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Post by Dalton on Feb 18, 2004 3:14:17 GMT -5
iT'S a BuFFY SNeaK Peek: We’ve Got Some Work To “Doo” Now
by Jen Sonstein 9/18/2001
I knew I spent my summer selfishly caught up in my own life when I found out yesterday from my little brother that Sarah Michelle Gellar is playing sexy Daphne in the new Scooby Doo film due out in 2002 alongside her fiancé, Freddie Prinze Jr. (as Fred). Zoinks!
Is it the responsibility of a Buffy the Vampire Slayer reviewer to keep up with all the up-to-date info and gossip on the stars and show? If so, I’ve failed miserably. But, that won’t stop me from offering some pre-season opinions and commentary.
After a little bit of research (check out the Fall Preview issue of Entertainment Weekly with our gal Sarah on the cover), I read for myself that SMG will be seen on the big screen as the pretty, yet somewhat useless Daphne, as part of the "official" live Scooby Gang. While cartoon Daphne occasionally contributed a hunch about a villain or missing treasure, she was much more eye candy than anything else. While Daphne, in her purple mini dress and green scarf, may be a match for Buffy Summers on the fashion runway, she’s in no way the leader of the original Scoobies.
Not true for Buffy Summers. For the first four seasons Buffy was the predominant leader of her pack. In season five, we saw a shift in the group dynamic as Willow became a more confident and powerful witch; as two new ingredients (Spike and Dawn) were added to the mix; and as a trauma (Joyce’s death) rendered the Slayer ineffectual in her position as leader and savior. As Buffy distanced herself from her friends, they became much more independent. When Buffy fell into a coma, Willow used her mental strength to bring Buffy back. Willow saved Buffy. A major role reversal.
To make the changes in the group even more dramatic, the writers conjured up the Glory Story. As we saw in the final episodes of the season, this plot line was a method used by the writers to show us what happens when a Slayer has a meltdown. When she’s down for the long count, the supporting cast steps up to bat at the baddies.
When we last saw our Scoobies, Buffy seemed to have just sacrificed her own life to save the world. She "died." (This has its own implications. New Slayer? Faith the Vampire Slayer?) Once again her friends are now forced into becoming one collective superhero replacing the girl that once protected humanity from the vilest creatures. It’s not an unfamiliar situation. They encountered this at the beginning of season three when Buffy ran away, unable to deal with what happened with Angel (Thus forcing us to endure the worst season opener ever, "Anne.").
When season six begins on October 2nd, there will definitely be a new villain. But will there be a new leader? Who are the best contenders for the role? Who will accept the responsibility?
Willow? She went from meek mouse to princess of power. Could she possibly be the next Queen of the Forest?Xander? A founding Gang member, he’s loyal to the cause. Plus, in season five he showed that he’s not all Shaggy, but also part Fred (minus the ascot). Perhaps he’s found his inner hero.
Dawn? Heir to the throne? She is The Key after all. She might have a fighting chance if someone steps in to train her (and Hank Summers doesn’t show up as legal guardian.)
Who would train her? Not Giles. The one piece of BtVS-related information I’ve known for a while now is Anthony Stewart Head’s departure from the show as a full-time player. Apparently, he’ll pop in for visits, but will be heading up his own show on the BBC in England. How will Giles’ absence affect the way the Gang deals with the loss of Buffy and the way they fight evil? Will Willow become the new House of Knowledge and Tara her trainee? The supporters—Tara, Spike, and Anya—all contribute to the group while adding lots of flavor and fun. However, none of the above three is a likely contender for the position of leader due to trust/loyalty issues.
In writing this I suddenly realized something that also might contribute to the group dynamic. Have you noticed how the Gang (with Giles’ departure) will now be coupled up?
I’m referring to the romantic relationships between both Willow and Tara, and Xander and Anya; in addition to the unique friendship formed by Spike and Dawn. With Dawn, Spike may take on a big brother role. Or, perhaps, use his knowledge of Slayers past to help train a new one.
There are multiple possibilities. It’s time to start talking about them again.
Only one thing is for sure. Buffy lives. So say the posters announcing the fall premiere on UPN. Whomever takes Buffy’s place will be a temp—someone to answer calls and respond to inquiries until the full-time "employee" returns. After all, Buffy’s been dead or almost gone before (who on the cast hasn’t?), but the show still goes on. Eventually the title character will return to work and everything will, like, be all right.
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Post by Dalton on Feb 19, 2004 1:37:27 GMT -5
by Jen Sonstein 10/2/2001
"Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee: I have thee not, and yet I see thee still."
–Macbeth, William Shakespeare
Is that Buffy I see before me? Mr. Pointy in her hand?Spike wants to touch thee.We lost thee in May, and yet I see thee still.
Somewhere between tragedy and comedy, the two-hour season six premiere of Buffy the Vampire Slayer possessed all the elements of one of those trendy Shakespeare adaptations for the new millennium—minus Leonardo DiCaprio and the iambic pentameter.
Suspense! Psychological complexities! The supernatural! Love, hate, and tempting fate.
All of the above, plus catharsis.
After high school English, I forgot most of what I learned about Shakespeare save for a few things including the quote at the top of the page (which my class was forced to memorize) and the concept of catharsis. Besides being a great word in and of itself, catharsis (as it is used in theater) is a technique that allows a playwright to provide his audience with emotional relief through his characters and their stories. It’s a great way to hook your readers. Shakespeare borrowed the concept from Aristotle and used it in a lot of his plays. Joss Whedon and the writers of BtVS also borrowed it and often use it.
Tuning into Buffy each week is cathartic. It’s definitely one of the reasons I keep coming back for more. Ten seconds into the series recap I felt a lump in my throat–confronted with a visual reminder of all the nights spent laughing at myself for crying over Angel’s death, rebirth, and departure; over touching speeches between Buffy and her Watcher, and over the loyalty displayed by a tight group of friends time and time again. Silly, but what a great way to get rid of the pent-up emotion caused by real life.
Season five was the most heart-wrenching yet. As I again watched the last scene of the season finale, I obviously knew what was coming: Buffy’s speech, her jump, and the lump in my throat.
It’s inevitable. Buffy makes me cry a lot.
But I also laugh and cringe and close my eyes when I think someone is going to bite the big one. It’s good stuff. WB’s loss. UPN’s gain.
With Mercury in retrograde, the Gang appeared in the same place, different channel. But, as usual, there were a few surprises up and down Sunnydale’s sleeves. However, the storyline was fairly predictable and could have easily played out in one hour as opposed to two. The two-hour season premiere was more fanfare than anything else.
A lot of the episode was fluff. Buffy-bot’s innocent chatter amounted to a few funny lines, but was more annoying than playful after the first couple of scenes. (Remember, Anya only recently started speaking like a normal 21st century human being. It was cute and clever, but it’s been overdone.) Also, you didn’t have to be a descendent of Einstein to figure that Willow was going to attempt to reanimate the real Buffy Summers using a charm, potion, or spell. We just needed the angle. While watching an even more powerful Willow prepare for the event provided some insight into her changing character (she seems to be keeping secrets of her own), it took a little too long for them to reach the magic circle.
Still, "Bargaining" had a lot to offer. Season premieres of character-driven dramedies are akin to the first day back at school. What happened to YOU over the summer? Did you trash your glasses for contacts? Did you work out in an attempt to impress the girl who ignored you all last year? Did you learn anything new? Are you cuter? Smarter? Sexier? Did something happen over the summer that changed you?
Buff’s demise changed them all: Xander, Willow, Tara, Anya, Dawn, Spike, and Giles. Summer is a great time for writers to fit a lot into a little speck of time.
· They reassembled the formerly unethical Buffy-bot as a ruse to fool the evil elements and the MIA Hank Summers... ·Tara and Willow moved into Casa de La Summers to be pseudo-parents and robot repairers. ·In a unanimous decision, Willow was promoted to Scooby boss. ·Tara completely recovered from her Glory-induced coma a little more confident and a lot more blonde... ·...Though not as blonde as Anya, who now looks frighteningly Buffy-like... ·...Which may have something to do with Xander’s decision to the keep their engagement a secret... ·Feeling guilty as bloody hell, Spike is super-protective of Dawn. ·Feeling even guiltier, Giles is going...going...gone–leaving America, the Magic Box, and his Gang for a daily cup of tea and a possible shag in England.
That’s a lot to digest.
But as mentioned above, the season opener is ideal for feeding the audience any story to explain a change in scenery or the departure of a character.
Giles’ departure was really lame. Though briefly touching, it lacked depth and seemed as if it was edited with scissors. Despite the fact that we know Giles will most likely be returning to Sunnydale, the Gang doesn’t know that. The writers cheated Giles out of a proper weepy "bon voyage" by making us assume that Willow, Xander, and the rest already accepted Giles decision and were cool with it. I wanted to see them argue! I wanted to see them beg! Don’t go Giles! Plus, Giles decision to leave was hardly explored. He obviously looked and felt like crap, but kept most of his inner-thoughts to himself save for a few comments to Buffy-bot. It left me feeling cathartically cheated.
