Out of My Mind

Transition episode, but at first glance, it looks like one of the "slice of life" metaplot episodes. And it is, beginning the Ben/Glory plot by introducing Ben and setting up the whole Mom has a brain problem--the Big Bad for this season is introduced, but we don't know it yet.

And last season hasn't quite ended: Spike is still dealing with the chip in his head, and Riley is still dealing with the complications caused late doctor's experiments and Riley's relationship with the Initiative. The link between all the slices is physical well-being: Joyce's trip to the hospital, Riley's and Spike's surgeries. At first glance, this episode seems overtly dealing with the physical conditions of life.

But underneath it, a different theme is being explored: love. Riley, who admitted earlier that he knows Buffy doesn't love him like he wishes she does, now admits that he would rather die than lose his superpowers--Buffy is getting stronger all the time, Buffy's history suggests that if he isn't unique, he's going to be history too. Buffy argues this, insisting that she's opened up to him like no one ever before, defining love in terms of emotional connection and trust...which in the next couple episodes we'll see isn't accurate; she tells Spike things she doesn't tell Riley, implying that the emotional connection she has is not as strong with Riley as she claims. Riley knows Buffy well, better than she knows herself. She is not deep and insightful; she de-stresses by killing things. She's an action figure, not a fashion Barbie or a Buddha statue. She may not realize it, but Riley is probably right. She wants to be challenged and tested by her partner; without his augmentation, he is Clark Kent, not Superman. Even though Buffy would hate to admit it, Riley at that point becomes someone she protects, not an equal--he's right that her definition of love includes dynamic that will be missing after he becomes "normal."

Camera to Spike. He wants to become "normal," which for a vampire means able to kill. As long as he can't, Buffy's code of honor won't let her kill him. He's "safe." But he's not, really. Fighting beside Buffy, he's her equal--and the opening tag, where both Spike and Riley interrupt her as she is patrolling, comically makes the point that at the beginning, there is an equality between the three; all are capable warriors, and grudgingly accept that.

The end of the opening tag, just like the end of the closing tag, focus on the counterpoint to Riley's love for Buffy. Riley is the white milk, picket fences Iowa boyfriend. There's passion, but that's not the defining quality of Buffy/Riley. Spike, however--he's all passion. At the beginning, his hate for Buffy, his desire to make her neck his chalice--passion, but negative.

The ending, though--a dream, foreshadowing the next couple seasons--has her coming to kill him (or threatening to, again...), when they kiss as passionately as they are capable of, then Spike declares his love for her. Note, not that he wants her, or any other passion/sex/emotional word. He baldly states he loves her, in the dream, which shocks him awake. The closing image is not that ambiguous: the emotion in the dream was true, and Spike is reeling from admitting it to himself.

Logically, Riley is everything Angel couldn't be--he's the man Buffy could grow old with and have a normal life with, and there could be just enough passion to make life bearable. They have shared values, shared dreams--love, as many people would define it. BUT Spike, he's the passion. Well, so far he's the only one who recognizes it as romantic, but this is the turning point for both Riley's and Spike's relationships with Buffy, even though Buffy never quite figures that out.

OH--and the title? I think it's Spike saying that. He wants the chip out of his head, but he also knows he's out of his mind for loving Buffy. However, it could be taken other ways....still thinking about that.

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.

Epsiode 4: Teacher's Pet

Here's the truth: I've got several different directions I'd like to go with this, but I've got a cold and I'm grouchy and achy and I just want to watch Buffy, but until I write this one, I don't want to watch a different episode--it would cloud my memory. So pretend I'm far more nuanced, detailed and insightful than I'm really going to be.

This episode is one I had only seen once before. It's about a giant bug-lady trying to mate with Xander. I'm not into bugs. This is a stand-alone episode, one outside of the mega-plot for the season, which can be a find thing...but it just isn't an episode I love.

With that said, though, I love the opening. Xander fantasizing about rescuing a scared Buffy from a vamp in the Bronze, then jumping on stage to finish his set with the band, where he's the lead singer/guitarist. vintage boy-fantasy, I presume--and he's hot. the normal Xander geeky-gawky vibe is gone, and he's got moves. Serious moves--like Xander doesn't have in the whole series. (Side note: When BtVS began, he was 26, six years older than Sarah Michelle Gellar in real life, and 10 years older than the character he played. This scene is one of the few times his real age shows.) Interestingly, in the fantasy he bears a striking resemblance to Angel, who he hasn't seen yet, and he comments later in the show on how attractive Angel is.

If and when I write about a serious article about manhood and/or sex, this is a show I'll analyze in more detail, but today's topic is Willow. This is the first episode with serious reseach mojo happening. Throughout the episode, the gang is back at the library for more research, and this cements Willow's chops as a computer hacker. She's in the background constantly, and she's even been in danger in an eariler episode, but so far, she is not much more than a plot device. She gets to break important news, she gets to react to Buffy and Xander and Cordelia (who's not in this episode), but she hasn't really shone yet--she's the quirky nerd girl. In the last episode, we find out that she plays around with witchcraft, but treats it like a science experiment with no consideration for philosophical or ethical implications--a trait that continues until season 7. She becomes the cautionary tale of science/ability outstripping wisdom, but so far, she's just a handy, sweet, quirky friend for Buffy.

That's a formula we see throughout pop culture, the girl BFF who isn't as cute, as flirty, as desirable as the ingenue, but is a stalwart friend and invaluable resource. (We can call it the "Gentleman Prefer Blondes" formula--that play is an excellent example of the dynamic) Of course Willow is attractive, but lacking confidence and still dressing somewhat dumpy, not quirky/fun (although I think that begins very soon).

But we're still only four episodes into it; the characters are barely introduced. They all evolve from here---and I've barely mentioned Giles, who I adore! Soon, I'm sure.