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Post by Dalton on Jul 7, 2003 16:09:03 GMT -5
The fight on the subway, where earlier Spike is nevertheless talking to Buffy, switching back and forth between Subway Slayer and Buffy punching him out because she can, and he can't retaliate (unfair! unfair!). Spike's telling her some home truths, revealing himself in all his Williamosity, and her cruel put-down: "If I did, it would never be you. You're beneath me." She equates herself with his long-ago love and uses that equivalency to emotionally bludgeon him into tears, distractedly pawing at the money she's thrown at him. The sequence of expressions as he comes through the back hedge and actually gets as far as cocking the shotgun...and sees her crying and can't bear it, not knowing what's wrong and unable not to try to comfort her. Ah, I'm in tears over that epsode again. Brutal and true and sad and lovely. And when Nikki shoves his head through the window glass he shouts for the joy and exhileration of it. Wow. Double wow. Nan
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Post by Dalton on Jul 7, 2003 16:09:48 GMT -5
Spring, as always I find your analysis illuminating. I can see that it would be a difficult essay to write: about the inevitability of heartbreak and unbearable pain, and the utter futility of trying to prevent them...as was the episode in question. I am more into the Spike-in-a-wheelchair mode just now: brace, endure, and wait the bad times out however you can, as opposed to Buffy's (attempted) proactive mode. So this is an episode I can (and do) identify with. I wonder if, when you get to Fool for Love, either of us will be able to face the analysis. I think you will; I'm not so sure about me. Thank you. Nan
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Post by Dalton on Jul 7, 2003 16:10:45 GMT -5
For whatever it's worth, I'm noticing that fan fiction, to the degree that it's wish fulfillment, is about removing barriers: Buffy and Spike (or whoever) get together and have lovely sex, repeatedly. They are never seriously in doubt about one another's true feelings. If there is a problem, it's essentially external and doesn't seriously disrupt the essential relationship. Real fiction (if I may call it that) is about hurling the irresistable force against the immovable object and making them go SPLAT as hard, and as often, as you can. There is no certainty of anything except conflict and pain, with (perhaps) the occasional glimmer of hope. No one is certain of anyone's feelings/intentions, including their own. There is little/no confortable domesticity; everybody goes after what they rightly or wrongly want full tilt, full speed. SPLAT. Shatter/bounce. Headlong again. It interesting that after all this while, we're still speculating about what (if anything) Buffy feels toward Spike. I think we all rejoice to find Spike reclaiming himself, with the duster; it's less certain that Buffy will be closer to him for that change, for all that she demanded it of him. That's real fiction, folks. Nan
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Post by Dalton on Jul 7, 2003 16:11:39 GMT -5
Watching Fool For Love is inspiring me to come up with yet another topic for the group: the Emmy nominations that should have been. Here are my personal choices that Emmy was too stupid to recognize. I'm going to do it like they do and submit specific episodes to be nominated. I nominate nothing from season 1 because the show has yet to find itself completely. The potential for great things is there, though. In season 2, I nominate Sarah for Lead Actress, specifically for her performnce in Innocence. I also give two Supporting Actor nominations for Tony Head in Passion and David Boreanaz for Innocence. Don't ask me to pick a winner there because they're both awfully good. Joss for writing and direction for Becoming. I will never forget the moment when Buffy is turning the corner and suddenly she's moving in slow motion, with heavy echoing footsteps. Magnificent. Season 3 is harder to call because everyone has great stuff here. If I have to narrow it down, I'd nominate Sarah again and use The Prom as my submission to the committee. The strongest human on earth is reduced to a helpless little girl when Angel breaks up with her. Extraordinary stuff from SMG. Supporting Female Actor Nomination for Alyson Hannigan in Doppelgangland. I split nominations in the Male category between Nick Brendon for The Zeppo, one of the funniest hours TV has ever seen, and Harry Groener in Ememies. The scene in the darkened lunchroom when he perfectly dissects the relationship between Buffy and Angel is deserving of recognition, and he's my personal favorite Big Bad because he was so complex. He truly loved Faith, for example. I give the trophy to Nicky, though, because it's