My catharsis came in the last five minutes of the episode as Dawn and Buffy met face-to-face again. Michelle Trachtenberg is SUCH an amazing actress. I physically feel her teenage pain. Plus, she’s got a great talent for screaming. Yikes! Watching Dawn beg and plead with Buffy not to jump ("I need you to live!"), I felt that lump in my throat approach. The lump surfaced as the tower started to shake, Dawn started to scream, and Buffy called out her name, "Dawn!" As the two held on to each other for dear life, you could feel their joy mixed in with their fear. You were relieved for them. The Gang’s relief, Dawn’s relief, our relief...what a great catharsis after a summer of unknowns.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - DISCUSSION TOPICS BETWEEN NOW AND NEXT WEEK
1."Great googly woogly" omni-Willow: Did she go to witch summer school? Where did she develop such telepathic skills? 2.Plus, the group’s decision to make her boss says a lot about the way they feel about Willow or more about their own self-confidence. Which is it? 3.How do YOU think Giles’ departure was handled? 4.Admit it, if you didn’t cry tonight, you cried at the season five finale, or over Joyce’s body, or Angel’s departure. What brought YOU to tears?
LAUGH-OUT-LOUD QUOTAGE
"Cup of tea, cup a tea, almost got shagged, cup of tea."–Spike to Giles
"The Discovery Channel has monkeys."–Anya
"How long have you known your girlfriend’s Tinkerbell?"–Xander
"I SO need male friends."–Xander
"Grr...Argh."–Tara
And the award for "You Wouldn’t Have Heard THAT one on the WB" goes to Biker Demon for:
"Shut your hole before I rip you a new one."
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Post by Dalton on Feb 19, 2004 1:43:54 GMT -5
by Jen Sonstein
10/10/2001
Were you thrown for a loop by the ending of “After Life?”
I was. Sorta.
In life–and in entertainment–there are surprises and there are shockers. Surprises tend to be gentle, as in “taken by surprise” or “surprise party.” A common response to a surprise is “hmm . . . ” or “wow!”
Shockers tend to be a tad bit more harsh, usually even horrifying, disgusting, or mortifying, as in “shell-shocked.” Responses to shocks can vary from “Yikes!” to “No!!!!!” to “Oh, SHIT!” to “Very bad. Very, very bad! Bad, bad, BAD!”
After the season five finale (and the season six premiere teasers), we knew Buffy would live. It wasn’t a shocker to see her walking the streets of Sunnydale again. A few surprises were thrown in for good measure--like Willow’s super powers, or the snake slithering out from her mouth during the enchantment, or the new use of Joyce’s bedroom–but nothing too jaw-dropping.
Tonight’s conclusion (Buffy returning from Heaven, rather than Hell) was a shocker (as in “witness the shocking ending you deemed impossible!”). The concept of Buffy’s journey back, as she describes it, seems horrifying. Imagine being in a nether world commonly referred to as heaven. Buffy was traumatically ripped from this blissful state to return to the violent “hell” she used to call life.
When Buffy returns to her friends, she appears to have just come from Satan’s fiery lair. She’s not looking so hot though: It’s as if she’d been tossed around in a dryer full of dirty clothes for a century or two.
It’s safe to assume that, like Angel, Buffy was trapped in a hell-dimension, right?
“She’s just disoriented from being tormented . . . ”
“Jet-lag from Hell has gotta be jet-lag from Hell.”
“Maybe you are crazy. From Hell.”
Wrong! Buffy wasn’t acting goofy because she spent eons in Hell. She was simply in shock.
Once, I worked for a really mean boss who yelled all the time. One time, he actually yelled something insightful. He said to me, “YOU KNOW WHAT HAPPENS WHEN YOU ASSUME?”
Without waiting for my answer he replied, “YOU MAKE AN ASS OUT OF YOU AND ME!”
Get it?
Bringing Buffy back to “life” was so important to her friends; none of them ever believed Buffy might actually be happy where she was. No one considered the consequences of their actions. They were selfish imagining, ‘What will we do without Buffy? Why couldn’t I save Buffy?’ They (specifically Xander and Willow) might have consciously thought they were acting out of love, but were they? Weren’t they really acting out of fear and guilt?
Four individuals help bring Buffy back, but the real culprit is Willow. Nothing against Xander (who’s always a little bit slower), but Willow has always known better and she should have known better this time. Willow is brilliant, has spent years studying magic, and has had a couple of years of hands-on Wicca experience. It’s conceivable that Xander would need Spike to tell him that “all magic has consequences,” but Willow doesn’t.
Willow convinced herself (and her minions) that because Buffy died an unnatural death, she must have been sent to Hell, or to a really miserable hell-like dimension. She convinced the others to keep their plans a secret from Giles because she knew he’d do more than utter a few “dear Lords” if he found out. She didn’t have a hard time convincing them to keep Spike out of the loop, but did so not out of distrust, but because Spike might talk them out of it. Spike was right. Willow was worried about “how Buffy would be when she got back,” but she didn’t openly admit it until after the fact. Even then, she only admitted a little bit of resentment that Buffy wasn’t happy (“shouldn’t she be happier?”) and only to Tara.
There is no doubt that Buffy’s friends love her. But they “rescued” her out of fear, out of guilt, and out of their own neediness.
“Buffy,” says Willow, “Be happy. We got you out.”
Who said she wanted to get out? How was Willow so sure “out” was happier? (Ahem. Unintentional double entendre.)
Only Anya (in her Anya-way) suggests that the Gang might have done the wrong thing. Only Anya admits they might have “screwed up.” Of course being Anya, her timing is off, but her attitude only goes to show that the three others simply went along with a plan Willow hatched and supported. Tara did this out of love and respect for Willow. Xander did the same. Anya was too busying picking out china patterns.
However, Anya understands. Just like Spike understands.
Even the demon understands. “What did you do? Do you know what you did? You’re like children!”
Exactly. Willow is like a little girl who sneaks into her parents’ room to try on her mommy’s high heels. It looks so easy. But when the little girl slips her feet into the shoes and tries to walk, she realizes she’s in way over her head, only it’s too late. She’s already begun to topple. Willow was in over her head. But it’s okay because Buffy’s back and all is “good.” And Buffy’s return is “very important.” The truth is: All is good for them, not for Buffy.
Buffy’s back. Death took her by surprise. As she says, “she was finished”. Waking up was a shocker. And now she’s right back where she started.
AFTER THOUGHTS This was the scariest BtVS since “Hush!” YIKES!
Admittedly, I get the chilly-willies pretty easily, but I jumped out of my seat when I heard Buffy call Willow and Tara “filthy bitches.” Wickedly-possessed Anya was even worse cackling like the Wicked Witch while slicing her cheeks. Dawn, with her rolled back eyeballs and harsh words, was by far the freakiest. However, I laughed SO hard when she heaved fire. Anyone ever see those Pepcid AC commercials?
I’ve been freaked out by a couple of films lately (The Others, Joy Ride, even Memento on DVD.) It’s nice to know I don’t have to pay $7.75 for a good adrenaline rush every now and then.
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Post by Dalton on Feb 19, 2004 1:51:10 GMT -5
by Jen Sonstein 10/16/2001
Someone needs to have her mouth washed out with soap.
It should be Giles’ duty, as honorary parental figure, to grab the dishwashing liquid from the sink and wash out Willow Rosenberg’s fresh mouth. Each week, she continues to arouse suspicion, making it harder for her fans to defend her from any accusations she’s going to be the "Lil Bad" or "Big Bad" of season six. This week, she took it one step too far. She threatened Giles.
Fine. A soap-in-mouth punishment is a bit primitive and abusive, but desperate times require desperate measures, right?
Until tonight, Willow rarely showed what could be described as that stereotypical redheaded temper and stubbornness. As a teenager, she was a timid, stuttering computer genius with a crush on her best friend. Now she’s an impertinent, defiant bossy-boss with a steadily inflating head.
Sigh. Where’s a noble librarian when you need him? Answer: In a flat in Bath, but close enough to the phone and to the airport to be on the first plane to Sunnydale International when needed.
Which is quite fortunate since the elder Rosenbergs haven’t been much of an influence in their daughter’s life as of late. (Do they even know where she’s living, what she’s doing and with whom?). Faithful friend Xander is too busy coming up with excuses to feed Anya. Tara’s living in Ga-Ga Land. And Buffy’s still very pissed (most likely at Willow most of all).
Can Giles make things better?
The Sunnydale High Scoobies used to listen to Giles. They depended on him. They looked up to him. They trusted him.
Not so anymore. As an admirable adult, he supplied them with a foundation on which they could build their own independent lives; something any teen desperately needs in the pursuit of adulthood. Since graduation, Giles’ role in the Gang dynamic has been in question. Did they need a grownup anymore? Weren’t they grownups now?
Though significantly matured since receiving diplomas, B , X, and W are far from grown up. They’re still growing; they’re still looking for a comfortable fit. Xander admits this: He’s still getting used to the idea of "the miracle of a steady paycheck and getting out of [his] parents’ house." Buffy even admits to Giles that she’s not sure how to handle her ever-growing debt. But what about Willow? Willow seems to think she can do it all. Big mistake, my friend. A mistake that will be sure to hurt you, but teach a life lesson or two.
For all of her grownup responsibilities and privileges as of late, Willow still has a lot more life to live and mistakes to make before qualifying as full-fledged adult. Just because you’re old enough to read a book of spells, doesn’t mean you know what you’re doing.
Willow deserves credit for developing significantly since high school. She is much more powerful. She is much more confident. She is much more comfortable in and with her body. She’s matured in so many positive ways. From an audience point of view, the new Willow is a much more enjoyable (and unpredictable) character.
However, the view from inside the television is not as appealing. In a long overdue verbal lashing, Giles tells Willow exactly what she’s turned into: "a very stupid girl . . . a rank, arrogant amateur." In a super spicy scene, he scolds Willow as a parent would scold a child.
