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."

Graduation Day, Pt 1

Lots happening, but the focus is on the Buffy/Faith story line. Faith distracts Buffy from the Mayor's plans by poisoning Angel; he's dying and the only cure is--guess what we've feared, yearned for from the the beginning--the blood of a Slayer. To "drain" a Slayer, the book says. Yep, that's been the unspoken boogie man since the beginning, Angel deciding that Buffy-snacks would slake his thirst. (In fairness, Xander may have said that once, but he was jealous so it was ignored)

Their relationship is ending; it has to because the Scoobies are transitioning to a new phase of the series, and Buffy can't grow with him there. Plot-wise, it makes sense, although I'm sure Joss et al could have made it work if they'd wanted (Boy Meets World? Joanie Loves Chaci?). That's without even considering that Angel and Cordy (and a bit later, Wesley) have a new show to make.

We've known for a while that Faith couldn't be redeemed, at least not now, at least not by Buffy. Faith's death seems likely, but the idea that Buffy would be the one to do it turns our understanding of Buffy's values in their side. If she'd succeeded, would she have turned dark earlier? A new Slayer would have emerged--think about it, Buffy's already been replaced. In a sense, she's not the "real" Slayer now. Plot possibilities there; it'd be interesting to know if Joss's band of merry wordsmiths played with those possibilities.

But Buffy and Faith, the Remus and Romulas of Sunnydale. Both look at the other and see what they might have been. To save her lover--which is what Buffy calls him when standing up to Wesley--she will kill her shadow. Powerful Freud stuff there, and the fact that she breaks from the Council to save a vampire is even more overtly significant. Since Giles is no longer her Watcher from the Council, it's not a break from her real father-figure, but in a more formal sense, it is a leave-taking from her parent. This time, though, Giles is on her side. (Sometime, I want to look at the Giles/Angel relationship more, especially in light of the Spike/Giles relationship)

Faith doesn't die, but Buffy comes close. Willow is freaking, Anya tries to get Xander to leave with her (in a touching but comic scene, which foreshadows many Anya scenes to come). The episode ends with the audience knowing that Faith got away, the Mayor is unchecked, andBuffy is desperate---even though she knows that Angel will leave her if he's well.

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.

Earshot

This is an infamous episode, the episode that was delayed because of the Columbine school shootings. That's too bad, because the threat of violence really isn't an important part of the story--well, it is, but not why it's significant.

Buffy gets demon blood on her, then gains a trait of the demon--telepathy. She "hears" what others are thinking. At first, that's fun. She impresses her English teacher with insightful, unusual interpretations of Shakespeare and she finds out that her mom and Giles....on the hood of a police car...twice! But even as it's fun, it's revealing. When Buffy scores points with the English teacher, we find that Willow really doesn't think Buffy's very bright, for instance.

Buffy expects to have power; Buffy expects to be in control. In some ways, everyday ways, Buffy is clueless and whiny and plays "girl" very well, but deep down, she wants to be in control and powerful. An aspect of that is what this episode explores: Buffy has the power to know everything, essentially--and the power will kill her. She wants to use her power for good (a la Angel much later as he takes over Wolfram & Hart), trying to save the student body from the unnamed "killer," but instead, she is also in need of rescuing.

How many times will Buffy play out this scene: Buffy is the strong, powerful one who will solve the problem, only to finally concede that her power comes in part from her friends. Ironically, many times in the show, she desires knowledge of what they are thinking while keeping her thoughts and feelings bottled away.

And of course, Buffy recovers in time to save the day--only not. Ultimately, Xander does by realizing the lunch lady, not Jonathon, is the threat. Buffy gets the big, flamboyant action scene while Xander's just dorky, dumping over tables and yelling--he's not suave superhero, but boy doing the right thing.

And Buffy gets her version of the yellow crayon speech as she talks Jonathon down--insightful and all, but notice that later, she won't go to prom with him bc he's short, etc.

And Angel lurks in the background, Buffy's shadow and savior--as unreadable as ever, touting Buffy trying conversation and honesty instead of trying to read his thoughts.

Enemies

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

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

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

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

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

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

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

Dopplegangerland

In a sense, this is Willow's version of The Zeppo. Vamp Willow from the parallel dimension is called into our dimension as Willow and Anya try to retrieve Anya's necklace. Again, Willow's magic goes awry and causes more problems than it solves.

