Harsh Light of Day

Vamp Time! From the first scene, where Buffy is watching Parker in a mirror at the Bronze to the end scene when Buffy decides to send the Gem of Amarra to Angel (without speaking his name, of course), the episode is about vampires.

Watching Angel in a mirror was never an option; several episodes play with the fact that he could sneak up on her when she was looking in a mirror. He's gone, though, and Parker is here. The subplot of Buffy sleeping with, then getting dumped by Parker is woven throughout the vamp line of Spike and whiny new girlfriend Harmony looking for the gem. (Note: it's a Holy grail image for vamps, a point Giles makes)

Buffy apparently is over Angel, and the multiple ironies of her giving the gem to Angel is not even alluded to: first, Angel leaves, refusing to commit, then she gives him a ring--a symbol of commitment; also, his major reason for leaving was that he couldn't give Buffy a normal life, going outside during the day, moving around at will, but with the gem, he could do all that. He wouldn't age, of course, while Buffy would--but they could have had a long "normal" life (especially considering a slayer's usual life span). She gives him all that while still smarting from the slight wounds Parker inflicted. In fact, Oz delivers the ring so we don't even get the satisfaction of a Buffy/Angel reunion (although that does happen in a few episodes, I think). As Buffy begins other relationships, reinforcing that they are all 2nd to Angel is a reoccurring theme; the fact that her brief Parker relationship takes place at the same time she's earning a prize that could change Angel's life is not an accident--sure, she can play with boytoys, but Angel is still there in the background. There's no doubt that she'd leave Riley for Angel, and the Spike/Angel argument is one that is still being fought in fanfic!

This is a sexisode, with Xander going into full goof mode as Anya strips and announces that she thinks that having sex with him will cure her of her crush. (Note the parallel: that does cure Parker of his crush, but cements it for Anya) Amid double takes and comic reactions, the "romance" of Anya and Xander is underway, seemingly out of the blue. When Buffy accuses him in season 5 (i think) of being with Anya because it's convenient and she's willing, it seems possible that she's right until Xander makes his big speech to Anya to clarify. But that's a season (or so) away, and for now, Anya is comic relief--and she takes the role left by Cordelia's absense: truthteller, blurting out what shouldn't be said. Her reason for doing so is different, but often the purpose is the same--to call the character's (and audience's) attention to something we're too polite, or scared, or oblivious to notice.

And Spike--he's back. Mean, focused, and mesmerizing. Could Spike kill Buffy? Could Buffy dust Spike? Would Whedon let either of them win? That seems to be the question he tapdances around for the next few seasons...in this episode, Buffy wins the round and gets the ring, but it's close.

Now to more fun--the Halloween episode is next, and this is Halloween night. Guess what ghouls and ghosts will be scaring me!

Graduation Day, Pt 2

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

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

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

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

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

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

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

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

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

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

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

The Prom

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

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

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

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

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

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

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

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

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

And now, to the Ascension.

Choices

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

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

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

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

The Zeppo

I've seen this several times, and thought of it as a fun night in Xander's life, a chance for him to have the spotlight a bit. The structure reminds me of teen movies: a night in the life, leading to an older and wiser protagonist. There have been a couple heavy episodes, and we're heading into a couple more heavy ones (I think), so this is the respite.

Wow. I missed a lot. Still processing this one, in fact. First, remember the beginning of the series? How many Xander-centric episodes there were? He was goofy, he was serious, he was Everyman, he was Joss and the writers....

Then, he was Love Interest. The goofy-ness abated some as his wardrobe cleaned up a bit and Cordelia polished the rough edges--a bit. He was an integral part of the team, and had Buffy's back solidly.

This episode seems to begin the process of marginalizing him and redefining him. The last few episodes, Willow has come more into her own, becoming "The Witch." She's smart, but not nearly the brainiac she'd been in ways; beginning with Lovers Walk (maybe the one before; I'd need to look), she's turning to magic instead of other means to solve problems.

That leaves Xander as the odd man out. Giles has unique training and skills; Willow has magic; Buffy is the Slayer; Oz is a werewolf...and Xander? He's in danger, and clumsy, and--more strongly now than before--the punchline. He's also the reason the others are doing what they do: symbolically, Xander is the Everyman Sunnydale resident that they are protecting.