Giles is very wise. His wisdom comes from years of experience. The kind of experience that only comes with time.
This wise man reminds Buffy that, "life can be pretty overwhelming even for people who haven’t been where you have." The transition from dependent to independent is difficult. Especially when you find yourself in a flooded basement without a paddle or a plumber. Or when you realize you may have proposed to your girlfriend in haste. Or when you’re fifteen and think you’re ready to deal with the evils of the world (as Dawn does before looking at a scary encyclopedia of demons).
Or when you’ve made a bad deal with a very strong demon.
In a study I made up in my own head, results show that nine times out of ten "almost-adults" run or fall back to the nest for advice, a shopping spree, or bail money. Giles may not be able to pay the bills or fix a broken lamp, but he’s knowledgeable, dependable, and cares very much for these particular "almost adults."
Other wannabe adults aren’t so fortunate. The inclusion of former classmates "Whine-athon," Warren and Andrew shows what other young adults in Sunnydale are up to as of late. Sunnydale being Sunnydale, we have to understand that their post-graduation lifestyle was bound to be a little too goofy and exaggerated. (We already knew about Jonathan’s overinflated head and vivid imagination.) However, these three boys are tonight’s living lesson. The geek gang of the forgotten-but-not-gone may be old enough to have their own pad (in mom’s basement), but not mature enough to understand the consequences of making a deal with an M’demon. Mistake made. Lesson learned? Maybe. Next time, if they’re lucky, they’ll have their shrink ray ready.
Before I start sounding too condescending (too late), let me get to my bottom line.
Giles’ return to Sunnydale ROCKED; if for no other reason than to rile Willow. Giles’ return has also made Buffy a very happy camper. He’s helping her figure out her financial situation and he’s one of few in her inner circle who had nothing to do with ripping her from her happy fuzzy resting place. Unbeknownst to them, Giles’ is only stopping by. What will happen when he really leaves as we know he’s bound to do?
Is there still a need for human characters over thirty on Buffy the Vampire Slayer?
Is there hope for our floundering super-heroes without one?
The answer is still up in the air. One thing is for sure, though. If I were the Blair Witch, I wouldn’t be covering my eyes. All three eyes should be on Willow who’s just about ready to go Blair herself—Linda Blair.
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Post by Dalton on Feb 19, 2004 2:02:11 GMT -5
by Jen Sonstein 10/23/2001
We all know the economy is at a very bad place right now, but it can’t be that hard for a good-looking, hard-working, intelligent vampire slayer to find a paying job. Buffy’s just not trying hard enough. At the most, she deserves a "C" for her latest effort.
Auditing college classes? What’s the point and how is that going to pay off the bills?
Joining Xander on the construction site? Blonde + Boobs + Beefheads = Big Trouble.
Settling for retail? Maybe if she was working at BCBG with at least a 40% employee discount, but (gasp) not the Magic Box! What’s she thinking?
With Willow in the house, Buffy must have access to the Internet. Monster.com would be the perfect place to start. (chortle, chortle) Doesn’t Sunnydale have a temp agency? They have everything else. If all else fails, there’s always the ever-dependable paper route.
Alas, after a few unsuccessful attempts, an exasperated Buffy realizes that finding the color of your parachute takes more effort than asking your friends to hook you up. This episode of Buffy the Vampire Slayer follows the cardinal rule of the pre-1970 television serial: End on a positive. Buffy feels real bad. Giles knows how to cheer her up. He’ll just GIVE her the money.(APPLAUSE, APPLAUSE)
This isn’t Leave It To Beaver! This is a bloody, scary, gore-filled, lesbian-loving, murder-promoting, should be-banned-in-the-Bible-Belt kinda show. If Giles was going to give her the money in the end, why did we endure 57 minutes (counting commercials) of Buffy Summers trying to pull a Mary Tyler Moore?
Was Buffy’s pursuit of employment simply a means of revisiting geek to the third power and poking more fun at those who prefer the Sci-Fi Channel to A & E?
The Return of The Wee Three. The Sunnydale Squares. Three Degrees of Irritation. Call them what you will. Is the team of Jonathan, Andrew, and Warren temporary or permanent comic relief?
Many of the references are funny—to those in the know. But for those who don’t know the difference between "TNG" and "TMJ," the trekkie/techie routine wears thin very quickly. Why do the writers assume BtVS viewers also enjoy comparing theories behind The X-Files, watching reruns of Quantum Leap every night at midnight, and reading both the adult and kid versions of Star Wars novelizations?
Hey, wait a second. Maybe they DO eavesdrop on our board conversations.
It worked for this episode. The idea of freaking the Slayer out was pretty funny. Andrew is dorky adorable. You know, in that Poindexter meets Beeker sorta way. He’s clever, but too nice to wreak any abnormal havoc. However, his partners in crime succeeded where Andrew failed. Watching Buffy bug out during Jonathan’s loopdy-loop spell at the Magic Box was almost as amusing as watching Bill Murray waking up to Sonny and Cher every morning in Groundhog Day. Being in the same room with Anya can be annoying in and of itself, but listening to her suggest sales pitches over and over again could definitely drive a person mad. SMG portrayed Buffy’s responses very well. Whiny frustration is something she’s really good at. Am I right or am I right or am I right? Right? Right? Right?
J, A, and W finally drive her to drink. She deserves it. Making your way in the world today takes everything you got. Taking a break from all your worries sure could help a lot. No one knows this better than Spike, who’s more than glad to console Buffy with a bottle of whiskey. (Blech!)
J, A, and W...wait a second!!! That’s it. JAW. It’s not cute, it’s not clever, but it’s short and to the point. If these "bad boys" become recurring characters, it’s going to be much easier to refer to them as a three-letter acronym.
If these "bad boys" become returning characters...
If these "bad boys" become returning characters...
If these "bad boys" become returning characters...
How long can they really last until Buffy discovers them and stuffs them into a locker? Will they succeed in driving her mad? Will free cable porn distract them from their original intent? Will Jonathan grab his magic bone and never let go?
Tune in next week to learn the answers to these questions and more. Same place. Same time. Same chick offering her humble opinion.
POINTS TO PONDER
. Buffy’s response to the inquiries about Angel-- "I’d rather keep this one to myself"-- was beyond unfair. "Just when I thought I was out, they pull me back in." Don’t cliffhang us with a possible Angel reunion and drop it just like that! · Recurring Numbers: Is this really a point to continue to ponder or should it be dropped already? What if its just a prank to poke fun at us? For the record, the digits in fashion have been 13, 11, 7, 2, 55, and 8.
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Post by Dalton on Feb 19, 2004 2:46:56 GMT -5
by Jen Sonstein 10/30/2001 One of the many aspects of "behind-the-scenes Buffy" I really appreciate is the thought put into the episode titles. Only on Tuesday evening, right before showtime, do I finally peek at the local television guide. Waiting until moments before is part of my whole spoiler-free attitude, but has also turned into my early Tuesday treat.
It never ceases to amaze me how relevant, all-encompassing, or "punny" the titles are. I’ve learned to really focus on the title as a thematic hint and look for explanatory clues to pop up throughout the hour.
Besides the annoyance of listening to Zach and Justin discuss "going all the way" way too many times (especially for hungry vamps), the title "All the Way" covers most of the underlying themes in this latest episode.
The Gang (and the show) still seem to be in a transitional phase. Xander still needs to adjust to life as Anya’s fiancé. Buffy’s still using Giles as a way to ignore the grownup responsibilities she never wanted back. Then there’s Willow, who has one foot over the line between good and evil, but still can’t find it within herself to turn baddie. This is simply a continuation of what season six has offered us so far.
It doesn’t end there. Giles is mentally somewhere in between Bath and Sunnydale. Tara is somewhere between loving Willow and running away. Spike is not necessarily somewhere in between human and vamp, but he’s showing whose side he’s on. As Buffy points out, dealing with Spike is much different now than when he wanted to kill her.
The only adult who knows exactly what she wants is Anya: She wants to make money and marry Xander. This defines Anya as very high maintenance, but at least one can be absolutely sure where Anya’s head is–in the cash register or in Xander’s timbers.
And then there’s Dawn. Dawnie. The Slayer’s shadow.
Not only is she in the grips of the worst transition of all–adolescence–but she’s also gone from "preteen with a parent" to "teen with a substitute parent" to "teen with a dead parent and a dead substitute parent." Plus, don’t forget that whole "she’s the key" trauma. It’s hard not to feel bad for Dawn. (Unless she’s the one character who annoys the hell outta you.)
If you were Joe or Josephine Popular from the time you started your journey through the educational system until they handed you a diploma, you should probably skip this paragraph. If you weren’t, you must have been squirming for Dawn even before Justin revealed his game face. What an awful scenario. Forget for a moment that this guy’s a vamp: Just the fact that he’s super cute, super cool, and NOT a freshman is enough to make him Superman in the eyes of an eager 15-year-old girl; especially a girl anticipating her first kiss. Moreover, Justin legitimately seems to dig Dawn. He even had me fooled. Although, Rico Suave doesn’t deserve too much credit since he didn’t have much of a challenge in the desperate-for-attention Dawn. He could have had her at hello.
Dawn’s Halloween adventure is very reminiscent of early BtVS. A group of teens wandering Sunnydale streets without their parents’ permission with the goal of sucking face, exchanging witty banter, while desperately trying to appear "normal." The first conversation between Dawn and Janice could have easily been pulled right from the Bronze back in the day. Scene: Cordy and whichever snobby friend of the moment are waiting by the door looking for guy to latch on to or a girl to humiliate. Guy enters. Witty banter ensues.