the only nomination I'm going to give him and he deserves a moment in the sun. Writing nods to Marti Noxon for The Prom and Joss (of course) for Graduation Day. Season 4 is not my favorite. Nonetheless, I give a writing nod to Joss for Hush and a HUGE directing nod for Restless, which is a masterpiece. Outside of that, I give Supporting nods to Alyson Hannigan and Seth Green. Their breakup episode is brilliantly handled by both. Season 5 is a lot easier for me because it's mostly all about one singular episode. Let's run it down, shall we? Writing and Direction for Joss, Lead Actor for Sarah and supporting actor for Alyson Hannigan in The Body. James Marsters for Supporting Actor in Fool For Love. Sarah Michelle Gellar's snubbing by the Emmy voters is now starting to become criminal. Season 6 is another easy one: Writing and Directing for Joss in Once More With Feeling. Supporting Actor for Marsters again, this time for his breathtaking work in Seeing Red. Lead Actor nod goes to Alyson Hannigan, because in those last three episodes the show belonged to her. Dark Willow was something to see. I'm going to throw a nomination Emma Caulfield's way for Hell's Bells. The scene where she walks the aisle alone is devastating Season 7's best moments are ahead of us, but I'm going to nominate Marsters for a third time for Beneath You right here and now. Buffy The Vampire Slayer should currently hold 3 statuettes for Best Drama for Seasons 2, 3, and 5. The fact that is hasn't even received a nomination in that category is a colossal joke.
Rob Sorenson
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Post by Dalton on Jul 7, 2003 16:13:36 GMT -5
Your opinion regarding Buffy and Riley is absolutely correct. As I said before, the scene in Homecoming on Willow's bed with Xander does more in 15 seconds than anything Buffy and Riley did together in a year and a half, and they were allowed to get much more graphic onscreen. All Wills did was touch Xand's mouth. Man alive, if only she were heterosexual these days.....
Rob Sorenson
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Post by Dalton on Jul 7, 2003 16:14:13 GMT -5
These are excellent points. I'd only add that somewhere between real fiction and fan fiction lies real life. Sometimes people are so in love they can't see straight, and sometimes they're distant and cruel to one another, however unintentional their actions may be.
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Post by Dalton on Jul 7, 2003 16:15:06 GMT -5
Well . . . I dunno. I get the feeling from things James and others say about Sarah, that she is a real pro. I think she's doing her best, regardless of her personal feelings or the depth of her understanding of the script. Buffy was emotionally numb in Season 6, and it showed. In Season 7, Buffy was/is working hard to keep from facing her feelings for Spike, and what it all means about her "Angel shrine." So I thought the restraint made sense there too. But she is loosening up . . . I will be curious to see what results. I get the weird feeling, based on nothing, that SMG had a bit of a crush on DB, and that colors it all for her. I don't agree that Buffy was just using Spike for sex in Season 6 - that's certainly what she needed to tell herself, though. She had to choose between "I am using him for sex only" or "I actually care about a soulless vampire, and he cares about me." For lots of reasons, she was most comfortable with the former. But she and Spike had and have a very real, deep, emotional connection. It was all twisted up in Season 6, but it was there. It wasn't as if he could have been "just anybody." Not to say that her approach didn't result in Spike being used for sex, it did.
Spring Summers
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Post by Dalton on Jul 7, 2003 16:15:58 GMT -5
Nan: You read my mind. I was thinking the same thing watching "Fool For Love" - how doing an analysis was going to be a killer. But great also. It is SUCH a great episode. So very beautifully done. It looks likes James hangs in there through the entire subway fight scene; I saw no evidence of a stunt man. That guy is so incredibly talented. I mean he's so great as Sunnydale chipped Spike in this episode, and so wonderful as William-the-poet he's nearly unrecognizable, and also fantastic as William, the rambunctious new vampire. And that sex scene with Dru! He's perfect in every scene. Amazing. And he looks so good my knees get weak. What a package.
Spring Summers
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Post by Dalton on Jul 7, 2003 16:16:28 GMT -5
Alexandra, I haven't seen that episode (I'm assuming you mean the one JM is in) - is it due to be re-aired soon? I'd love to tape it though I don't watch Andromeda normally. And I've tried..
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