In the previous episode, Willow has been jealous and sad; she doesn't want to be everyone's doormat, good old reliable Willow. That point is made throughout the episode, even as she tries to tutor a recalcitrant jock and be cheerful Willow in the fuzzy, funny clothes.

Just as The Zeppo begins the redefining of Xander, this episode makes the audience (and maybe her friends?) look at Willow differently. This isn't about Willow as potential witch, it's about Willow as not-relentlessly cheerful good girl. Even though Willow herself stays perky, the image of a "skanky," sadistic, hedonistic Willow is planted. Typcially, Willow wants to be nice to her evil twin, not allowing the gang to kill her--so in Willow's mind, there is in fact an evil Willow wandering through a parallel dimension.

Consequences

Basically, part two of Bad Girls. Faith tries to frame Buffy--which is when we realize exactly how bad Faith really is--and she threatens to kill to escape from the council when their goons (lead by Wesley) kidnap her.

I suspect I should rewatch this one too, but perhaps the most interesting thing is the Angel/Faith connection. After Buffy and Angel manage to capture Faith, she's shackled in Angel's mansion. He talks to her at length in a scene that is paced differently than the rest of the episode. Although he is not successful in getting through to Faith--and might even be called whining and stoically emo--he's just set the stage for Faith's redemption on his show in the next season (or two? I'm not sure of time frame). In the Buffy-verse, this is the beginning of a significant relationship; Angel champions Faith later, when Buffy claims to intend to kill her.

When I rewatch, I want to pay close attention to Buffy's costume and color choices. If I remember right, when she's being bad with Faith, she's in black--much like Faith typically is. After the killing and subsequent actions, Buffy seems to be in black/white outfits often. That's obviously used symbolically, but I'd like to watch it to see if there's more to say.

Also, Xander tries to do a yellow crayon intervention here, building on the "connection" he claimed to make with Faith in The Zeppo. Even though Buffy apologetically tells him that she knows it means nothing to Faith, Xander the faithful has to try--and nearly gets strangled to death by Faith for his efforts.

Importantly, Willow is having issues in this episode. She's trying to be the nice girl, but she's found out the Xander had sex with Faith and Buffy has been bonding with Faith--as much as Willow likes Oz, she's feeling like the odd man out. In this episode, a wordless shot in a montage shows Willow alone, sobbing--a strong visual counterpoint to her daffy, chipper persona. This time, Willow is the one who's jealous; Willow is the one who feels isolated--and she's aware that she's feeling these things even as she tries to be the good girl.

Bad Girls

...And the season heats up. Faith and Buffy's problematic relationship takes a turn. Inexplicably, they are best buds, slaying and talking about the personal lives (translation: sex). Faith' bad girl persona is finally articulated as a life-philosophy, pretty Ayn Rand-esque, essentially, "we are better than other people, therefore, we're not bound by the same rules and expectations other people are held to." Buffy, of course, takes a nearly opposite view, feeling the weight of all the responsibility and none of the fun of slaying. Faith emphasizes the physicality of life as a slayer--all the energy and power that needs an outlet, and for the first time (I think), the theme of slaying as sexual foreplay is broached. Later, Spike--another "bad" character--will again force Buffy to admit that is true.

Together, Faith and Buffy ransack and break in, notably stealing the knife that later, Buffy will stab Faith with. Buffy seems to having fun as she tries out life as a bad girl, until completely by accident, Faith kills a human.

Considering all the bad things that have happened in the series, it might be possible that an accidental killing would be dealt with pro forma. Had Buffy been the one who did it, if she'd been alone--there's almost no doubt that she would have immediately told Giles and council protocol would have been followed, with Buffy exonerated and, althought feeling guilty, accepting of what happened. But Faith isn't Buffy, and crisis of faith and trust ensues.

This is Wesley's first episode. Against the backdrop of a true moral crisis calling for wisdom and leadership, the bumbling watcher flails around trying to inforce his authority.

The fact is, I need to think about this one more, and rewatch it later. The metaplot for this season is heating up, and I think this episode and the next are ones that bear re-watching.

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.