Seven seasons, all summed up with an enigmatic smile, and the possibilities of an open road. Buffy has saved the day, and she’s done it as a female hero, heavy on the girl power.
Her conversation with Angel accurately captures the theme of the show- cookie dough. Even though we’ve watched her character complete an epic journey, she’s not finished yet. After broken relationships and false starts, Buffy has realized that she doesn’t have to be perfect yet. We’ve discussed how she has been working through the cycle of the female hero in the series, and has come to the crone phase. Here, Buffy sees that she’s just beginning, and is ready for the next stage. The fact that she comes to this realization through the image of the modest traditionally girly occupation imaginable- baking cookies- just adds another layer to her development.
We saw this fairly obviously when Buffy splits Caleb in half with the scythe from the guardians. The hereditary strength of woman triumphing over dogmatic misogyny, or a convenient way to eliminate Caleb before the final battle- either way, it shows that Buffy is ready for the final showdown.
The series ends where it began, the four members of the original Scooby Gang facing insurmountable odds in the high school. This time, though, the characters are ready for what they face in ways that they couldn’t have imagined in the first seasons. Xander, in spite of his injury, is still fighting alongside his friends. Willow finally trusts herself completely with magic, and is rewarded with a connection to a power that’s strong and positive- no black hair or veins included. Giles gets to see not just Buffy but a dozen Slayers fighting- and winning- against evil. Buffy saves the world, destroys the Hellmouth, and has a shopping trip planned. Life is good.
The fact that shopping is high on Buffy’s agenda is as essential for her character as the use of a scythe and the girls bleeding together to open the seal- womanhood is the source of their power. They are heroes not in spite of the fact that they are female, but because of it. Unlike Xena or other heroines who act like male hero’s in women’s bodies, Buffy saves the world, and she does it in high heels. As Buffy’s grown through the series, she’s gained much more than she’s lost and has remained connected to her friends and family in spite of her inherent isolation. And they live happily ever after, until the next Apocalypse.
Thursday, May 14, 2009
Hot Chicks With Super Powers
Looks like Buffy’s not the all-powerful leader anymore; and, amazingly, she seems to be okay with it. In Empty Places, Buffy finds her leadership questioned more seriously than at any point before in the past seven years, and makes a speech about how a democracy isn’t going to cut it in the final battle. Still, she steps down without a fight when her not-so-loyal followers ask. Buffy could have taken control of the situation by force- it’s her house, and Faith is the only one with a chance of fighting Buffy and wining. But, Buffy is not a tyrant. Since the beginning of the show, she’s only gone to battle with Giles’s knowledge and the support of her friends behind her. When this support is withdrawn, Buffy steps down and allows Faith to become the “Good Slayer.”
Even if it was only for a few days, it was necessary for Buffy to leave the house for the others to reach their potential. It shows how much Dawn has changed when she stands up to Buffy. She really is in control of herself now, and rejects her role as “Buffy’s little sister” to be part of the larger group. It’s a mutinous, confused, and ungrateful group, but still is one that Dawn chooses for herself.
Buffy has come nearly as far in her journey as possible, acting as the crone and teaching the younger slayers. By stepping back for a while, Buffy gives the other girls a chance to develop farther. Faith gets her first stab at real leadership. She’s shed the “see, want, take, have,” mentality that defined her character earlier, and is instead focused on someone else. She said that “Some things matter more,” but when she takes the reins from Buffy, it’s the first time she actually shows this in her actions. Faith’s foray into leadership is short-lived, and ultimately ends with little Potential-bits being strewn across the sewer, but it results in a closer partnership, not just between Faith and Buffy, but between all the characters.
I think they all finally understand what the one Slayer per generation rule really means. Even though things are different now, with a seemingly endless supply of potentials in the mix, there’s still only one true Slayer in charge at a time. Buffy and Faith both realize that, the leadership roles are more clearly set than any democratic poll can change. So, how do a bunch of young women deal with an inescapable hierarchy? Apparently being “hot chicks with super powers” helps.
Even if it was only for a few days, it was necessary for Buffy to leave the house for the others to reach their potential. It shows how much Dawn has changed when she stands up to Buffy. She really is in control of herself now, and rejects her role as “Buffy’s little sister” to be part of the larger group. It’s a mutinous, confused, and ungrateful group, but still is one that Dawn chooses for herself.
Buffy has come nearly as far in her journey as possible, acting as the crone and teaching the younger slayers. By stepping back for a while, Buffy gives the other girls a chance to develop farther. Faith gets her first stab at real leadership. She’s shed the “see, want, take, have,” mentality that defined her character earlier, and is instead focused on someone else. She said that “Some things matter more,” but when she takes the reins from Buffy, it’s the first time she actually shows this in her actions. Faith’s foray into leadership is short-lived, and ultimately ends with little Potential-bits being strewn across the sewer, but it results in a closer partnership, not just between Faith and Buffy, but between all the characters.
I think they all finally understand what the one Slayer per generation rule really means. Even though things are different now, with a seemingly endless supply of potentials in the mix, there’s still only one true Slayer in charge at a time. Buffy and Faith both realize that, the leadership roles are more clearly set than any democratic poll can change. So, how do a bunch of young women deal with an inescapable hierarchy? Apparently being “hot chicks with super powers” helps.
Saturday, May 9, 2009
With That Accent, Of Course He's Evil
We’re almost done with the series, and Joss is once again making full use of the metaphors behind the show. Finally. For the latter part of the show, I feel like there has been so much going on just on the literal level, that a lot of the symbolic meaning has taken a back seat, and just been hinted at. Not as many metaphors have been embodied because all the bodies are busy driving the show towards its conclusion. We’re starting to see a more even mix again, with deeper significance to the action, rather than the simple good versus evil of the last few episodes.
In Potential, Dawn brings another girl into the fold and willing steps out of the spotlight. This is a huge jump for her character from her childish and self-centered focus on her own isolation. Dawn uses her knowledge and skills to fight a vampire without big sister’s help, but rather than hanging on to her new-found power, she gives it up- symbolically at least- to Amanda without a second thought. We see Dawn really reach her potential here, to be as much of an asset to the Scoobies as Xander. And, maybe we don’t have to worry about her lying down in front of anymore trains when she doesn’t get her way.
Lies My Parents Told Me takes a step back from the main issue to focus on a bunch of little boys working through their mommy issues. Even though we’ve been with Spike for four seasons, we just now learn one of the most important aspects of his character in this episode. The poor mama’s boy was crushed by his mother’s comments right at the beginning of his vampiric life. Talk about childhood trauma. I think we see Wood going through the same thing, trying to correlate his mother’s less than affectionate actions with his love for her. After an impressively masculine fight, Principal Wood is left a weepy blob on the floor, who should know better. Spike himself says “It was just the demon talking” in reference to his horrible memories of his mom. Here, we have another vampire twisting Wood’s perception of his mom and leaving him, even though it’s just the demon, this time Spike himself, talking.