Was this partly the work of an eager new writer trying impress his seniors with attention to teen angst and a knack for pun-arific catch phrases like "What do you think? Lunchables?" and "Ho-hum ‘okay’ or I’m-gonna-pee-my-pants ‘okay’?"
Unlikely. The more likely scenario is that the Dawn scenes were intended to be reminiscent of the Scooby Gang’s high school era—a reminder of the teens they once were compared to whatever it is they’re now becoming. Those of us hooked on FX don’t really need to be reminded that the show (like the Gang) has changed significantly since it debuted.
The Xander Example: Xander Harris, the guy who used to "have to pay a girl to date him," is now "going all the way" with a girl who can pass for a Charlie’s Angel on Halloween.
The Willow Example: Willow--the classic weak computer geek, the kind who always wanted what others had--now possesses the powers to banish obnoxious cheerleaders to another dimension. Abuse of power is an unfortunate condition many persecuted teens experience once they become confident or successful adults. Willow’s transition is so Can’t Buy Me Love. However, her goal isn’t to date the prettiest girl in school (well, maybe it is but...), she’s becoming obsessed with the idea of control.
The Giles Example: He used to be the guy to make the tough calls. Now he’s trying very hard to step back from this role. "It’s really not my place," he tells Buffy.
The Buffy Example: She used to be center stage. You know, all Slayer-ish and rebellious and important. Whether or not by choice, she’s currently just one member of a growing ensemble, all of whom seem to be getting a little too big for their britches. There’s one thing that hasn’t changed about Buffy, though—her denial of the sexual tension that tends to exist between she and sensitive vampires (more to come on that).
"All the Way" turned out to be a treat from title to end. It was full of my favorite Buffy fare: laughs out loud, sexual tension, and surprises. It also came complete with fancy action sequences–the portion I can usually give or take, but enjoyed this time as Grandpa Rupert kicked some serious ass and Spike put the baby vamps in their place. I didn’t realize it until I started writing this article that I enjoyed this episode more than any other this season. "All the Way" rocked.
That title won’t be held for long, though. Next week, my television-related wet dream comes true. The Buffy musical. Sing with me, "Where do we go now? Where do we go...from here?"
I have high hope for November 6th. A plea to those of you who know the name of next week’s episode: Please keep it to yourself. The title just might make Buffy an extra, extra special Tuesday treat for me.
AWARDS:
In the "it’s about time" category: The award goes to Tara for finally showing some backbone and questioning Willow’s actions.
In the "I can’t believe I’ve turned into my mother" category: The award goes to Buffy for using the word "parking" when reprimanding Dawn.
In the "wow, I can’t believe I fell for that" category: The award goes to me (and to any of you) who believed the old kooky man was the episode bad guy.
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Post by Dalton on Feb 19, 2004 2:56:43 GMT -5
by Jen Sonstein 11/6/2001 "Life’s a show and we all play a part..."
Who in this world hasn’t had that same exact thought at least once in his or her life?
For some, it’s just a passing notion inspired by an interesting Philosophy class. For others, it’s a constant.
Who am I? What role do I play? Does anyone even notice me? Do you know what you’ve done to me? Does she feel the same way? This is life? Hooray! This is life? What’s the point?
Some don’t realize they’re singing, but they are. A song accompanies the fireworks that explode the first time you make true love. A song squeals with joy each time a new baby is born. The song slows as we watch our loved ones die.
How many times have you listened to a song on the radio and thought, "Wow. Can Madonna read my mind or what?"
Seriously. Singer/songwriters create an art conceived by strong emotions. We, the out-of-the-closet singers (both the professional vocalists and the tone deaf), recognize the advantages of communication through song. It can be such a release. It can be such a relief.
We sing out loud, sing out STRONG! In the shower, in the car, on stage, walking down the street. When we’re happy, we SING! When we’re nervous, la-la-la! When we’re scared, dum-dum-dum. When we’re feeling low, low, lowwwwwwww.
Music can express what words cannot.
Everyone in Buffy-verse has been lost in emotion, but unable to talk about it. They’re afraid to share their feelings either because of the response they might get or the outcome that might follow. Instead, the Scoobies (et al). have been burying their feelings down deep into their bellies where these feelings consequently change into butterflies–but those butterflies eventually want OUT.
"Sooner or later, one of us must know." –Bob Dylan
"Sooner or later, you hit the deck, you get found out." –Pete Townshend
"Sooner or later, there’s nowhere to hide." –Madonna
Sooner or later, you have to face the music. Maestro?
"Once More, With Feeling" was not just another episode of Buffy the Vampire Slayer, nor was it filler. It was poignant television put to music. Joss Whedon may not have been the first to achieve this (The Simpsons has the musical comedy down pat), but he is known to knock the socks off both the audience and television critics. It wasn’t too long ago that he chose to "Hush" his cast instead of asking them sing their lines.
Some skeptics expected just another November Sweeps gimmick. It’s easy to see why when for weeks, UPN hailed this as "a television event." But these folks are probably the same people who constantly poo-poo Buffy, who ignore her when it comes time for Emmy, who have no idea what Joss Whedon (and his cast) can achieve. It’s not my place to call the man a "genius," but I can say I never doubted him for a second. I knew this musical would rock me and it DID.
If you thought this episode was a "wacky Broadway nightmare," you’re most likely not a fan of musicals. Beginning with an overture and ending with a bang, Joss treated us to a splendid blend of Rent, Hair, Singin’ in the Rain, Beauty and the Beast, Godspell, The Nutcracker, West Side Story, and thanks to Tony Award winner Hinton Battle (as Sweet, the demon), Miss Saigon. This was even better than Disney. (What? Blasphemy!) This was a musical for musical lovers. Perhaps "Tony" might consider Buffy if "Emmy" turns her back on Sunnydale next year.
Amidst all theatrics, there was still a simple plot about a bad guy wreaking havoc on the Hellmouth. There were still quips galore, even more impressive in rhyme. (See the abbreviated list of fabulous quotage at the bottom of this page and please add to it on the boards). Joss even mocked himself a bunch of times. ("I think this line is mostly filler.")
The folks at Buffy Central claim that Joss has always dreamed of writing and directing a Buffy musical, but he was waiting for the right time and enough time to handle such a beast. Whether or not this was an intended gimmick, it’s still November Sweeps and the time for a climactic moment. Tension has been building. We, the audience, have patiently waiting and pondering, "where will they go from here?" When will our Scoobies burst?
"We are caught in the fire, the point of no return. We will walk through the fire and let it burn."
Against their will, the Scoobies finally sing what they haven’t been able to say. And they do it with feeling.
Giles: "Wish I could play the father and take you by the hand. Wish I could stay here, but now I understand. I’m standing in the way."
Tara: "I live my life in shadow. Never the sun on my face. It didn’t seem so sad though. I figured that was my place. Now I’m bathed in light. Something just isn’t right."
Xander: "I’m petrified."
Anya: "I know there’ll come a day when I’ll want to run and hide." (Plus, "it must be bunnies.")
Spike: "I know I should go, but I follow you like a man possessed. There’s a traitor here beneath my breast."
Dawn: "Does anybody even notice? Does anybody even care?"
And
Buffy: "I’ve been making shows of trading blows, just hoping no one knows that I’ve been going through the motions, walking through the part.""Why can’t I feel?"
"Still my friends don’t know why I ignore the million things or more I should be dancing for."
Where’s Willow in all this? She’s the only one who doesn’t solo. Did she concoct an anti-singing spell? Perhaps Joss wasn’t comfortable with Alyson’s singing skills. Maybe Alyson refused to sing. Or, maybe this is another reason why Willow is the #1 candidate for the office of BIG BAD.
Willow smiles as Tara serenades her and she grimaces in horror when Buffy shares her secret. But beyond a few facial expressions and that behind-the-scenes booty, Willow’s silent. Which is actually very uncharacteristic for a person who used to la-la-la her way through life.
"Once More, With Feeling" showed us what additional skills the BtVS actors list on their resumes. Veteran viewers knew about Anthony Stewart Head’s soft, folky voice. There was no doubt he’d dominate much of the singing. But who knew Amber Benson could reach such glorious high notes or that Emma Caulfield could shake her groove thing? Both SMG and Michelle Trachtenberg dance like pros. Nick wears his silk pajamas well, and manages to keep in tune. They were all very brave to depart from the normal fare.
There are many, many more elements to discuss, such as: the opening and closing credits; Tara and Willow’s erotic moment of ecstasy; the magnificent Sunnydale street scenes; plus, which song will be the breakaway pop hit; and, of course, the infamous curtain-closing kiss. I could continue singing their praises, but I’ve really exceeded my allotted word count this time.
"It’s alright if some things come out wrong. We’ll sing a happy song and you can sing along."
Sing!
- - - - - - - - - - - - - - - - - - - - - - - -
QUOTAGE DISCLAIMER (this doesn’t even nearly cover the quips)
"Merciful Zeus!"
"I gave birth to a pterodactyl. Oh my God, did it sing?"
"This is my verse, hellooo!"
"It’s like there were only three walls, not four."
"Dawn’s in trouble. Must be Tuesday."
AND AN FYI: A site that has the lyrics:http://www.soulwax.co.uk/buffy/OnceMoreWithFeeling.html
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Post by Dalton on Feb 19, 2004 3:02:15 GMT -5
by Jen Sonstein 11/13/2001 I learned a new Internet term the other day that describes my reaction to "Tabula Rasa."
LMAO.
Laughed my ass off.