The episode has wonderful dialogue, and Nick Brendon's comic timing as well as his ability to evoke pathos are well used. The conversation about how to be "cool"--the laconic, ultra cool Oz (Seth Green) and the over-excited, rambling Xander is both insightful and hilarious. The conversations between Xander and Cordelia which bookend the episode mark the change between Xander the hapless spurned boyfriend and Xander on the road to manhood, laconic and cool, able to walk away from Cordelia's truthtelling (She is one of the most subtly named characters--a nod to King Lear, fulfilling her namesake's legacy in this episode).

And yes, this is the episode where Xander first saves Faith as she fights, then loses his virginity to her in a sweetly funny--and abruptly telling--couple of scenes. But that's not what made him a man tonight: standing up to Jack O'Toole, getting O'Toole to admit that he wasn't ready to really die--"janitor sweeping up pieces" dead, instead of zombie dead, coolly claiming he wouldn't "mind the silence"--that prototype to the famous yellow crayon speech in season 6 is the moment we see the Xander that lies beneath. For the next couple seasons, he is marginalized, but all through, the Xander who sees (as Caleb will note in season 7) is evolving. He has an almost parallel life to the mystical Scoobies in ways--and when Buffy points out to the council in season 5 that Xander has logged more field time than they all have put together, he puffs up with pride because he is often overlooked as a contributing member of the team. The habit of dismissing Xander's abilities as a Scooby are underscored, and in ways begin, with this episode.

Notably, Buffy and the others are in a parallel, apocolyptical plot which is only alluded to. In a fascinating structural tour-de-force, we see key moments, startling emotional, violent pastiche of imagery, with no context as Xander bumbles in the way of whatever Buffy et al are fighting. It's fun, and the story comes to a conclusion with them glad Xander was "safe," never looking at him hard enough to see the differences that Cordelia and the audience mark. The audience notes the team feel of the battered veterans around the table, with Buffy fapparently forgiving Giles for his betrayal last episode--and Xander sees them much more clearly than they see him--not for the last time, either.

Gingerbread

I didn't like this episode the first time I saw it. I know why--it is the darkest one yet, and the first time I watched the series, I didn't know how dark it would go. Joyce and Mrs. Rosenberg--first and only appearance of Willow's mom--join ranks with other parents to "take back Sunnydale from the monsters and the witches and the Slayers" and let the grownups run things. That means taking all Giles' books from the library for a mass book burning, providing fuel for burning Willow, Amy and Buffy.

The opening has Joyce wanting to see Buffy slay, to accept what Buffy is. Instead, between the reality of that and finding two dead children, she mobilizes to protect Buffy and Sunnydale by getting rid of the evil--which, ironically, includes Buffy. Before the end, we find out that the adults are influenced by a Hansel and Gretel type demon, which is dealt with and the parents are back to their willfully ignorant selves by the end.

Joyce is upset seeing the dead bodies, and Buffy holds her and comforts her--a counterpart to Buffy finding Joyce's body in season 5. Buffy is the adult in the scene, and does for her mother what she will not allow anyone to do for her when her mother's body is found.

The contrast between Willow's mom and Buffy's is overt; Joyce is trying hard and is aware of Buffy's life; Willow's mom can't even talk to her--didn't even realize she'd gotten her hair cut months before.

Darkness: the parents are attacking their children, Giles is essentially powerless, Oz and Xander work together--an important step in healing their Willow-rift, but ultimately not aiding Willow or Buffy. And although Willow plays at calling forth dark magic to try to get her mom's attention, Amy really does call on dark magic to save herself, turning into Amy the rat who will wrek havoc in season 6.

So what's it about? Still thinking, but we see the Mayor and Principal working together, which is not a good thing. And we get a hint that the good v evil can include humans on either side--and that even the kids can be morally ambiguous. Ultimately, I don't think this is an important episode, but I may revise that--and it does start working darker themes and real death in the mix. Even though the kids' were real....Joyce's reaction was. Big picture, that matters more.

The Wish

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

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

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

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

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

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

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

Lovers Walk

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

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

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

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

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

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

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

Homecoming

Simple plot: Cordy and Buffy vie against each other for Homecoming Queen. Neither wins, but they reveal more of their characters in the process. Subplot--Xander and Willow kiss. Boy, do they kiss. Which wouldn't be a problem a season ago at this time, but now...Oz and Cordy? Somehow, the whole topic of polyamory is not raised. Curious.