Dirty Girls uses all the religious parody we can handle. Caleb, as creepy and disgustingly misogynistic as he is, is still one of the most interesting characters in the entire series. I think he’s unexpectedly scary because- if you take away the supernatural strength and his control of the Ray Charles Brigade- Caleb is a recognizable character. Religious fanaticism is an all-too-human concept which walks the line between familiar and frightening. In fact, when Caleb first appears, he’s presented as a random good Samaritan. Even though, in the Buffyverse, that means he’s likely to end up cannon fodder, his average Joe presentation emphasizes how easily the ‘normal’ world can change to the dangerously supernatural.
In Potential, Dawn brings another girl into the fold and willing steps out of the spotlight. This is a huge jump for her character from her childish and self-centered focus on her own isolation. Dawn uses her knowledge and skills to fight a vampire without big sister’s help, but rather than hanging on to her new-found power, she gives it up- symbolically at least- to Amanda without a second thought. We see Dawn really reach her potential here, to be as much of an asset to the Scoobies as Xander. And, maybe we don’t have to worry about her lying down in front of anymore trains when she doesn’t get her way.
Lies My Parents Told Me takes a step back from the main issue to focus on a bunch of little boys working through their mommy issues. Even though we’ve been with Spike for four seasons, we just now learn one of the most important aspects of his character in this episode. The poor mama’s boy was crushed by his mother’s comments right at the beginning of his vampiric life. Talk about childhood trauma. I think we see Wood going through the same thing, trying to correlate his mother’s less than affectionate actions with his love for her. After an impressively masculine fight, Principal Wood is left a weepy blob on the floor, who should know better. Spike himself says “It was just the demon talking” in reference to his horrible memories of his mom. Here, we have another vampire twisting Wood’s perception of his mom and leaving him, even though it’s just the demon, this time Spike himself, talking.
Dirty Girls uses all the religious parody we can handle. Caleb, as creepy and disgustingly misogynistic as he is, is still one of the most interesting characters in the entire series. I think he’s unexpectedly scary because- if you take away the supernatural strength and his control of the Ray Charles Brigade- Caleb is a recognizable character. Religious fanaticism is an all-too-human concept which walks the line between familiar and frightening. In fact, when Caleb first appears, he’s presented as a random good Samaritan. Even though, in the Buffyverse, that means he’s likely to end up cannon fodder, his average Joe presentation emphasizes how easily the ‘normal’ world can change to the dangerously supernatural.
Wednesday, May 6, 2009
Finally, People Are Going To Be Devoured
Ok, sure, the First is evil, but it’s still one of my favorite ideas of the Buffy series. At this point, Buffy has faced baddies ranging from your garden variety vampire to the Master and Warren, humanoid geek extraordinaire, to Glory the crazy Hell god. But, with her taking on the First, I think the nature of her battles changes (irrevocably, I guess, since this is the final season).
Throughout the show, it’s always been the organized evil that was more threatening than the random demons. The Master was tough to beat because he had his troops of lesser vampires behind him, in the same way that the Initiative was a threat to Buffy because of its cold, structured, and basically masculine military style. Now, the First has adopted this same principal. Rather than start a fight with the Slayer immediately, it begins with reconnaisance work with those closest to her.
One of the First’s most disturbing techniques is that it plays on the Scoobie Gang’s past fighting experience. Willow accepts the unknown visitor as a magical message from Tara, with no proof other than the blonde girls world. Willow still trusts magic too easily, and we see the same mistake from Dawn. When attacked, Dawn reacts as the Slayer’s sister, recognizing a demon and casting it out. (To her credit, the formerly whiny, lie-down-in-front-of-a-train-at-the-drop-of-a-hat Dawn does an impressive job of protecting her home and mother.) She attacks blindly, using a spell like she would against any demon in Sunnydale, and like Willow, she is all too ready to believe her mother’s ghost. This is not necessarily a flaw in these characters, it’s just a result of their experiences with evil beasties over the past few years. A change in tactics is required to beat the First.
Luckily for us, Buffy gives us this. It’s interesting that in Conversations, the vampire she fights is shown as almost tame, reminiscing about high school and chatting about Buffy’s relationship problems. In comparison with the First, the average vampire is all but a welcome ally. Buffy realizes quickly that she can’t defeat the First in her usual, lone warrior way, and so adopts a more militaristic style, as she organizes her troops of teenage girls. Although she may think it’s necessary, I don’t believe that Buffy will be any more successful as a general than she would be as the emotion-laden Slayer. Her power comes from something inherent in her, not cold and learned like she is trying to present to the potentials. Even in the ‘thunderdome’ after a spectacular defeat of the supervamp, Buffy’s speech is more reserved than rousing. These are the times that try slayer’s souls, but still, by stepping away from her familiar motivations and fighting style, Buffy is only creating more problems for herself and the ones she leads.
Throughout the show, it’s always been the organized evil that was more threatening than the random demons. The Master was tough to beat because he had his troops of lesser vampires behind him, in the same way that the Initiative was a threat to Buffy because of its cold, structured, and basically masculine military style. Now, the First has adopted this same principal. Rather than start a fight with the Slayer immediately, it begins with reconnaisance work with those closest to her.
One of the First’s most disturbing techniques is that it plays on the Scoobie Gang’s past fighting experience. Willow accepts the unknown visitor as a magical message from Tara, with no proof other than the blonde girls world. Willow still trusts magic too easily, and we see the same mistake from Dawn. When attacked, Dawn reacts as the Slayer’s sister, recognizing a demon and casting it out. (To her credit, the formerly whiny, lie-down-in-front-of-a-train-at-the-drop-of-a-hat Dawn does an impressive job of protecting her home and mother.) She attacks blindly, using a spell like she would against any demon in Sunnydale, and like Willow, she is all too ready to believe her mother’s ghost. This is not necessarily a flaw in these characters, it’s just a result of their experiences with evil beasties over the past few years. A change in tactics is required to beat the First.
Luckily for us, Buffy gives us this. It’s interesting that in Conversations, the vampire she fights is shown as almost tame, reminiscing about high school and chatting about Buffy’s relationship problems. In comparison with the First, the average vampire is all but a welcome ally. Buffy realizes quickly that she can’t defeat the First in her usual, lone warrior way, and so adopts a more militaristic style, as she organizes her troops of teenage girls. Although she may think it’s necessary, I don’t believe that Buffy will be any more successful as a general than she would be as the emotion-laden Slayer. Her power comes from something inherent in her, not cold and learned like she is trying to present to the potentials. Even in the ‘thunderdome’ after a spectacular defeat of the supervamp, Buffy’s speech is more reserved than rousing. These are the times that try slayer’s souls, but still, by stepping away from her familiar motivations and fighting style, Buffy is only creating more problems for herself and the ones she leads.
Monday, April 27, 2009
Love Is All You Need
Aww, look at little Willow, all grown up. And, ok, so she’s destroying the world and putting the rest of the season’s baddies to shame, but still, it’s impressive, right? Anyway, it’s amazing to see where her character has gone since the beginning, as Xander and the dorks discuss while fleeing her wrath. Willow went from a dorky high school student who was too shy to talk to boys to an eminently powerful, confidently homosexual, and amoral super witch. Among other things.