Not from start to finish, though. A recap of recent events and consequences was certainly necessary and expected, but annoying to sit through. For a moment, I was concerned "Tabula Rasa" would turn into a Boo-hoo Fest. Not the good kind where I’m weeping more than all the characters combined. The kind where I’m snoring, rolling my eyes, and wishing I was watching the episode on tape so I could fast forward. Boo-hoo, Buffy was in Heaven, not Hell. Boo-hoo, I was sooooo selfish. Boo-hoo, the Slayer’s such a tease.
Luckily, the boo-hoos didn’t last very long because of course Willow’s going to use her very successful "forgetting spell" to wipe the Scooby slate clean. Even a Buffy virgin would know Willow wouldn’t keep her promise to Tara. "I don’t need magic," she says. On television, the addiction storyline is about as common as the amnesia storyline. By now, any soap-opera afficionado knows that you must admit you have a problem before you can begin the healing process. On television, this takes at least three or four episodes.
Please don’t think I take real life addiction lightly. I don’t. However, the "magic is a habit-forming addiction" approach went a little too far. I couldn’t laugh at it, yet I couldn’t take it seriously. Still, I can understand why Tara would agree to the "one week" trial as a possible last chance for Willow. She’s grasping for anything.
The drug addiction comparison continued through the conversation between Buffy and Giles. "I’ve taught you all I can" would have been a good stopping point; instead Giles condescends to after-school special level. "The temptation to give up is going to be overwhelming," he warns Buffy. Eyes. Rolling.
Final analysis of first ten minutes: Barely able to bear, BUT with a "Hip hip hooray!" for Tara who finally gave Willow an ultimatum and a "Rah! Rah! Rah! Siss Boom Bah!" for Giles who finally broke the chain that was keeping him an SWM, Sad and lonely in Sunnydale.
Now onto the good stuff.
Instead of a serious confrontational follow-up to the grand finale of last week, "Tabula Rasa" was one big inside joke; one big tongue in cheek.
Card sharks and kitties aside, watching this episode kept me riding the post-musical high I am still on one week later. The writing was not exceptional. The acting was not award-deserving (though Amber really stood out); but the episode was hilarious! It was a brilliant idea to go from the deeply emotional, story-heavy "Once More, With Feeling" to the intensely silly, story-lacking "Tabula Rasa." Luckily, writer Rebecca Rand Kirshner really pulled it off.
However, a missing storyline makes it very difficult for a reviewer to offer much insight. Especially when I keep thinking of Giles and Anya stuck in the Magic Box overflowing with magic-gone-wrong and bunnies, bunnies, BUNNIES. Or (flash!), Giles sword-fighting a skeleton.
Or, when I imagine Spike as Randy Giles, brother to Rupert (otherwise known as Ruppie). He’s still a sarcastic and witty chap, even in his Sherlock Holmes suit reminiscent of his apprentice clothing in "Restless." Spike’s willingness to say whatever he thinks remains intact despite the memory loss. "Red, shiny, shaped like a penis?" Randy asks Rupert about his car. Call me Beavis, but hearing Randy Spike say the word penis in his fake British accent gave me the giggles.
As did:"I don’t see Alan Funt."
"Alex!"
"Ready Randy? Ready Joan."
If your side didn’t split from the one-liners, you must have at least smiled once or twice at the multiple inside jokes and references to episodes past.
For example:
1) Poking fun at the Buffy and Angel relationship: Super-Randy has it all figured it all out, "I must be a noble vampire." Joan the Vampire Slayer doubts it. "A vampire with a soul? How lame is that?"
2) Referring to Anya’s demonic past: "I feel compelled to take some vengeance on you."
But, (and I challenge any nay-sayers on this) the absolute best was Willow’s, "And I think I’m kinda gay;" a reference to Season Three’s "Doppelgangland" in which Willow’s evil twin roams the streets of Sunnydale wreaking havoc and causing much confusion. (For the BtVS latecomers, "Doppelgangland" was Anya’s second appearance on the show and Alyson Hanigan’s second chance to explore her skanky vamp side. Anya/Anyanka and vampire Willow first appeared earlier in Season Three, in "The Wish".)
Following the crowd-pleasing musical must have been a challenge. It’s difficult to be the second act when the first received a standing ovation. Though "Tabula Rasa" didn’t really contribute to the story arc much beyond finalizing what was implied in "Once More, With Feeling," it cleared the air a bit. Laughter always eases tension. The problems are still there, but now those involved are able to see beyond the intense emotion and move forward. After they are finished crying, and get a good night sleep, the Scooby Gang will move forward.
The writers must have had The Weight of the World on their shoulders. It took some Initiative to put together a whole episode based on one-liners and inside jokes. I imagine with Faith, Hope and a Trick or two, anything is possible. After all, in Buffy-verse there’s nothing to fear, but Fear Itself.
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Post by Dalton on Feb 19, 2004 9:40:51 GMT -5
by Jen Sonstein 11/20/2001 Scattered. Scary. Scorching. Scandalous. Skanky. Skin-emax. Score!
"Smashed" is a semi-erotic, uh, I mean semi-ironic title for the latest episode of Buffy the Vampire Slayer. However, it could easily be replaced with any of the other s-words above.
Scattered, for instance, would be much more appropriate than Smashed.
Jumping from scene to scene and plot line to plot line may work in a musical format, but tends to become tiresome when it’s performed in plain, old, spoken word.
What was the overarching story? Who was the hero? Who was the villain? What was tonight’s bottom line?
· Buffy, the "ice queen," burns Spike...again. · Wannabe super-villains Mission Impossible their way into the Sunnydale Museum of Unusual Sciences and test out their latest toy–a freeze ray–on the security guard. · When Willow finds herself depressed and lonely without Tara, she decides to–POOF!–conjure up another female friend; the former rodent and powerful witch, Amy. · Spike’s chip appears to be broken, but what happens when he discovers it’s really Buffy who’s broken? · Willow and Amy are bad girls at the Bronze, but not as bad as Buffy who decides to finally give Spike a happy in an abandoned building. · This Tuesday, Tara and Dawn make plans to go to a movie while the rest of the Scoobies are doing other kinds of important stuff.
While each in its own right is relevant to the season six story arc, it’s all too much to absorb in one sitting. What is the connecting thread between the stories? What are we left with at the end of the hour besides images of SMG bobbing up and down on the TV screen?
Surprisingly, there’s a quote by Martin Luther King, Jr. that may be relevant.
"All progress is precarious, and the solution of one problem brings us face to face with another problem."
Beware: Change is uncertain. While it seems to be the answer to your prayers, it may only be a temporary solution.
Willow, Spike, and even the three sci-fi fanatics all have a common goal: to show how far they’ve come. To prove to the ones who doubt that they have indeed changed. They’re all insecure. They are all hungry for power. They all think a certain power will solve their problems. They’re all wrong.
Willow believes magical power will solve her problems. Spike believes physical power will solve his. Jonathan, Warren, and Andrew just want to be noticed. Willow, Spike, and the boys are intoxicated.
It’s time for an intervention.
Since high school, Willow has come out in more ways than one. Most importantly, she’s come out of her shell. After being stuck in a stereotype for so long, she must be itching to shout out to the world, "Hey! I’ve changed! Look at what I can do!" In deratting Amy, Willow stumbles upon an opportunity. She gains a new drug buddy (someone who understands what it’s like to be locked up in a cage), but to her pleasant surprise, Willow also finds herself in the perfect situation to show off her new and (improved?) self.
Spike also stumbles upon an opportunity. Since the Initiative implanted a chip in his head, Spike has struggled with a major identity crisis. "Poor Spikey. Can’t be a human. Can’t be a vampire."
Where does Spike fit in? Who is he, if he’s not a violent beast? His "handicap" already makes him feel week; Buffy makes him feel like weakling. Spike finds comfort in physical strength and feels impotent without it. Remember the wheelchair-bound Spike from season two? Now he has the chance t show Buffy he’s "not so toothless after all."
Poor Willow and Spike. They are both trying so hard to be convincing. But they are both so transparent. It almost makes your heart ache.
"I can party," Willow tells Amy. Emphasis on the "can." The old Willow couldn’t party. The new Willow can.
"You’re the one who’s changed," Spike informs Buffy. Emphasis on the "you’re." I’m not the mutant. You are.
(The only person who isn’t trying to show she’s changed is Buffy. She’s actually afraid of who she has become. She doesn’t want to flaunt it.)
At the end of "Smashed," Willow and Spike each achieve a temporary high. Willow parties with the cool kids and manipulates the scene to her liking. Lucky Spike not only gets to beat some sense into the Slayer, but he also finally gets his "sweet release."
When will enough be enough? Are addicts ever satisfied? (Anyone who’s skeptical about the obvious drug comparison must be really smashed.)
No. Addicts only want more. It doesn’t matter whether the addiction is to drugs, alcohol, sex, magic, strength, or to a person. As Anya points out, "when they finally get a taste...it’s like they can’t get enough." Xander agrees, "It must be seductive."
If there is one thing we’ve learned from season to season it’s that the one who isn’t satisfied tends to be the big bad. The big bad always wants more power.
Now it’s time to place some bets. It’s the end of November and the smoke is bound to clear. Who do you think is the real rat of season six? Willow? Spike? The unholy trinity? The rat girl? Or . . . the Slayer who came back wrong?
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Post by Dalton on Feb 19, 2004 9:46:33 GMT -5
by Jen Sonstein 11/27/2001 When, exactly, is enough really enough? Where (or when) is "too far?"How about now?
