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.

Goodbye, Iowa

This is Riley's coming of age, his coming to a crisis point. As Buffy puts it at the end, the underpinings of his world have fallen apart, and he's left with nothing...but she's wrong; he's got her scarf (or whatever the piece of fabric from her was). The end foreshadows that Riley has come to terms with Maggie's betrayal by choosing to align with Buffy. Even though he stalwartly defends Maggie through most of the episode, to the point of accusing Buffy of killing her, when he's faced not merely with the fact of Adam, but Adam's statements about how he and Riley are brothers, "Mother's two favorite sons," Riley rejects being one of Maggie's creations--which continues as we (and he) discover that, like Spike, he has an implant that Maggie used to "improve" him as well.

Is this Joss' updating of Frankenstein? Is Maggie the modern Dr. F? The parallels are obvious, especailly with the killing of the child. It's been a long time since I've read Shelley's classic, so maybe I need to along with this season....free ebooks, here I come!

If part of the subtext of Buffy is to explore what it means to be female, then by extension, this season is a more overt exploration of what it means to be human (via Adam) and male (via Riley and Initiative? Thinking about that.) Riley is more "All American Ken Doll" than any other character, something Buffy knew and chose; he was supposed to be the "boring boyfriend" than Anya told her she needed....even though it was in a comic, sentimental scene, with Anya emphasizing that Buffy couldn't have Xander, and Buffy confessing how crazy about Riley she was, even though he turned out to be G.I. Joe instead of Ken Doll.

Riley's a pysch grad student, yet his moments of introspection and analysis are very limited. It's becoming more clear that Riley is a man of action, a man who follows orders and doesn't question--but when the questioning comes, he deals with it quickly and without a lot of emo (bit change from Spike, and Angel, and...yea). If he's the ideal man, I need to watch for what that means.

And on the Willow front: maybe she hasn't had sex with Tara yet after all, but she did spend the night "doing magic." Willow emphasizes to Tara that she really likes being with her and isn't just using her like Capt. Planet---"by our powers combined.." Interesting: when Willow wants Tara to help with a spell that Tara is uncomfortable with, Tara obviously (to us) undercuts it; even here at the beginning, when it's fun and flirty and helpful magic, Tara questions if Willow is using magic appropriately. Foreshadowing.

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.

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!

Helpless

Ohhhhh....now I get it. Last episode, Joyce turns on Buffy, and leaving Buffy without a supportive parent figure...now---Helpless. Daddy turns on her, in essence. We are seeing the creation/growth of Buffy's fatal flaw, her sense of isolation.

It's Buffy's birthday, 18. She's excited about the Ice Capades; going each year with her Dad (a conspicuously absent character) is a ritual that she cherishes. She admits that it's childish--cotton candy, sparkly costumes--even as she tries to defend the artistry of the skaters. He cancels. She sucks it up, but in a touching scene, she tries to get Giles to offer to take her. The Giles-as-father-figure is in full bloom, with Buffy articulating it as clearly as she ever does. If Giles would offer, it would complete the transition into Buffy's dad, symbolically.

However, he's completely distracted. She's so wrapped up in her scheming that--childlike--she pays no attention to his mood. We find out why. He's shooting her up with a substance that, we realize in a bit, is sapping her strength. He seems distraught about doing it, but--ever the good soldier--he does.

A lot is written about this episode and Buffy's loss of strength: the men leering at her, her inability to save Cordelia from a bully, her clever dealing with the vampire test--but there's a bigger loss: a loss of trust in the adults around her. It's not a total loss, and they do redeem themselves, still having loving relationships, but her father, Joyce, and now Giles have revealed that they are human; they may have their own agendas, they may even knowingly hurt her. The most important rite of passage in this episode may not be the Counsel's Vampire test; it may be Buffy's realization that she is alone in a fundamental way.

In counterpoint, when Quentin fires Giles, he claims Giles loves Buffy with a father's love, and that renders him unfit to be a Watcher. He wants to protect and preserve her, to help instead of watch and guide. At that moment, Buffy probably doesn't believe that, but her subtle reactions to Giles' firing implies that she's considering what that means.

As is common in the Buffy-verse, love triumphs and Joyce, Buffy and Giles are pretty much fine post-Helpless,....but--as always in Sunnydale--the history is remembered and the lessons learned. When Giles conspires with Robin against Spike, he betrays Buffy again, nearly leaving her even more helpless than in this episode; again, he does it for what he believes are important reasons, and not easily. Giles is a more morally ambiguous character than I had realized--which isn't to say he is, but he's not the total background white hat I'd remembered.

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!

Episode 9: The Puppet Show

Not much to say here, really. It's a very plot-driven episode, quirky and odd. The one thing I notice is that the puppet is the first character to explicitly say that Buffy has a very shortened life expectancy. It must not have sunk into the Scoobies; Willow comments on Angel staying young as Buffy gets old and wrinkled.

Is there a subtext that Buffy is now a puppet? That the Watcher's council and the demons/vamps/ hellmouth? Often, important points are made in what seem like random episodes, often in a more humorous or unexpected context than the gravity of the topic might engender. So it could be...

And it's worth noting, I suppose, that so many of themes from season one show up in season 7 resolved or clarified; Buffy's strings are pulled by her position until Willow changes the paradigm in the last episode--then the power lies with the Slayers themselves. Is that the way this episode ties in with the meta-plot? Not sure. Could be. Gotta think more.

(Until my bronchitis is much better, I will continue whipping through Buffy; using the remote requires I summon all my energy, so doing much more is just not worth the effort!)