Anyways, isolation is key here. Buffy wants to get in touch with her inner homecoming queen because of what's she's lost as the Slayer. If she were at her old school, if she weren't the Slayer, she would have been Queen. She would have been popular, had friends, been in the yearbook (the yearbook is a recurring theme. In Angel, Cordy goes through the yearbook to try to remember who she is, and realizes it's the story of her life) Buffy has monsters, death, and weapons as her life; high school is an afterthought.

Her friends abandon her in her quest to be Queen. Out of guilt for kissing, both Willow and Xander have committed to working for Cordelia, and the scene where Buffy is excitedly organizing them to help her only to have Cordelia sweep in, assign tasks, then everyone leave (making excuses of course) is understated but poignant--Buffy is isolated and alone. Giles, who obviously doesn't care about homecoming queen but cares deeply about Buffy, quietly sympathesizes.

Buffy's approach to winning is characterized by Cordelia as sensitive, she, deep, caring--some words like that. The picture Buffy uses is not typical, either. Not glamourous, not cheerful, friendly--more Princess Di looking up from under her bangs.

Ultimately, I suspect that part of the point of this episode is to begin morphing Cordy into the character we get on Angel--still the diva, but able to deal with any thing that goes bump in the night. And juxtoposing her with Buffy is good. Buffy could be Cordy (and initially, that's the role Gellar was trying for), and Cordy needs to find her inner Buffy--the snarkiness and sniping in their relationship stems from them knowing each other too well; they recognize themselves, both strengths and weaknesses, from looking in the mirror of the other.

Becoming, pt 1

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

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

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

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

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

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

Killed By Death

This one doesn't work for me. It's not the characters or the writing or anything--it's all ok. For some reason, this one hits me as icky and not fitting. I've seen it lumped with the couple of other fairy-tale themed episodes, but it feels like practicing for "Hush" to me. The whole horror movie ambience, the ambiguity of tone...and it's interesting that both times I've watched this episode, I've had nightmares that night. Not plot related or Buffy related, but unsettling, disquieting bad dreams. No other Buffy episodes have done that.

There are 2 little bits of dialog that are interesting: first, Cordy says she doesn't believe in tact. No kidding. She lives up to her Shakespearean namesake well, telling unsoftened truths. The second is Xander and Angel. Angel comes to the hospital, and Xander (whos guarding Buffy) refuses to let Angel in. They are nose to nose, alpha dog battle, and Angel comments that Xander still loves Buffy, and it must rankle that Angel "got there first." Xander doesn't deny any of that, but says firmly that he will be there when Angel dies. Angel stalks off, and (if I remember right) Xander doesn't tell Buffy that Angel came. Where Angel is concerned, Xander is not reliable. Of course we know that Angel doesn't have Buffy's best interests at heart now, and that Buffy is sick and doesn't need to worry--but a pattern is being established: Xander, who will follow Buffy's orders and wishes in every other case, cannot be trusted when Angel is concerned. He sees Angel as a threat for Buffy's attention, and can giftwrap that sentiment in the "He's a vampire; vamps should die" box and justify it.

Some ok flashbacks of Buffy as kid, and adding to the Buffyverse backstory, but...if there's some symbolic, cosmic wonderfulness to this episode, I've missed it.

Bewitched, Bothered and Bewildered

Another Xander-centric episode. It seems like comic relief and a break from the evil that is Angel, but there's some character building that is worth noting. Xander gets Cordy a silver heart necklace, and it must be nice--Buffy likes it, and Cordy's first reaction is very appreciative. In the scene where Xander gives her his heart (yea, go with the schmaltzy symbolism), he makes a speech about how he sees something in her, and in their relationship, that isn't apparent at first look. Her reaction, though, is to break up with him. She's losing too much social status over him, and they don't make sense.

So....Xander has Amy do a love potion to make Cordy fall in love, not forever, though. He wants to make her go through the heartache and social stigma that he's experiencing. Like most spells at this point in the show, it goes awry. Every female except Cordy--including Jenny and Joyce and the lunch lady--are desperate for Xander's attention.

At the end of this spell, Buffy (and presumably all the girls) know what they did while enchanted. Buffy talks to Xander about how she tried to get him to undress her, and gives him high marks for resisting. While she was under the spell, he makes a whole speech about how he would if she had any clue how much it would mean to him, but since she doesn't, he doesn't want to. It's an echo of Oz's speech about not kissing Willow until she is kissing him back--seems like a trend. A man doesn't take what's offered until it matters emotionally as well as physically? Not sure how I'd word it yet, but there's a definite trend.