Enough with the drug parallels.
Enough with the "no means yes" routine. Enough with the metaphors galore. Cravings. Dealers. Sex. Guilt. Smashed. Wrecked.
It’s over.Or so we’re lead to believe by the powerful ending of "Wrecked." A car crash. A bitch slap. A sob story. And suddenly, Willow and Buffy both swear to put an end to what has been wrecking their lives.
Is it really over?
Last week, "Smashed" presented us with a very different Buffy the Vampire Slayer—one with a sex scene better fit for Cinemax than UPN prime time and an addiction plot line usually seen on Lifetime. After the ep ended, I picked my jaw up from the floor and anxiously awaited the trailers for the following week hoping that the focus might be on Xander and Anya or even on Buffy and Spike, just not Willow the Junkie. Unfortunately, "Wrecked" was "Smashed: Part II."
At first, I silently rooted for both Willow and Buffy. Good for them. They’re in their early twenties. One day they’re going to wake up middle-aged and wished they’d enjoyed the irresponsibility of youth. Willow and Buffy sure don’t suffer from lack of late nights; but they do suffer from lack of fun. Forgetting for a moment the fire both women have been playing with, it was refreshing to see that both Buffy and Willow stayed out all night partying. Alas, before long, the whore and the junkie return to screen even more cliche than before.
When is it going to be over?
How many times has Buffy rejected Spike after her momentary desire turned to shame? Buffy’s obviously torn between what she wants and what she thinks is right. Anyone who has ever dabbled in the unconventional (be it sex, drugs or rock & roll) knows that "bugging out" comes with the territory. Buffy loves the freak show while she’s freaking, but feels dirty when it’s over.
As does Willow. For good and for bad, Willow’s blossoming into an explorer. In the aftermath of an extremely repressed childhood, Willow wants a taste of what’s cool, but not the aftertaste. The magic is both exciting and comforting for her. Willow feels reckless, yet empowered. Hence, you CAN get too much of a good thing. There’s a fine line between running with the night and dancing on the ceiling. The moment Willow visits the c-"Rack" house, she crosses the line.
Willow’s not the only one. There’s a whole lot of line-crossing going on.
Somewhere between the WB and UPN, a spell was cast and Steven Bochco joined the BtVS writing and directing team.
Subtlety begone!
Okay. Steven Bochco is sticking to more "adult-themed" television shows such as ABC’s Philly, but did David Caruso take James Marsters out to lunch?
A prude I am not, but when Spike appeared "in the buff," I was shocked! Not as appalled as I’m sure Tipper Gore must have been had she been watching, but most definitely a little disturbed. Is partial nudity without a parental warning going too far? (FYI: This is a show that is shown at 7:00 pm in some states. Elementary school kids can flip through the channels looking for Doug and instead see William, the Bloody Naked.)
Season sex has been and continues to be tantalizing—for adults. It’s also darker than any previous season. It’s altogether a more provocative show. If you point your ear towards L.A., you might just hear Marti Noxon yelling to anyone who will listen, "We want to play with the grownups!" Were the skin scenes more her idea or Joss’s? It seems to be very important to them that they differentiate this show from the one that grew up on the WB.
The difference between "then" and "now" is clear, especially in the characterizations. While the essence of each major character remains, each continues to grow up—by dealing with more mature themes and adult content on their own. This is no longer PG-13. Willow, Xander, and Buffy—now adults—must cope with the realities and responsibilities that accompany adulthood. The Scoobies are learning valuable lessons, all on their own, now that Giles has escaped.
Important life lessons such as: · Lesson 1: It’s important to be able to live with myself the "morning after." · Lesson 2: My actions have effects on others. · Lesson 3: Judge not less thee be judged. · Lesson 4: Don’t play the game unless you’re able to finish. · Lesson 5: A rat is a rat is a rat. · Lesson 6: We are only human. Unless we aren’t.
"Wrecked" is a crossroads of sorts—for the characters, for the show, and for its audience. It’s the end of November and Season Six still seems to be figuring out in which direction to take us. Similarly, the characters are still finding themselves as well. Willow, Xander, and Buffy all still need to make that one important choice that will take them down one path or the other. (Where do we go from here?) Hard decisions to make. Decisions that will affect others.
Fortunately, they had a pretty good role model in Giles. Especially recently, when he made a very difficult decision in leaving Buffy and the Gang to fend for themselves in Sunnydale; both because he knew he needed to give them a chance on their own and also because he knew he’d burn out if he didn’t take a break. Oh, how it pained him to know he hurt those he loved. Many times, walking away from something—not because you want to, but because you know it’s right—is the hardest thing to do. Making the right choice is what differentiates the kids from the grownups. Willow, Xander, and Buffy (and even Tara and Anya) all have choices to make that will determine whether they are ready to be grownups ... or not.
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Post by Dalton on Feb 19, 2004 9:51:52 GMT -5
by Jen Sonstein 1/8/2002 "Where did your long hair go? Where is the girl I used to know?" –The Beach Boys
Of all human body parts, hair is the most meaningful. Whether we learn this from the Bible or fairytales or Clairol commercials, it is an undeniable fact that others judge you by your hair.
Hair represents vitality, attractiveness, and sensuality. Hair loss is less desirable and causes a lot of grief. Male pattern baldness made Rogaine a household name.
Some religions require men and women to cover their hair out of respect for God. Or, when tight old maids "let their hair down," suddenly they’re seen as vivacious vixens. We spend millions upon billions of dollars in an effort to straighten our hair, curl our hair, dye it red, only to dye it back. We do this because changing your hair is the most efficient way to say "I’m different."
Non-blondes may not believe this, but it’s tough to be a "Goldilocks." Your hair color forever defines who you are. People tend to be very judgmental of blondes. A blonde constantly has to prove that she is neither dumb, nor flaky, nor easy. Or if she is, it’s not due to the color of her hair.
In "Gone," Buffy’s hair represents her desirability. Spike (who seems to have a thing for bottled blonde) tells her how much her hair turns him on. "What should I call you then? Pet? Sweetheart? Goldilocks?"
Frustrated with her lack of willpower and disgusted with what she’s become, Buffy sits in front of the mirror and chops off the locks her secret lover finds so appealing. The easiest and quickest way to take control is to alter the way you look.
"Make me different," she tells her hairdresser.
What’s Buffy’s motivation? Maybe Spike won’t like a shorthaired Buffy. Maybe shorthaired Buffy won’t like Spike. Maybe cutting her hair will take some of the weight off her shoulders. Maybe it will help her shed her youth.
Whether SMG pulled a Keri Russell or the writers decided to add her new hairdo into the storyline, the symbolism worked.
The same can be said for Invisible Girl Revisited.
Unlike Marcie Ross, Buffy’s not interested in the attention. In fact, she prefers to be out of sight. Invisibility allows Buffy to take a much-needed leave from Slayer, mommy, and drug counselor duty. It’s the great escape with perfect timing. This "accident" offers her a chance to score a little invisi-booty, pull a "redrum" on the interfering social worker, and rumble with the mystery turds who have been stalking her. (For the first time, I’m actually curious to know what’s going to happen between Buffy and the boys, now that their identity has been revealed.)
It’s hard to blame Buffy for having so much fun. Who wouldn’t want to be "gone" for a day (as long as the pudding threat was removed)? It’d be a Book of Questions dream come true.
The Book of Questions is so provocative because you really don’t know how you’d respond, or how you would feel, until the event actually takes place. Since her return to the land of the living, Buffy’s wanted to disappear. She’s been going through the motions, but feeling almost nothing. Through her interactions with Spike, she’s experienced lust and disgust, but not much else. However, when presented with the opportunity to dissolve into nothingness, Buffy fights for her life.
It’s the threat of fading away that actually brings Buffy back.
"I don’t want to die," she tells Willow. "That’s something, right?"
It’s a step. It’s still too soon to tell in which direction, but it’s a step.
"Gone" was a nice introduction to the second half of season six. Nice references to seasons past, a couple of nice fresh Scooby-isms and nice new developments. It was all very nice.
Like Buffy’s new ‘do, "Gone" was adorable and lightened the heavy load we were fed before the holidays.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -FOOTNOTES
*Did anyone recognize the song invisi-Buffy was whistling? It sounded very Once More With Feeling-ish. "Going Through the Motions," maybe? Does anyone know for sure?
*I LOVED, LOVED, LOVED it when Buffy tried to identify the boys and had trouble with Andrew. "I assembled the flying monkeys...during the school play." "He’s Tucker’s brother. Oh!" (Hee hee.)
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Post by Dalton on Feb 19, 2004 9:59:12 GMT -5
by Jen Sonstein 1/29/2002 We deserved a break today.
Instead, the powers-that-be fed us the low grade fake meat version of Buffy the Vampire Slayer: Season 6.
Let me explain.
As a vegetarian, I’ve discovered the many pleasures of make-believe meat products. Veggie burgers, chicken, bologna—ah, the wonders of soy. These substitutes appeal to veggies because our taste buds only vaguely remember the flavor and consistency of real meat.
Ask a meat-lover to enjoy a Tofurkey. He’ll tell you: It tastes a little like turkey. It looks a little like turkey. It’s okay for the first couple of bites. But the meat eater clearly remembers the juicy flavor and substance of bird flesh. He doesn’t want mock meat. He wants the real thing.
Get it?Someone is injecting meat process into our Buffy.