The end of this season has a very “5 year reunion” feel to it, not just for Willow but for all the characters. Although they’ve been together, they’ve all had separate adventures, and I get a real sense of them showing how far they’ve come in their lives. Willow has obviously gained power that would knock the socks (and probably the feet too, depending on her mood) off her former classmates. The super dorks were stretching for a sense of this empowerment too, when they banded together to become Buffy’s arch nemesis..is…eis. Any nerd or social outcast has probably dreamt of returning to high school with an impressive job (like ruler of Sunnydale) and trophy wife (preferably not a robot). Their attempts to say “how do you like me now?” to the rest of a world that has marginalized them fail miserably though. In each of these cases, with great power comes a greater opportunity to abuse it and make everyone’s live a living nightmare.
No matter how cheesy it may have come across, I thought the ending of season 6 was appropriate, or at least, much-needed brake from the doom and gloom. Come on, can’t love conquer all on Buffy the Vampire Slayer, just this once? It was nice to see that, yes it can, with Xander stepping up and saving the day. It’s his ability to love with an almost juvenile disregard for the circumstances that reminds Willow of her humanity. It’s love and friendship and acceptance, not slayer strength, Giles’s knowledge or an abstract sense of duty that keeps the world spinning.
The end of this season has a very “5 year reunion” feel to it, not just for Willow but for all the characters. Although they’ve been together, they’ve all had separate adventures, and I get a real sense of them showing how far they’ve come in their lives. Willow has obviously gained power that would knock the socks (and probably the feet too, depending on her mood) off her former classmates. The super dorks were stretching for a sense of this empowerment too, when they banded together to become Buffy’s arch nemesis..is…eis. Any nerd or social outcast has probably dreamt of returning to high school with an impressive job (like ruler of Sunnydale) and trophy wife (preferably not a robot). Their attempts to say “how do you like me now?” to the rest of a world that has marginalized them fail miserably though. In each of these cases, with great power comes a greater opportunity to abuse it and make everyone’s live a living nightmare.
No matter how cheesy it may have come across, I thought the ending of season 6 was appropriate, or at least, much-needed brake from the doom and gloom. Come on, can’t love conquer all on Buffy the Vampire Slayer, just this once? It was nice to see that, yes it can, with Xander stepping up and saving the day. It’s his ability to love with an almost juvenile disregard for the circumstances that reminds Willow of her humanity. It’s love and friendship and acceptance, not slayer strength, Giles’s knowledge or an abstract sense of duty that keeps the world spinning.
Sunday, April 26, 2009
That's Ridiculous
It’s hard to pick, but I think Normal Again is one of my very favorite episodes of Buffy. I think it’s a testament to the writers and directors that they can twist everything we believe about the world they’ve created and still have it stand up.
After six seasons (and a semi-relevant movie), it feels like we know Buffy pretty well, until we find out in this episode that she’s been sent to an insane asylum. It happened before we caught up with her in Sunnydale, but it’s still shocking that there’s this important aspect to the character that we didn’t know. It’s a little risky for the directors to add this in there so suddenly, because it gives us a reason to doubt Buffy. Assuming that Sunnydale is the “real” reality, it’s uncomfortable to know that Buffy’s been taken away before, even if it’s not her fault. We instantly have to reevaluate how much we’ve come to trust this character, knowing that her judgment has been flawed in the past, and that she’s just as vulnerable to her mental demons as she is to the flesh and blood, or ooze, monsters she fights.
Of course, this has never seemed to be a big concern for Whedon or any of the show’s writers. They have obvious faith in the audience’s sustained loyalty to Buffy. Otherwise, they probably would not have allowed the hero of the series to be seen sleeping with the enemy, attacking her family and friends, and curled into a weepy, crazy ball in the corner. We’re still sure that Buffy will be all right in the end, and are cheering her on, just waiting for her to save the day in true Slayer style.
But, even as I’m cheering, I have to wonder, why? As Buffy herself says, “That’s ridiculous.” It would be so much easier to believe that the events of the past years are nothing but a delusion, taking place in a real world psych ward. The details of each reality are shot with equal skill, and there’s nothing to hint that one is “more realistic” than the other. (Well, except for those demons, the witches, and the magical ball of energy in human form in one; and, of course, the doctor’s goofy earring in the other.)
The show implies that it’s up to the audience, and Buffy too, to pick which truth we’ll believe in. It’s no contest really, we’ll pick the one with the Scoobies, vampires, and magic, every time.
After six seasons (and a semi-relevant movie), it feels like we know Buffy pretty well, until we find out in this episode that she’s been sent to an insane asylum. It happened before we caught up with her in Sunnydale, but it’s still shocking that there’s this important aspect to the character that we didn’t know. It’s a little risky for the directors to add this in there so suddenly, because it gives us a reason to doubt Buffy. Assuming that Sunnydale is the “real” reality, it’s uncomfortable to know that Buffy’s been taken away before, even if it’s not her fault. We instantly have to reevaluate how much we’ve come to trust this character, knowing that her judgment has been flawed in the past, and that she’s just as vulnerable to her mental demons as she is to the flesh and blood, or ooze, monsters she fights.
Of course, this has never seemed to be a big concern for Whedon or any of the show’s writers. They have obvious faith in the audience’s sustained loyalty to Buffy. Otherwise, they probably would not have allowed the hero of the series to be seen sleeping with the enemy, attacking her family and friends, and curled into a weepy, crazy ball in the corner. We’re still sure that Buffy will be all right in the end, and are cheering her on, just waiting for her to save the day in true Slayer style.
But, even as I’m cheering, I have to wonder, why? As Buffy herself says, “That’s ridiculous.” It would be so much easier to believe that the events of the past years are nothing but a delusion, taking place in a real world psych ward. The details of each reality are shot with equal skill, and there’s nothing to hint that one is “more realistic” than the other. (Well, except for those demons, the witches, and the magical ball of energy in human form in one; and, of course, the doctor’s goofy earring in the other.)
The show implies that it’s up to the audience, and Buffy too, to pick which truth we’ll believe in. It’s no contest really, we’ll pick the one with the Scoobies, vampires, and magic, every time.
Thursday, April 23, 2009
I'd Prefer The Demons
I usually prefer my metaphors more fully embodied. But, in this season, we aren’t removed from any of the real-life monsters that Buffy and crew have to face. In past episodes, when Buffy was younger, all the problems she faced in her ‘normal’ life were overshadowed by the demons and vampires she had to face. Not anymore.
Willow is really addicted to magic, and we see her under its control as much as any other junkie. When she goes to get her fix in Wrecked, we get a sense of how desperate she is. There’s no underground hell hole like there might have been in the early shows. Although Rack’s place is magically cloaked, it still looks like a normal house, bringing the scene a sense of realism that forces us to share Willow’s experience right along with her. Whedon has removed the barrier that a lot of his more fantastic elements have provided. In fact, the demon at the end of Wrecked acts almost as a footnote to the episode, and is slain as quickly as he appears.