This is the first time we see Amy as a witch, and we're immediately hit with Amy's penchant for rat spells. Gee, wonder if that's going to show up again! And we hear more examples of Angel's torturous side, but it turns comic in this case; instead of getting Xander to hurt/kill/vamp, Dru saves Xander till the angry crowd of females saves Xander from Dru.

Here's the point worth noting: As angry as Giles was with Xander for messing with the forces of darkness--calling him "selfish" and "a fool"--Xander faces no consequences. It's a slightly comic break from the meta-plot, not a tragic building up towards Angel's evil climax. That's true of "Once More With Feeling," when Xander messes with magic, that time causing at least one death, yet he's teflon. Curious. Willow and Buffy don't get that much of a get out of jail free card. Neither do Angel, Spike and Faith when they mess up. Is it possible that because the writers (Joss especially) identifies strongly with Xander, he slids through? Maybe....

Bad Egg

I think I figured it out. These two episodes, Ted and Bad Eggs, seem like weird, weak interruptions. The front bookend is Big--Spike, Dru, Kendra, angst, fire--and it's bookended by Big Bad--Angel turning evil. These two episodes are ok, probably, but...why bother?

The lesson in Ted could be summed up as breaking rules has consequences.

The lesson of Bad Egg follows that: Someone has to be responsible.

Bad Egg begins and ends with Joyce harassing Buffy about being responsible. In between, Buffy has saved Joyce's life--the lives of most of Sunnydale High, in fact--but Joyce doesn't realize that. So she's harping on Buffy about being responsible, grounding her to her bedroom in hopes of making the point.

Buffy has proven that she's responsible, but not in a way Joyce recognizes. And soon, Buffy will again be responsible, but in a different sense of the word.

Other things: Cordy and Xander can't keep their hands off each other, but want no talking, no lights because they can't stand each other. What could possibly go wrong here?

Buffy and Angel discuss the future; Buffy admits she doesn't see one, but what she does see is Angel. That's as far as she can see--and he says that's true of him, too. This is the schmaltziest they've been, I think--again, set against the backdrop of the egg experiment and the teacher intoning "Sex leads to responsibility." Gee, what's going to happen next?

The outlaw subplot? It's cute, and it may just be another use of "bad eggs." They were bad before being vamped, so maybe it's a pun. And it does inadvertently give Buffy backup when she's fighting the Mama Bezoar. (Again, note that Xander is the only one unaffected, the only one there for Buffy; Giles, Willow and Cordy are all possessed by hatchlings. Xander, who took the shortcut of hard boiling his egg--breaking the rules, note--is safe.)

Again, we get an image of Buffy climbing up out of ground. The first was during the dream episode, wasn't it? Won't be the last, and this time it's not very symbolic, just plot-driven.

Ok....that's all for this one. My theory is that these two episodes are needed for pacing, to slow down the metaplot, but also to set the stage, priming the viewer to be considering the issues that explode in Surprise/Innocence. Maybe.

What's My Line Pt 2

The second part focuses more: the Spike/Dru/Angel plot, and the Kendra is the seemingly perfect slayer plot. The other parts are there--Xander and Cordy kiss, Willow and Oz nerd-flirt ("I mock you with my monkey pants," is an awesome line. Oz is great)--but saving Angel and working with Kendra are prime.

Buffy was ambivalent about being the slayer; the backdrop of Career Week is to underscore Buffy's lack of choice. Kendra is trained, dedicated, able to laugh with Giles about the watcher journal because--unlike Buffy--Kendra has been raised to be a slayer. No family, no friends, calling Xander "sir"...if she's what a slayer is supposed to be, it's no wonder Giles is often frustrated. Buffy's jealous of Kendra (whining to Willow that Giles and Kendra "were vibing" and many snarky comments about The Slayers Handbook, which Buffy didn't get because....well, because.....Giles never did quite explain why Buffy was "a different case.")

Buffy tells Willow that maybe she should hand it over to Kendra, retire, quit. "Maybe I could lead a normal life," but when you're programmed to be a slayer, what would be normal? She claims to want that, yet is slightly jealous of the person who could make that possible. This topic will come up again, and again. In a sense, the resolution of it is what ends the series.