This season has been chock full of flavor and substance: "Flooded," "After Life," "Once More With Feeling," and "Tabula Rasa" showcased the talent the BtVS team is capable of. But watching "Doublemeat Palace" was like sitting in the audience waiting for Emeril and instead being greeted by the Hamburglar!
We’re hungry. We’re bored. Where’s the beef?
The last episode before the new year, "Wrecked," was shown on Nov. 27. After waiting more than a month for a new ep, we were served a mediocre appetizer (a la pigs in a blanket), "Gone," on Jan. 8. Containing a light storyline, "Gone" wasn’t hearty, but it was enough to sustain us for another three weeks.
"Doublemeat Palace" gave me indigestion.
While visually stimulating with vibrant primary colors on both the set and costumes, "DMP" was simply a minced mish-mash of this and that. Buffy gets a minimum wage job. Willow craves magic. Xander and Anya get wedding jitters. Throw in a demon, a dash of Dawn, a touch of Amy, and Spike it to taste. What do you get? A slow night.
"Down time robs us all," says Gina, an elderly coworker of Buffy’s.
Tell that to Spike. Buffy uses her down time to show Spikey the DMP version of a happy meal. Unfortunately for him, while he happily bangs her against the wall, she wears a blank stare. Buffy’s mind is either elsewhere or empty. I know the feeling.
Though the sex scene was tasteless, Spike’s affection for Buffy is once again genuinely sweet.
Before meeting her by the dumpster for a quickie, Spike tries to convince Buffy to quit her new job. "You’re better than this," he tells her. And he’s right. I still don’t understand the concept behind Buffy "can I take your order" Summers. As mentioned in prior discussions on this board, there are plenty of job options for a high school grad, even in this failing economy. A position as an administrative assistant in a 9-5 office would put Buffy in a "normal job in a well-lit place" minus the blood, death, and funky smells.
Furthermore, isn’t there any fine dining in Sunnydale? With her L.A. diner waitressing experience and new cute bob, she could easily garner a position as restaurant hostess. Hostesses aren’t required to figure out the sequence of buttons on the cash register. They just meet, greet, and look pretty.
What about the Magic Box? Doesn’t Anya need any sales help? And Willow? Is she paying rent? Granted, she’s a recovering addict and a college student (you can tell by the yellow highlighter), but doesn’t Willow feel compelled to contribute to the household she’s a member of?
You can only suspend disbelief for so long in one sitting. I was much less surprised to see a living, screaming penis emerge from Mrs. Cherry Pie than I was to hear Buffy ask the new manager for her job back. As a potential Doublemeat lifer, there is no way Buffy will be able to support herself, let alone her teenage sister and delinquent best friend. What is she thinking?
Isn’t there possibly a Plan B?
Spike offers to help her. (Remember when Spike was a paid informant for the Scoobies? What’s his source of income now?) Buffy takes advantage of Spike in so many other ways; why stop at accepting money?
Even Xander could help her out financially for a short while as she pursues a career. He makes enough money to afford the fat pad he and Anya enjoy. Where’s Buffy’s support system? Is it really down to Spike?
This second episode of 2002 offered a few enjoyable moments. Most included Spike and none included Amy or Halfrek, Anya’s long lost coworker who reminded me way too much of Buffy’s freshman roommate, Kathy. "MmmHmm..." JUST SAY WHAT YOU WANT TO SAY!
Doublemeat Palace was perfect as an exaggerated amalgam of all fast food restaurants, with it’s disturbing training video, robotic food preparation system and less than enthusiastic employees. Even more entertaining were the "enthusiastic" staff members who share with Buffy the joys of burger flipping, like grease plugs in your ears.
Willow’s drive thru confession was clever, as was her spell-free save the day move. Xander played the perfect Shaggy as he indulged in each Doublemeat medley, even after Buffy told him that cat might be on the ingredients list.
Since February sweeps demand quality and quantity, there’s hope that we’ll be treated to gourmet fare again soon---the kind our sensitive palettes have become accustomed to. A competitor in an upcoming ratings race, Buffy needs to be at her best. It’s a good time, for the great taste...
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Post by Dalton on Feb 19, 2004 10:04:30 GMT -5
by Jen Sonstein 2/5/2002 Addiction. Abuse. Control. Power. These characteristics feed into the cycle of violence.
The need for power leads to addiction. The addiction leads to the need for control. The need for control leads to abuse. Round and round the circle goes.
"Dead Things" was one of the most realistically disturbing episodes of BtVS, probably since "The Body."
BtVS, a show steeped in blood and gore, is naturally disturbing. However, after watching a few episodes, viewers tend to become numb to the superficial violence–the vampire slayings and the demon butt whippings. After all, how often do these things happen in real life?
It’s the human side of the show that tends to touch a nerve. Love. Sex. Drugs. Death. These are matters we understand and know all too well.
An extraordinarily unhealthy relationship is a twenty-something staple. If you are fortunate enough not to have experienced this personally or seen it happen to a friend, you have probably seen the abusive boyfriend portrayed on YA shows like 90210 (Donna’s college boyfriend, Ray) or on Oprah.
The guy’s usually a dirtbag like Warren. He feels rejected. He is in desperate need of love, but also willing to do whatever it takes to acquire it. When love is not given, the abusive boyfriend will take it. When met with resistance, he will fight back even harder.
Like many women who end romantic relationships with scum, Katrina thought Warren was eliminated from her life. Sadly for her, Warren jumps at the opportunity to regain her "affection" once he has the power to do so. It doesn’t matter to Warren that she rejects his come on. He has power and knows how to use it. Since she won’t agree to love him, he’ll make her.
Just like a frat boy with a roofie, Warren uses his version of a "cerebral dampener" to rape Katrina. He plays with her mind and gets her to do things she’d be loathe to do if she was thinking clearly.
Spike’s camp isn’t too far away from Warren’s.
In addition to really horrid love poems, Spike wrote the book on manipulation. His most polished tactic when it comes to wooing Buffy over to the Dark Side is to remind her of how different she is from her friends. (Remember when Faith used the same maneuver in season three?)
"You see. You try to be with them, but you always end up in the dark with me," Spike says to Buffy as he balls her from behind in the Bronze.
Sidetracking for just a second: Is anyone else really sick of Buffy’s and Spike’s sex faces? The way she looks like she’s in excruciating pain and the way he purses up his lips as if to say "yeah baby, take that?" Spikey takes her from behind a lot; reminding viewers of how animalistic this relationship is. There’s nothing gentle or affectionate about the way the two interact.
Still, as much as it absolutely sickens her, Buffy only feels good about herself when she’s with Spike. Why?
Buffy returns to Spike for the same reason many people stay in abusive relationships. He fulfills a need. Maybe she needs to feel loved. ("Nothing seems to penetrate my heart...") Maybe she believes one monster deserves another. ("She came from the grave much graver.") Maybe it just feels good. ("I want the fire back.")
Whatever her reason, it’s reason enough for her to stay.
Tara asks Buffy if she’s in love with Spike or just using him. Buffy doesn’t answer. Can Buffy possibly be in love with a monster? She’s asking herself the same question and driving herself batty in the process.
Spike claims he’s in love with Buffy. He tells her, "you always hurt the ones you love."
Healthy lovers often cause each other emotional pain. So this statement is true; to a point. But when the hurt starts showing up as black and blue marks on your body, it’s no longer love, or anything close to love. It’s sick.
It’s textbook health class. There is nothing romantic about violence. There is nothing sweet about possessiveness. There is nothing healthy about this coupling. Sorry B/S ‘shippers. This has got to end.
Buffy and Spike’s is an abusive relationship where both are abusers and each is abused. This vampire and this slayer need each other, but in the worst way. They each want to feel good, but both feel bad that the other makes them feel this way.
While Spike tends to be emotionally abusive and obsessive, Buffy’s just an all-around shit--continually hurting Spike both emotionally and physically. Vampire or not; when she needs him to be "the man," Buffy enjoys his manly goods. When she’s no longer in need of his services, she remembers he is a monster. And treats him as such. They’ve created a cycle of violence.
Buffy is an abuser. There is no excuse for her actions; not even the fact that she’s a slayer and he’s an "evil, blood-sucking fiend."
Since being called upon to be a slayer, Buffy has desperately yearned for normal life. When she moved to Sunnydale, she made normal friends. When Angel left, she tried to find a normal boyfriend. She’s trying her darndest to make due with her normal day job.
"To be like other girls, To fit in in this glittering world."
When Tara tells Buffy she is normal, Buffy flips. She begs Tara to try again, to find something wrong with her; something else to blame. She needs Tara to tell her she’s wrong; she’s different; she’s bad.
Buffy has no one else to blame for her actions, but herself. Her big time problems have nothing to do with the way she came back form Hell. She’s an after, after, after school special. She’s ripe for Oprah. She’s an abuser. She has problems.
"Dead Things" was filled with crossed parallels. Buffy = Willow. Warren = Spike, but Buffy = Warren. Katrina = Spike, but Spike = evil.
Good and bad are no longer black and white. Everything has turned very gray in Sunnydale.