Sex is also starting to be a bigger part of the series, and it’s not just hinted at through oblique symbolism anymore. In Buffy’s earlier relationships with Riley and Angel, we were never shown much more than kissing without artistic lighting and ethereal, romantic music. With Spike, we’re almost painfully close to the action. Buffy knows what she’s doing is wrong, but rather than hide this with an undefeatable ghost of forbidden desire, Buffy gives in to the actual thing.
Hate, addiction, rape, and isolation are finally being shown in all their real life power, and for the characters and the audience, that’s scarier than any metaphoric Hellmouth.
Willow is really addicted to magic, and we see her under its control as much as any other junkie. When she goes to get her fix in Wrecked, we get a sense of how desperate she is. There’s no underground hell hole like there might have been in the early shows. Although Rack’s place is magically cloaked, it still looks like a normal house, bringing the scene a sense of realism that forces us to share Willow’s experience right along with her. Whedon has removed the barrier that a lot of his more fantastic elements have provided. In fact, the demon at the end of Wrecked acts almost as a footnote to the episode, and is slain as quickly as he appears.
Sex is also starting to be a bigger part of the series, and it’s not just hinted at through oblique symbolism anymore. In Buffy’s earlier relationships with Riley and Angel, we were never shown much more than kissing without artistic lighting and ethereal, romantic music. With Spike, we’re almost painfully close to the action. Buffy knows what she’s doing is wrong, but rather than hide this with an undefeatable ghost of forbidden desire, Buffy gives in to the actual thing.
Hate, addiction, rape, and isolation are finally being shown in all their real life power, and for the characters and the audience, that’s scarier than any metaphoric Hellmouth.
Monday, April 20, 2009
A Match Made in Heav...the Hellmouth.
I have a confession. The first time I watched Buffy and Spike kiss at the end of Once More With Feeling, I giggled. It was shamefully girly, but I was in middle school. Watching the show now, with a college-inspired critical eye, the fact that Buffy has decided to accept Spike as a part of her life is not all that surprising. At this point in the series, I think Spike is the closest thing to an equal Buffy has; or, if not equal, they have at least become more similar.
In Becoming we see Spike acting more tame than he’s ever been. In the opening graveyard battle, he fills Buffy’s role, leading the fight, and even joking with the other Scoobies. Later, he protects Dawn like a vampiric mother hen, rather than ransacking Sunnydale with the hoard of biker demons. Spike admits it “looks like fun,” but in an impressive (comparatively) show of self-denial, he chooses duty over the destruction of innocent mailboxes. The only explanation for this sudden case of moral responsibility is that Spike really has been changed by Buffy. By focusing on ‘what would Buffy do’ it seems like Spike has absorbed some of her characteristics, including her absolute devotion to duty.
Buffy, on the other hand, is closer to being undead for the beginning of Season 6. It’s hard to think that clawing her way out of her own grave wouldn’t give her a different perspective on the demons she fights. Spike, as a vampire, is the only one around her who she’s able to confide in with any hope of understanding. Once back in the real world, Buffy wanders around like a zombie, “Going Through The Motions” of daily life, but never fully committed. It takes Spike to change her perspective, and point out that Buffy can only fully appreciate her life by living it. (Once again, it’s a testament to Joss Whedon’s insanity that a musical about a tap-dancing demon where people sing about mustard and bunnies can still be a relevant part of the series.)
I think it’s mutual desire that pulls Buffy and Spike together. Each wants what they can’t have. Buffy, having been pulled from paradise, changes between wanting to be fully in this life and wanting to escape it. Spike on the other hand, can’t decide if he wants the Slayer to let him Rest In Peace, or if it’s worth all the time spent babysitting for the chance of being with her. The choices they make can only increase the tension as the season progresses.
In Becoming we see Spike acting more tame than he’s ever been. In the opening graveyard battle, he fills Buffy’s role, leading the fight, and even joking with the other Scoobies. Later, he protects Dawn like a vampiric mother hen, rather than ransacking Sunnydale with the hoard of biker demons. Spike admits it “looks like fun,” but in an impressive (comparatively) show of self-denial, he chooses duty over the destruction of innocent mailboxes. The only explanation for this sudden case of moral responsibility is that Spike really has been changed by Buffy. By focusing on ‘what would Buffy do’ it seems like Spike has absorbed some of her characteristics, including her absolute devotion to duty.
Buffy, on the other hand, is closer to being undead for the beginning of Season 6. It’s hard to think that clawing her way out of her own grave wouldn’t give her a different perspective on the demons she fights. Spike, as a vampire, is the only one around her who she’s able to confide in with any hope of understanding. Once back in the real world, Buffy wanders around like a zombie, “Going Through The Motions” of daily life, but never fully committed. It takes Spike to change her perspective, and point out that Buffy can only fully appreciate her life by living it. (Once again, it’s a testament to Joss Whedon’s insanity that a musical about a tap-dancing demon where people sing about mustard and bunnies can still be a relevant part of the series.)
I think it’s mutual desire that pulls Buffy and Spike together. Each wants what they can’t have. Buffy, having been pulled from paradise, changes between wanting to be fully in this life and wanting to escape it. Spike on the other hand, can’t decide if he wants the Slayer to let him Rest In Peace, or if it’s worth all the time spent babysitting for the chance of being with her. The choices they make can only increase the tension as the season progresses.
Sunday, April 19, 2009
She's Not A Cheeto
Earlier in the season, Buffy had complained to Giles that she knows she has an expiration date, but she would prefer it be a long time away…like a Cheeto. Too bad.
Still, nearly all of Season 5 has focused on how much Buffy has lost recently as her life slowly falls apart. By the time Buffy gets to the final battle with Big Bad Glory, it makes me wonder just what is she giving up when she sacrifices herself?
Poor overwhelmed Buffy says in the understatement of the series that “It just keeps coming.” In the past few years, Buffy has lost Angel, Riley left, her mother died, and now she’s forced to chose between killing her sister or letting the world be destroyed by an insane hell god. Among other things.
I think things are so difficult because they attack Buffy on a personal level, on top of requiring all her Slayer strength. We’ve seen in the past few apocalypses, Buffy defines herself by the people around her, and her sense of duty is dependent on who she’s protecting. She’s lost that by having to choose between what she believes she should do, and what is being asked of her. As she says “I don’t know how to live in this world if these are the choices.” Buffy can’t accept (to the point of being catatonic) the situation that turns her world upside down. Throughout the series, the Slayer and her friends are good and defeat anyone who opposes them as evil. When this order is changed, and Buffy needs to sacrifice a part of herself, she shuts down. She still follows through with the plan to save Dawn, but the fact that this isn’t the clearest way forward, or the one supported by the other Scoobies, seems to destroy some part of Buffy before she ever climbs the scaffold.