Here's the other thing I suspect this episode does: it gives us a framework for understanding that despite all the broodingly handsome angst Angel's famous for, the legacy of Angelus' badness is still around; we get a shadow of what he might have been like before he got his soul. Yea, we've gotten that with Jenny, too--but that's just the facts. And it's easy to decide that he's redeemed, that he has suffered enough. BUT...Angel liked "the preshow." He liked to torture, to torment. He created Drusilla's craziness and taught her to relish torturing her victims, playing with her food. After Dru torures Angel, he turns the tables on Spike, mentally instead of physically. Angelus seems to love mental games. We can excuse him because if he can provoke Spike into killing him before the ritual to heal Dru, he saves Buffy and Sunnydale, but in fact, Angel shows that even souled, he's adept at mind games. He doesn't mind hurting others for a good cause. With a soul, the good cause is to save people; without a soul, the good cause is to amuse himself. Same dynamic, though.

Emotion takes center stage in this episode. Kendra tells Buffy "emotions are weakness." Buffy argues that "emotions give me power," then demonstrates by insulting Kendra until Kendra's heated response leads Buffy to observe, "That's anger you're feeling." She continues: "Anger gives me fire; a slayer needs that." When Buffy and Spike start their relationship, I need to revisit that quote. It ties in to with "Walk through the Fire," the big centerpiece of the musical--And it explains in part why Buffy's not feeling things the end of season 5 and through 6 seems to be such a huge problem for her...maybe?

Then we go right from Buffy and Kendra's emotion talk to the scene where Spike is nearly overcome with anger, nearly staking Angel. Adding to the emo-cauldron is Xander and Cordelia, arguing fiercly, then kissing...and kissing. It's a full moon, and emotions are running wild (note: I think it's probably the last full moon before Oz goes wolfie, too)

Again, Willow is research-girl, but not much more. Xander gets a fairly big plot, the Bug guy going after he & Cordy, but Willow's in the library. She does get some byplay with Oz, but in screen time, not much; in plot terms, she's not even a subplot, just a recurring transitional blip. Watching to see when/if that really changes. Whendon et al have more of a sense of her as a character, but are pretty slow about developing her in plot/subplots. They still seem to know Xander a lot better.

And note to self: If I decide to do something about religion, the big battle takes place in a church after Spike has done a ritual with a cross.

And it ends without a group hug--Kendra doesn't hug--but she has started to redefine slayer a bit, and Buffy has started to accept her calling a bit, and we've got a bit more background for understanding this season's Big Bad--not Spike and Dru, as it may seem, but Angel. Very soon, now in fact...I think.

What's My Line Pt 1

Lots going on--guess that's why it's a two-parter! First, the plot lines that create the two part story arc: healing Drusilla, which includes stealing a "super duper decoder ring;" and the threat from the Order of Tarokis, assassins that Spike has hired ("Isn't that overkill," a minion asks Spike; "No, it's just the right amount of kill")

Tied in with that, though, are all sorts of things. Most obviously, Kendra the Vampire Slayer appears, and the Career Fair is the backdrop for the episode. Those two things are intertwined, too. Buffy has no future, no reason to participate in the career fair (except the Principal is forcing her). She has a "gig," and she invites Giles to "fire her," then comments on the fact he'd have to kill her, chosen one, blah blah blah. She's got an attitude about not having a future, and the running joke about her going into law enforcement is too true, in a mythic big picture sense. She's not amused.

Then, abracabra--Kendra, a culturally ambiguous Bratz doll slayer. More on her next episode, but she is Buffy's foil, the traditional Slayer. And she emphasizes that Buffy is just one in a series, that her life expectancy is zip. (We could argue about whether Buffy could walk away since Kendra--then Faith--are the "official" slayers following the straight slayer line, but no reason to go there; neither Buffy nor Giles define her as inactive, and she still has the power and skills.)

After the last bit, where Giles has been reframed as a character, he's back in tweed-clad Watcher librarian mode and asserting his position. He's research-driven, bonding with Willow (who at this point really seems to be closer to Giles in many ways than either Buffy or Xander--he understands her best and values her abilities) He's grumpy at Buffy, demanding. That sets up the juxtaposition we'll see next episode with Kendra and the traditional Slayer/watcher paradigm.