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Post by Dalton on Feb 19, 2004 10:10:06 GMT -5
by Jen Sonstein 2/12/2002 Where can I get me a wish demon? They seem to come in an assortment of flavors; some offer justice to women and children scorned, others use music instead of truth serum to reveal juicy secrets and hidden talents. Perhaps there’s a wish demon handing out book contracts… Someone must have given Tara a wish demon for Christmas because, out of leftfield, she has stepped up to bat as Buffy’s new confidante. Huh? Buffy’s explanation for this new development was loose in "Dead Things." She supposedly needed someone knowledgeable in the supernatural (and the spell used to revive her) to test her for abnormalities. Buffy claims she would ask Willow, but didn’t want to allow the recovering addict the opportunity to indulge in magic. More likely, Buffy was afraid to open up to Willow; for once she did, she might not be able to stop. She’d "out" herself; something she’s clearly not ready to do. Tara and Buffy’s friendship seems sudden; despite their mutual fondness for Willow and despite the fact that they briefly lived together. For Buffy to risk making Willow uncomfortable just to have Tara present at her party seems highly unlikely. However, I gladly put my doubt and confusion aside when I realized what a fun party guest Tara could be. Tara was the Queen of Squirm in "Older and Far Away," causing all sorts of uneasiness in Willow, Spike, and even in Anya, who pressures Willow to disregard more than 32 days of spellcasting to help them escape Hallie’s House of Horrors. It’s takes much less effort to enjoy a tough Tara. Even in the little screen time she’s had since leaving Willow, Tara seems much more self-confident and independent. Before tonight, Tara’s most admirable qualities were her listening and babysitting skills. Who knew she was such a talented troublemaker? She’s most hilarious as a thorn in Spike’s side, offering snide remarks about the "cute" new boy and cramps in his pants. Tara’s performance is outdone only by Clem, the latest addition to the extended Scooby family who practically steals the show. A distant cousin to Sloth Fratelli of Goonies fame, Clem is an endearing and seemingly harmless demon (minus the kitten poker habit). He would be the perfect new addition to the Gang, although it would bring the ratio of demons to humans too close for comfort. At the very least, he’d be a good influence on his vampire buddy and an interesting conversation piece. Since it’s been rare in season six, it’s nice to see the Gang gather for a non-crisis event. We’re reminded that these people are actually friends. Unfortunately, the non-crisis event happens to also be Buffy’s birthday, which somehow always turns into a crisis. Reminiscent of "Fear," "Older and Far Away" locks the Scoobies and extended family in a haunted house forced to deal with their demons, both real and imagined. In addition to the living, breathing sword-wielding baddie, the Summers house becomes home to an array of emotions ranging from anxiety to abandonment. The focal point and main continuation of the season’s story arc revolves, of course, around "Dawnie" whose recycled screaming teen routine is so old and tired, I practically mouthed along with her, "get out; get OUT; GET OUT!!!" Want a little deja vu with your cake and ice cream? Dawn may be annoying, but her attitude is justified. Rightfully, she feels neglected and alone because the fact is, more often than not, she is neglected and alone. As if being a high school freshman isn’t hard enough, Dawn has no visible friends or social life (save for the occasional sleepover at Janice’s). Hallie is right: Dawn’s calls for help have been so loud and so clear, it’s absolutely pathetic Buffy hasn’t recognized them. Or, if Buffy has heard Dawn’s cries, she’s been very reluctant to address them. It’s arguable that Dawn has had as bad of a year as Buffy, if not worse. First, she finds out she’s not a real girl and her memories are simply a friar’s fabrication. Then, she loses her mother, followed by Buffy who sacrifices herself to save her sister. (Oh, the guilt.) When Buffy miserably returns to overdue bills and an unwanted guardianship, she makes herself scarce. Dawn naturally feels abandoned. To top it all off, when anyone accidentally notices Dawn, they treat her like a naive child, when she’s anything but. Halfrek may not be Dawn’s legitimate guidance counselor, but she’s not a bad substitute. Though her technique is unrefined, she manages to call attention to Dawn’s problem, which is what a good guidance counselor is supposed to do. Sunnydale High needs more Halfreks; or at least more attentive guidance counselors. The core Gang’s response to Dawn’s very typical teenage behavior is above and beyond ironic, especially since we were all there to watch them go through very similar experiences: loss, loneliness, feeling like nobody understands you, and worse, nobody cares. In fact, wasn’t that one of the main aspects of Joss and Co.’s original mission statement—to showcase the trials and tribulation of adolescence? "The Pack" highlights this perfectly (quote courtesy of Giles: Xander's taken to teasing the less fortunate?Buffy: Uh-huh. Giles: And, there's been a noticeable change in both clothing and demeanor? Buffy: Yes. Giles: And, well, otherwise all his spare time is spent lounging about with imbeciles. Buffy: It's bad, isn't it. Giles: It's devastating. He's turned into a sixteen-year-old boy. Course, you'll have to kill him. Does high school seem so far away that Buffy, Willow, and Xander can’t remember the pain unique to that period? Let’s hope for Dawn’s sake they remember it all, and more with the sooner and not so much the later. This writer’s had enough with the Scream Teen act.
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Post by Dalton on Feb 23, 2004 23:46:57 GMT -5
by Jen Sonstein 2/26/2002
One of the worst things about a break up is learning that another has taken your place. Regardless of the circumstances behind the relationship’s end, hearing about – or even worse, meeting – the one walking in your former shoes is not easy.
Buffy took it in great stride.
Scenes from "previously on Buffy the Vampire Slayer" reminded us of Riley’s last days in, and exit from, Sunnydale. Whether you loved him or hated him, his presence has not been sorely missed—not by Buffy, not by the Gang, and not by commentators (at least not noticeably).
Captain Cardboard has become even stiffer in his absence, but his appearance in Sunnydale is almost as perfectly timed as his departure was. I never thought I’d have anything positive to write about Riley. He embodies my least favorite BtVS era. But there’s nothing like an ex-boyfriend to show you how far you’ve come...or gone. Especially when said ex seems to have the perfect life and the perfect wife, a woman who seems to resemble Buffy in many respects, but minus the angst.
"A lot can happen in a year," Dawn remarks, expressing out loud the thought on everyone else’s mind.
There’s no need to recap all that has happened to the Slayer and her clan since a helicopter carried Riley off to the jungle last year. Somewhere between then and now, Buffy lost track of Riley, just like she lost track of the woman she used to be when Riley used to hang around.
Whether he was the straw that broke the camel’s back or a wake-up call, Riley Finn provided that extra UMPH! Buffy needed to get her act together
.Buffy doesn’t have much going for her these days. Her job stinks, her friends and family are boring her at best, and she’s sleeping with the enemy. The only thing worse than Riley showing up with his tag team wife would have been Angel arriving with his baby in his arms...and Cordelia in tow.
Riley could have and should have found the opportunity to do a little explaining before asking Buffy to join him on his mission to the Sunnydale Dam. Though GI Joe hardly has an evil bone in his body, a part of him must have found delight in the impromptu meeting between his new bride, a contender for Miss Universe, and the girl who broke his heart.
Despite the "doh!" Buffy manages to hold her head up high, which is a big improvement on the low tide she’s been riding in recent weeks. However, it’s clear she hasn’t perfected the 180 because she continues to use Spike to help repair her bruised ego.
Asking Spike to tell her he loves her was a particularly slimy move because it must have gotten his hopes up—so high that when Riley burst in on them together, Spike’s immediate instinct was that Buffy would take Spike’s side. He thought wrong. Again.
Though Buffy’s decision to use Spike to boost her self-esteem was cruel, this type of response is natural. It must have hurt her a great deal to see that Riley’s rebound has been healthy and normal, while hers is so unhealthy and vile. Buffy sees that she’s taken Riley’s place slumming it in the vampire den, while soldier boy has filled the gaping hole in his heart with the girl voted most likely to be everyone’s pal.
Riley, the ultimate nice guy, found himself the ultimate nice girl. Buffy fell into bed with Spike whose character is in question to say the very, very, very least.
No matter how happy Riley is in his newfound bliss, though, it must have killed him to see Buffy dressed in her post-coital birthday suit cuddled up next to Spike. Being Spike’s girl isn’t necessarily news Buffy would want published in the Sunnydale Alumni newsletter, but seeing the two together gave Riley a little taste of his own medicine. Serves him right for prancing into town the way he did.
Despite Riley’s disappointment in her, to his credit Riley reminded Buffy that she’s more than just a greasy, slutty college dropout. "You are a hell of a woman," he tells her. Apparently, this is just what she needs to hear.
Buffy gathers up all the strength she can muster and heads over to Spike’s "redecorated" cryptominium to dump him. Someone give that girl a door prize for the 100th goodbye speech of the season. Did you think her talky talk with Spike was going to end with a bang?
To Spike’s dismay (and to the dismay of B/S ‘shippers around the globe), Buffy finally breaks it off with conviction. She finally admits to Spike and to herself that she’s only using him; and that doing so is "weak and selfish." Hallelujah!
As she leaves Spike’s crypt, a not-so-subtle symbolism shines down upon her. Is the Slayer finally walking out of the darkness and into the light? Only time will tell. Like Willow, Buffy is faced with a hard habit to break. Spellcaster’s Anonymous isn’t going to be much support for a Slayer with a vampire addiction. Perhaps it’s time Buffy shares her secret with her "best friend." Tara was able to handle the dirt. So could Riley. Neither one spit upon Buffy’s shoes or marked her with a scarlet S. It’s time to share the gory details with Willow. It’s time to let go of her shame.
The question that remains to be seen is: what will happen to Buffy and Spike when there no longer is a "Buffy and Spike?" Will Spike be allowed to hang with the Gang? Will he be banned from the Summers’ front yard? Will he turn superstalker or will he hide away in his dusty crypt and write sad poems about love lost?
"You keep changing the rules! You know who I am!" Spike says despondently.
Our questions about Spike’s place in Buffyverse are about to be answered.
A lot will be determined by the way Spike responds to the break up: Will he take it like a man ("William") or a monster?
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