Still, nearly all of Season 5 has focused on how much Buffy has lost recently as her life slowly falls apart. By the time Buffy gets to the final battle with Big Bad Glory, it makes me wonder just what is she giving up when she sacrifices herself?
Poor overwhelmed Buffy says in the understatement of the series that “It just keeps coming.” In the past few years, Buffy has lost Angel, Riley left, her mother died, and now she’s forced to chose between killing her sister or letting the world be destroyed by an insane hell god. Among other things.
I think things are so difficult because they attack Buffy on a personal level, on top of requiring all her Slayer strength. We’ve seen in the past few apocalypses, Buffy defines herself by the people around her, and her sense of duty is dependent on who she’s protecting. She’s lost that by having to choose between what she believes she should do, and what is being asked of her. As she says “I don’t know how to live in this world if these are the choices.” Buffy can’t accept (to the point of being catatonic) the situation that turns her world upside down. Throughout the series, the Slayer and her friends are good and defeat anyone who opposes them as evil. When this order is changed, and Buffy needs to sacrifice a part of herself, she shuts down. She still follows through with the plan to save Dawn, but the fact that this isn’t the clearest way forward, or the one supported by the other Scoobies, seems to destroy some part of Buffy before she ever climbs the scaffold.
Tuesday, April 7, 2009
Poor Joyce
These episodes are heartbreaking. Joyce’s death, coming so suddenly and in the midst of the battle with Glory for the Key, hits Buffy and the Scoobies harder than any other death so far in the series. Joyce, although sometimes oblivious or narrow-minded, loved her daughters and their friends, and was an integral part of the gang. She was present in all five of the previous seasons, making her the longest lasting female character over the age of 21, and earning her status, however questionable, as the Crone. When she passes, the others are left with a hole that none of them are able to fill.
In The Body in particular, Whedon does a good job of capturing the intense and erratic emotions surrounding a sudden death. From Willow’s frantic search for an appropriate outfit, to Anya’s heartfelt plea for someone to please explain death to her, each is unsure how to deal with their loss. Xander’s punching the wall and Dawn’s unrestrained anger and hurt are contrasted with Spike’s anonymous gift of flowers and Tara’s calming advice to show various ways of reacting to incomprehensible emotions.
Buffy, however, reacts by shutting down. She seems to embrace more of her cold Slayer side, focusing on the job at hand, rather than acknowledge the depth of her loss. This emotional disconnect is reflected by Buffy’s portrayal as a robot in Intervention, and by her conversations with the primitive First Slayer.
But Buffy admits that her shut down had begun earlier, with her failed relationship with Angel. There is an interesting scene, in which Buffy spends the night in the graveyard by Joyce’s fresh grave, talking to Angel. We see her surrounded by the things which have proven most difficult for her: the loss of a loved one, a lover she can never have again, and the graveyard where she’s forced to do battle nightly whether she wants to or not.
Even with the ‘help’ of the vision quest, Buffy has only acknowledged her disconnect, but hasn’t fully dealt with it yet. It seems admittance really is only the first step, and Buffy’ll have to work through her current disconnection before she can understand her gift.
In The Body in particular, Whedon does a good job of capturing the intense and erratic emotions surrounding a sudden death. From Willow’s frantic search for an appropriate outfit, to Anya’s heartfelt plea for someone to please explain death to her, each is unsure how to deal with their loss. Xander’s punching the wall and Dawn’s unrestrained anger and hurt are contrasted with Spike’s anonymous gift of flowers and Tara’s calming advice to show various ways of reacting to incomprehensible emotions.
Buffy, however, reacts by shutting down. She seems to embrace more of her cold Slayer side, focusing on the job at hand, rather than acknowledge the depth of her loss. This emotional disconnect is reflected by Buffy’s portrayal as a robot in Intervention, and by her conversations with the primitive First Slayer.
But Buffy admits that her shut down had begun earlier, with her failed relationship with Angel. There is an interesting scene, in which Buffy spends the night in the graveyard by Joyce’s fresh grave, talking to Angel. We see her surrounded by the things which have proven most difficult for her: the loss of a loved one, a lover she can never have again, and the graveyard where she’s forced to do battle nightly whether she wants to or not.
Even with the ‘help’ of the vision quest, Buffy has only acknowledged her disconnect, but hasn’t fully dealt with it yet. It seems admittance really is only the first step, and Buffy’ll have to work through her current disconnection before she can understand her gift.
Thursday, March 26, 2009
Trophy Husband
For anyone who has not been paying attention, the nice guy does finish last. Just ask Riley.
Buffy’s relationship with the paradigm of good ol’ boy charm was endearing, and a welcome contrast to her darker duties and relationships. But, it could never have lasted. Riley might have advanced training from the Initiative, but he could still never be Buffy’s equal, and on some levels never deserve her. Riley would, alas become nothing more than a trophy husband.
He really should have seen this coming. Early in Season 4, Riley says that Buffy is the kind of girl to “make the plan, execute the plan,” and it seems he accepts and respects her for this. But, having a girl who doesn’t need him at all proves too much for the commando. His complaint, after being caught with his “whores,” is that Buffy has kept him at a distance. The example he comes up with is that Buffy didn’t call him when Joyce went into the hospital. It’s really unacceptable for him to criticize Buffy’s actions in a moment of stress when she’s so used to- and perfectly capable of- taking care of herself. Riley can’t handle Buffy as equal, much less a superior, and so I couldn’t help but cheer when the helicopter flew away.
Riley, in spite of his attributes- which are substantial for a character in the Buffyverse- is still a commentary on the problems of strong female heroes in a male-dominated world. Rather than deal with Buffy on her own terms, and try to work things out, Riley runs to the weakest females he can find. The vampire-whores are literally dependant on him, and grant Riley a power that Buffy expects him to earn. It’s disappointing to see this side of Riley, but ultimately necessary for Buffy to move on. She may never find her true equal in a man or demon, but Buffy is getting enough experience by now to recognize the ones that are beneath her.
Buffy’s relationship with the paradigm of good ol’ boy charm was endearing, and a welcome contrast to her darker duties and relationships. But, it could never have lasted. Riley might have advanced training from the Initiative, but he could still never be Buffy’s equal, and on some levels never deserve her. Riley would, alas become nothing more than a trophy husband.
He really should have seen this coming. Early in Season 4, Riley says that Buffy is the kind of girl to “make the plan, execute the plan,” and it seems he accepts and respects her for this. But, having a girl who doesn’t need him at all proves too much for the commando. His complaint, after being caught with his “whores,” is that Buffy has kept him at a distance. The example he comes up with is that Buffy didn’t call him when Joyce went into the hospital. It’s really unacceptable for him to criticize Buffy’s actions in a moment of stress when she’s so used to- and perfectly capable of- taking care of herself. Riley can’t handle Buffy as equal, much less a superior, and so I couldn’t help but cheer when the helicopter flew away.