What else....hmm...as important as names are to Whedon, I haven't figured out why the cross and book that are needed to heal Dru are by a man named duLac. Of the lake? Like Lancelot--there are few ties with Arthurian legend in the Buffyverse; if this is a reference, I haven't gotten it yet. Also, Spike and his nerd vamp handle duLac's cross without as much as a cringe. Curious--espeically since Xander used a smaller cross to bully Angel the end of last reason, and a cross necklace burned Angel when he and Buffy kissed.

Brief references to religion a couple times. Buffy says, "Note to self: Religion freaky" as she's in the tomb with Giles looking at duLac's relics. The way religion (Judeo-Christian) is treated in the show is interesting; that's one of the themes I'm watching.

This is a relationship-building episode, too. We actually meet Oz finally, and Xander comments on Cordy wanting to be a Scooby (is that the first use of the term in the show?? Maybe) Buffy gets to ice skate because Angel takes her on a "date" to the skating rink (that means she skates and he lurks).

Worth noting: Joyce still has no clue Buffy is the slayer, and she is frequently out of town on business trips, giving Buffy far more freedom than most teens. At this point, she's windowdressing to pull out as needed.

Oh--Buffy's clothing is worth noting. It's hard to think of Buffy as dowdy, and through most of this episode, she's as fashionista as usual--but when she gets upset and scared, after both Angel and Giles say she needs to hide from the Order of Tarokis because she can't win against them, she's wandering around in this huge plaid shirt--looks as if it could be flannel, in fact. I think she goes through several other episodes with this shirt. Gotta watch that. She is sometimes casual, but dowdy? It's not even quirky or odd (a la Willow and Xander's clothes) Almost never.

Also, the dialog is snappy in this. It usually is, but for some reason it hits me as slightly quirkier than the last few. I need to check who is the credited writer.

On to Part 2!

The Dark Age

Eureka! I know why this episode follows "Lie To Me." It's the counterpoint, the answer, to Giles' closing speech--where he tells Buffy (at her request), that life is very simple, the men stalwart and true, good & evil easily identified, etc. He is the wise one, but in doing what Buffy wants--what they both know isn't true--he is still the mage, the Merlin. Ironically, Buffy scoffingly but fondly says "liar," as they walk out of the frame and the credits roll. We know she's right; life isn't black & white, and Giles is lying about the big picture. But the lies he tells there are only the shiny white snow covered tip--and they don't really count because we do see them.

However, "The Dark Age" reveals a Giles whose entire idenity is called into question. Ethan shows up again, and places everyone in danger. That's what he does. No big. But one snitch of dialogue is crucial: Ethan says something along the line of "They (the kids) have no idea who you are, do they? They believe the tweed covered librarian act. They don't have a clue.." And Giles is terse and powerful, making big, strong, definative movements. Ethan calls Giles "Ripper," a symbolic name--especially for a Briton. And Ethan seems to honestly believe that Giles can kill him, will kill him. Ethan, who's known Giles longer than anyone thus far, sees a morally ambigous person capable of unremorsedly killing.

Hmmmm....and Buffy and Willow and Xander see a harmless Dewey Decimal disciple, a font of wisdom and teaching who can handle weapons maybe, but....not the front line unless an obscure language needs translated.

We know Giles can kill--or we will know it, in season 5 when he barehandedly kills Ben after Buffy doesn't. Buffy claims to get confused when things get ethically complex. To a large extent, that's her modus operandi throughout the series. For all the whining and emotional hermit-y stuff she does at various times, her resolutions tend to be simplistic. At first glance, Giles is the barometer for what is good. So far, he is stalwart and true, and the Scoobies count on that. He's choosing that, though--having apparently walked through the fire earlier in his life. Until season 7 when he supports Robin's attempt to kill Spike, Giles consistently chooses good--I think. I'm going to have to watch for that. (Well, and Band Candy...but what's a little B&E?)

While I'm thinking about it: is it possible that Willow wants things black and white, but can't manuvor that; she is essentially gray, living in the moral ambiguities, with the goofy naive reactions as her default? That with the exception of his feelings about Spike, Xander ultimately is the stalwart and true one? And that Spike, who wants to see the world as black & white as Buffy, really understands the gray and sees what the others are---I know, I'm not there yet. And Cordelia, she almost unerringly speaks the truth, not sugar coating; she knows black & white in the deeper ethical sense, but her reality checks are undercut by her overt superficially.

I think there are some undercurrents about what manhood is, but I've gotten sidetracked with other topics this time. But sometime, I should think about what Giles and Ethan are modeling about manhood. Later, though.

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.