so crucial later in the series--and I suspect in the next episode about Angel, but I don't remember!
2. Buffy pulls a Simba at the end; the crazed zookeeper is killed by his hyena when he flies into the cage, meaning Buffy doesn't kill a human. In "The Lion King," Simba indirectly caused Scar (his uncle and King) to die by letting him fall to the hyena pack--so both Simba and Buffy are innocent.
3. Again, Xander is key in an early story. Whedon claims that he was Xander in high school, and it seems evident that in early episodes, they know the character better than they seem to know the other characters. At this point, Willow is still the brainy computer nerd who finds information and needs saved--little sense of her as a character.
   

Now, to watch "Angel!"