Riley, in spite of his attributes- which are substantial for a character in the Buffyverse- is still a commentary on the problems of strong female heroes in a male-dominated world. Rather than deal with Buffy on her own terms, and try to work things out, Riley runs to the weakest females he can find. The vampire-whores are literally dependant on him, and grant Riley a power that Buffy expects him to earn. It’s disappointing to see this side of Riley, but ultimately necessary for Buffy to move on. She may never find her true equal in a man or demon, but Buffy is getting enough experience by now to recognize the ones that are beneath her.
Tuesday, March 24, 2009
Well, Isn't That Provocative
As far as provocative objects go, I’d say Dracula is pretty far up there. In Buffy Vs. Dracula, the writers do a fairly good job of portraying the Unholy Prince-bator. Dracula is an perfect example of the show’s transgressive theme, in that he’s as sexualized and dark as Faith or any other character, and he brings out these characteristics in Buffy by blurring the line between what she is attracted to and repulsed by. Dracula seems to draw on the last episode of Season 4, by trying to reach Buffy on the most primitive level of her Slayer powers, much like the First Slayer did. Unfortunately for Dracula, Buffy is much more open to her darkness than he realized. By now, Buffy has accepted her darkness, and rather than being enthralled by it and allowing Dracula to control her with it, Buffy uses it to her advantage, and the episode ends with Buffy asking Giles to help her learn more about her power.
I think this shows significant growth for Buffy’s character. She’s moving further in her journey as a female hero by seeking knowledge and power for herself, rather than waiting for it. Buffy asks Giles to train her, not just so she can beat the next baddie that shows up in Sunnydale, but also so that she can understand herself better.
Buffy’s new role is also shown by her family situation. She’s having to act like a mother now, caring for Joyce and having to deal with Dawn. It’s interesting that as soon as Buffy has reached a new level of maturity, another young an innocent woman is introduced. Buffy’s position between Dawn as Maiden and Joyce as aging Crone emphasize her new status as a Mother on the wheel of her journey, and can only get more complicated as the Season progresses.
I think this shows significant growth for Buffy’s character. She’s moving further in her journey as a female hero by seeking knowledge and power for herself, rather than waiting for it. Buffy asks Giles to train her, not just so she can beat the next baddie that shows up in Sunnydale, but also so that she can understand herself better.
Buffy’s new role is also shown by her family situation. She’s having to act like a mother now, caring for Joyce and having to deal with Dawn. It’s interesting that as soon as Buffy has reached a new level of maturity, another young an innocent woman is introduced. Buffy’s position between Dawn as Maiden and Joyce as aging Crone emphasize her new status as a Mother on the wheel of her journey, and can only get more complicated as the Season progresses.
Thursday, March 19, 2009
Sweet Dreams
The Yoko Factor, Primeval, Restless
In The Yoko Factor and Primeval, metaphors are embodied, epic battles are fought, friends and comrades die, evil is defeated. Surprise. While they’re interesting episodes, and valid parts of the Buffyverse, Restless stands out, if only because it’s so Other. The world, for once is not it peril. Whedon instead keeps the focus closer to home, following each of our four favorites through the dreams.
Willow’s major fear throughout her dream is the disguise she’s forced to wear. At first it seems like this refers to her new-found gayness. But Willow and Tara’s relationship has already been accepted by those closest to them, and Willow describes it as her safe place. They even have a kitten. What’s safer and more snuggly than a kitten? It’s interesting how Tara says that the kitten will be ok, even though it doesn’t have a name. It will define itself, much like the relationship between Tara and Willow. Of course, Willow has to leave her safe place, and go out into the world where we all play a role. Here we see that Willow’s disguise isn’t hiding her homosexuality, but her lack of self-esteem. When her costume comes off, Willow’s still the same nerd she was in high school, ignored by those around her, until she’s attacked by a stronger force. From her dream it seems that Willow actually hasn’t grown as much as it appears, or at least that she doesn’t recognize how much she’s grown. She stills sees her inner-self as a vulnerable outcast.
Xander’s next on the couch, and Freud would have him sorted out in a second. Whether with Joyce, Willow and Tara, Anya, or casting spells himself, Xander is ridiculously preoccupied with sex, but Whedon seems to emphasizes that Xander wants more than just the physical intimacy-usually- he just wants to be loved and needed. He’s as willing to be a ‘comfortador’ as a conquistador. This ties into Xander’s usual fantasy of being a hyper-masculine soldier throughout the series. No matter how hard Xander tries though, he continuously ends up in his dead-end basement, where he’s vulnerable to his family and fear of the future.
Giles’s dream also revolves around his desires for a relationship. He, of course, plays the father figure, with Buffy and his lover wandering through a carnival where the vampires and demons are no more than entertaining games. But, Spike quickly comes into the picture, and Giles has to choose between attending to his weeping lover (and empty baby carriage) or dealing with the 30’s-movie-villian-esque Spike. Giles, being the responsible man he is, chooses duty over love, but is confronted with another issue. His living room, dusty volumes included, is moved to the middle of the Bronze. Giles attempts to combine his role as the distant adult with that of rock star, in the middle of things, being cheered on. It doesn’t quit work out, and Giles is lead away, off the stage and out of the spotlight. Here, he finds his watch, a clear reference to his duties as Watcher, hidden beneath the tangle of his other desires. He realizes too late though, and is unfortunately at the mercy (or lack of same) of the Primal.
Buffy’s dream starts out with a normal-enough fear. Her mother has actually followed her to college, and is walled up in the building. Having one’s parent that close, just when you’re ready to move on- very frightening. Buffy quickly enters the weird-realm, though, when she’s Riley and the non-Frankenstein version of Adam discussing world domination as paragons of masculinity and cold, impersonal governmental power. Their masculinity is even more overt given Buffy’s hyper-feminine appearance as she stands across from them, in an adorable white dress, complete with a bright cherry pattern. The discrepancy continues when Riley and Adam gather weapons: “We should build a fort, I’ll get some pillows.” Boys and their toys, they show the masculine tendency to make violence as cold and organized as possible. However, when Buffy reaches for her weapons, she finds only the warm, primeval mud of her ancestors. Buffy’s (and thus female’s) version of war is inherited, not inherent. Buffy has all the power of the past behind her.
Still, she refuses to have the restraints of the past hold her back. When confronted by the Primal, she repeated denies being alone. Instead of using raw strength passed down through unknown ancestors, Buffy relies on the strength she derives from those around her. In the same way Buffy refuses the Primal’s assertion about her destiny, Buffy also originally rejected Tara’s tarot card. But, when Buffy looks down at the tarot cards in the desert, she sees her friends, who have effectively altered her fate from the cold mysticism of the early card. Buffy has chosen her path, and saves her friends from the dreams through her anti-climatic refusal to do battle with the Big Bad Slayer. Buffy has chosen her own fate, and nothing- demons, the Primal, or the Cheese Man- can stand in her way.
