A New Man

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

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

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

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

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

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

Doomed

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

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

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

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

Hush

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

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

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

Something Blue

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

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

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

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

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

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

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

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

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

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

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.

The Initiative

Season four picks up; metaplot ahoy! Although there are deeper ramifications and some interesting character development things, this episode is mainly plot. Spike is being held captive in the Initiative's lab; he escapes, but then nearly gets re-captured. Giles and Xander are more obviously feeling useless, a situation that continues through much of season four. And Willow, who is still obviously hurting over Oz leaving, has long talks with both Riley and Spike, both of whom are using Willow to get to Buffy.

Riley's All-American good guy-ness is played up. He defends Buffy's honor by punching Parker for making an insensitive comment about Buffy, and he uses the word "courting" to refer to what he wants to do to get to know Buffy. He's nervous and inarticulate when Buffy's around, then G.I Joe when we discover he's part of the para-military group Buffy is curious about. His intentions are honorable, and he's sweet. His conversation with Willow makes it clear that he may be a better match for the brainy Willow--they seem to connect well--but after a long monologue about how they'll fall in love but end up with someone leaving (a commentary not just on her relationship with Oz, but also foreshadowing Buffy and Riley's end)--Willow accepts that Riley is going to "court" Buffy, and offers the baffling info that she likes cheese (a curiously reoccuring joke--or symbolic theme, but what of...still considering!)

The parallel of Spike going to Willow to find Buffy is interesting. Spike and Riley have antipathy towards each other, but before Riley leaves (next season? Not sure), they have a talk that makes it apparent that they are very jealous of each other. The parallel conversations with Willow is the beginning of their parallel relationships with Buffy. Riley, sweet and romantic, the "perfect" boyfriend; Spike, all emotion and passion, the despised partner. Watching for parallel moments will be interesting.

Note that Marster and Hannigan (Spike and Willow) do a subtle job of going from terror to parody as Spike finds he's unable to perform as a vampire, not realizing that the Initiative has put the chip in his head that renders him unable to attack humans. The moments like that scene remind me that it's not just Whedon's writing; the actors excel in subtle ways, making even the most ludicrous situations ring emotionally true.

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!