In The Yoko Factor and Primeval, metaphors are embodied, epic battles are fought, friends and comrades die, evil is defeated. Surprise. While they’re interesting episodes, and valid parts of the Buffyverse, Restless stands out, if only because it’s so Other. The world, for once is not it peril. Whedon instead keeps the focus closer to home, following each of our four favorites through the dreams.
Willow’s major fear throughout her dream is the disguise she’s forced to wear. At first it seems like this refers to her new-found gayness. But Willow and Tara’s relationship has already been accepted by those closest to them, and Willow describes it as her safe place. They even have a kitten. What’s safer and more snuggly than a kitten? It’s interesting how Tara says that the kitten will be ok, even though it doesn’t have a name. It will define itself, much like the relationship between Tara and Willow. Of course, Willow has to leave her safe place, and go out into the world where we all play a role. Here we see that Willow’s disguise isn’t hiding her homosexuality, but her lack of self-esteem. When her costume comes off, Willow’s still the same nerd she was in high school, ignored by those around her, until she’s attacked by a stronger force. From her dream it seems that Willow actually hasn’t grown as much as it appears, or at least that she doesn’t recognize how much she’s grown. She stills sees her inner-self as a vulnerable outcast.
Xander’s next on the couch, and Freud would have him sorted out in a second. Whether with Joyce, Willow and Tara, Anya, or casting spells himself, Xander is ridiculously preoccupied with sex, but Whedon seems to emphasizes that Xander wants more than just the physical intimacy-usually- he just wants to be loved and needed. He’s as willing to be a ‘comfortador’ as a conquistador. This ties into Xander’s usual fantasy of being a hyper-masculine soldier throughout the series. No matter how hard Xander tries though, he continuously ends up in his dead-end basement, where he’s vulnerable to his family and fear of the future.
Giles’s dream also revolves around his desires for a relationship. He, of course, plays the father figure, with Buffy and his lover wandering through a carnival where the vampires and demons are no more than entertaining games. But, Spike quickly comes into the picture, and Giles has to choose between attending to his weeping lover (and empty baby carriage) or dealing with the 30’s-movie-villian-esque Spike. Giles, being the responsible man he is, chooses duty over love, but is confronted with another issue. His living room, dusty volumes included, is moved to the middle of the Bronze. Giles attempts to combine his role as the distant adult with that of rock star, in the middle of things, being cheered on. It doesn’t quit work out, and Giles is lead away, off the stage and out of the spotlight. Here, he finds his watch, a clear reference to his duties as Watcher, hidden beneath the tangle of his other desires. He realizes too late though, and is unfortunately at the mercy (or lack of same) of the Primal.
Buffy’s dream starts out with a normal-enough fear. Her mother has actually followed her to college, and is walled up in the building. Having one’s parent that close, just when you’re ready to move on- very frightening. Buffy quickly enters the weird-realm, though, when she’s Riley and the non-Frankenstein version of Adam discussing world domination as paragons of masculinity and cold, impersonal governmental power. Their masculinity is even more overt given Buffy’s hyper-feminine appearance as she stands across from them, in an adorable white dress, complete with a bright cherry pattern. The discrepancy continues when Riley and Adam gather weapons: “We should build a fort, I’ll get some pillows.” Boys and their toys, they show the masculine tendency to make violence as cold and organized as possible. However, when Buffy reaches for her weapons, she finds only the warm, primeval mud of her ancestors. Buffy’s (and thus female’s) version of war is inherited, not inherent. Buffy has all the power of the past behind her.
Still, she refuses to have the restraints of the past hold her back. When confronted by the Primal, she repeated denies being alone. Instead of using raw strength passed down through unknown ancestors, Buffy relies on the strength she derives from those around her. In the same way Buffy refuses the Primal’s assertion about her destiny, Buffy also originally rejected Tara’s tarot card. But, when Buffy looks down at the tarot cards in the desert, she sees her friends, who have effectively altered her fate from the cold mysticism of the early card. Buffy has chosen her path, and saves her friends from the dreams through her anti-climatic refusal to do battle with the Big Bad Slayer. Buffy has chosen her own fate, and nothing- demons, the Primal, or the Cheese Man- can stand in her way.
Tuesday, March 17, 2009
Relationships suck- vampires or not.
Relationships suck- even the ones that don’t involve vampires.
That seems to be the reigning idea behind the episodes The I In Team, Goodbye Iowa, and New Moon Rising. None of the relationships, whether parental, professional, friendly, romantic, or otherwise are straightforward, or simple, or even safe at times.
The relationship between Maggie Walsh and her Initiative walks a fine line between militaristic and maternal. At first, she seems to truly care about her team, and especially Riley. She even allows Buffy into their operation, giving her the grand tour and a cool welcome, in the same way a strict parent might treat a new boyfriend or girlfriend at their first meeting. But we quickly see where Professor Walsh’s true instincts lie: with science and the military. Adam claims to be her favorite, and he is her finest (and final) accomplishment. But she treats him with all the pride of a winning science fair project, not the love of a doting mother. I think it’s this coldness and focus on reason over emotion that causes the Professor to be shish kabobed in grad fashion. The creature assembled from human, demonic, and mechanical parts destroying its creator? Wonder who saw that one coming, except for Mary Shelly.
Like usual in the Buffyverse, love, lust and in between relationships get their fair share of complication. Tara and Willow have found a way to be happy in spite of this, and Willow’s able to find someone to lean on, in spite of her past popping up, in wolfy-shaped form, to get in the way. Poor Riley gets attacked from all sides, and ends up having to walk away from his entire life to be with Buffy. She, of course, has earned this by treating him like dirt for a chance comment he made about Willow dating a ‘dangerous guy.’ This isn’t an unfounded argument, there was that slight issue with Oz nearly killing Willow and having to leave because he realized he was out of control. But, it strikes Buffy a little too close for comfort, given her past with a certain, usually-ensouled, dangerous guy, Angel. It’s interesting that Buffy so vehemently defends blurring the lines between good and evil. In Riley, she’s found one of the few guys in the serious who fit firmly into the ‘good’ column, and she’s pushing him towards the grey area that has before ended so badly. Buffy herself does finally explain her past to Riley, but doesn’t articulate a real reason she’s drawn to the baddies. She’s going to have to figure one out before she can move much further in the relationship, or in her journey as a hero.
That seems to be the reigning idea behind the episodes The I In Team, Goodbye Iowa, and New Moon Rising. None of the relationships, whether parental, professional, friendly, romantic, or otherwise are straightforward, or simple, or even safe at times.
The relationship between Maggie Walsh and her Initiative walks a fine line between militaristic and maternal. At first, she seems to truly care about her team, and especially Riley. She even allows Buffy into their operation, giving her the grand tour and a cool welcome, in the same way a strict parent might treat a new boyfriend or girlfriend at their first meeting. But we quickly see where Professor Walsh’s true instincts lie: with science and the military. Adam claims to be her favorite, and he is her finest (and final) accomplishment. But she treats him with all the pride of a winning science fair project, not the love of a doting mother. I think it’s this coldness and focus on reason over emotion that causes the Professor to be shish kabobed in grad fashion. The creature assembled from human, demonic, and mechanical parts destroying its creator? Wonder who saw that one coming, except for Mary Shelly.
Like usual in the Buffyverse, love, lust and in between relationships get their fair share of complication. Tara and Willow have found a way to be happy in spite of this, and Willow’s able to find someone to lean on, in spite of her past popping up, in wolfy-shaped form, to get in the way. Poor Riley gets attacked from all sides, and ends up having to walk away from his entire life to be with Buffy. She, of course, has earned this by treating him like dirt for a chance comment he made about Willow dating a ‘dangerous guy.’ This isn’t an unfounded argument, there was that slight issue with Oz nearly killing Willow and having to leave because he realized he was out of control. But, it strikes Buffy a little too close for comfort, given her past with a certain, usually-ensouled, dangerous guy, Angel. It’s interesting that Buffy so vehemently defends blurring the lines between good and evil. In Riley, she’s found one of the few guys in the serious who fit firmly into the ‘good’ column, and she’s pushing him towards the grey area that has before ended so badly. Buffy herself does finally explain her past to Riley, but doesn’t articulate a real reason she’s drawn to the baddies. She’s going to have to figure one out before she can move much further in the relationship, or in her journey as a hero.
Thursday, March 12, 2009
Grow Up. Or Not.
The Initiative, Hush, Doomed, A New Man
Silly Buffy, tricks are for kids.
Silly kids, tricks are for magicians. Silly Spike, Seriously? Was that the only shirt Xander owned? Not even a soul of pure evil can pull off that outfit. But, beyond the sartorial imagery, it seems these episodes are all attempting to show a corruption of adult-child roles through different metaphors, with special emphasis on fairy-tale imagery.
Hush is fantastically creepy. With the cold, professional Gentleman, it seems the show is portraying a more sophisticated brand of evil. These are not the random vampires or unaffiliated demons that Buffy kills so easily. Throughout the show, there’s been an idea that organized evil is much more intimidating for the Scoobie gang, who still rely more on juvenile loyalties and enthusiasm to get the job done. By taking fairy-tale creatures out of their element, the show inverts the usual adult-child relationship. Fairy-tales usually reflect the elements children fear in the world, but in fear, they’ve become a very adult danger.
Of course, in typical Buffy fashion, the adults don’t have all the answers either. As the article “Who’s Side Are You On” says, tales are usually used as a method of passing on knowledge from the older generation to the younger. But, even though Giles identifies the monsters and Professor Walsh gives instruction, neither of these older characters are able to provide definite solutions. Instead, it’s Buffy and friends’ unique perspectives that allow them to save the day. As college students, they are neither children or adults, and so can combine the most useful characteristics of each- the belief, and impulsive (almost instinctual) actions and perceptions of children with the calm planning of adults. Through using these strength, Buffy can dispatch nearly any Big Bad, whether sophisticated or primitive. However, that Hawaiian shirt may be a match for them all.
Silly Buffy, tricks are for kids.
Silly kids, tricks are for magicians. Silly Spike, Seriously? Was that the only shirt Xander owned? Not even a soul of pure evil can pull off that outfit. But, beyond the sartorial imagery, it seems these episodes are all attempting to show a corruption of adult-child roles through different metaphors, with special emphasis on fairy-tale imagery.
Hush is fantastically creepy. With the cold, professional Gentleman, it seems the show is portraying a more sophisticated brand of evil. These are not the random vampires or unaffiliated demons that Buffy kills so easily. Throughout the show, there’s been an idea that organized evil is much more intimidating for the Scoobie gang, who still rely more on juvenile loyalties and enthusiasm to get the job done. By taking fairy-tale creatures out of their element, the show inverts the usual adult-child relationship. Fairy-tales usually reflect the elements children fear in the world, but in fear, they’ve become a very adult danger.
Of course, in typical Buffy fashion, the adults don’t have all the answers either. As the article “Who’s Side Are You On” says, tales are usually used as a method of passing on knowledge from the older generation to the younger. But, even though Giles identifies the monsters and Professor Walsh gives instruction, neither of these older characters are able to provide definite solutions. Instead, it’s Buffy and friends’ unique perspectives that allow them to save the day. As college students, they are neither children or adults, and so can combine the most useful characteristics of each- the belief, and impulsive (almost instinctual) actions and perceptions of children with the calm planning of adults. Through using these strength, Buffy can dispatch nearly any Big Bad, whether sophisticated or primitive. However, that Hawaiian shirt may be a match for them all.
Monday, March 9, 2009
Who Saw That One Coming?
I have a bit of a problem with these three episodes- Living Conditions, The Harsh Light of Day, and Fear Itself. It seems like Buffy is made just a tad too innocent and vulnerable for a Slayer, even an 18 year old one.
Living Conditions does do a good job of capturing the stress of a psycho-roommate. Many a college freshman has been certain that their roomy/cellmate is bizarre, and often downright evil. The writers once again embody the metaphor, giving Buffy a roommate who is actually demonic. While the supernatural can be blamed for some of her difficulties, Buffy seems incredibly immature in the way she handles the situation. She’s ready to slay Kathy, even before there’s conclusive evidence that she’s a demon. By now, Buffy has had to work with and associate with plenty of people she disliked (Faith, Kendra, Spike…) I would expect her to apply this flexibility to her relationship with her roommate, but Buffy still has time adjusting. I suppose this is Whedon’s way of once again delineating Buffy the Vampire Slayer and Buffy the little blonde girl.
The Harsh Light of Day, and Fear Itself both deal with Buffy’s insecurities and weaknesses. I find the entire situation with Parker upsetting, but also a little predictable. Buffy is no longer innocent. She has seen real horror-fighting it on a nightly basis, and being spectacularly deflowered by it. Further, she attended a very real-world high school. She should know how to pick up on questionable signals. Parker may have been making all the right moves, but everything about him declares “Poop head.” (Interestingly, Willow, who has only been with Oz, understands the situation much faster than the experienced Buffy.) Especially after Angel, Buffy should have been much more cautious with physical intimacy.
Instead, she pursues the new relationship with all the gusto of a classic rebounder, and is then surprised when it ends badly. Parker, the fear demon, and even the battle with Spike in the broad daylight all serve to show Buffy’s weaknesses and insecurities brought to the fore for everyone around here to see. Nevertheless, her wide-eyed innocence in these episodes seem to undermine her strength and experience as a Slayer and as a strong young woman. Rather than truthfully portraying the difficulties of the transition to college (which, I believe, was the writers intentions) these few episodes show Buffy being improbably beaten by the common place which her peers are able to handle.
Living Conditions does do a good job of capturing the stress of a psycho-roommate. Many a college freshman has been certain that their roomy/cellmate is bizarre, and often downright evil. The writers once again embody the metaphor, giving Buffy a roommate who is actually demonic. While the supernatural can be blamed for some of her difficulties, Buffy seems incredibly immature in the way she handles the situation. She’s ready to slay Kathy, even before there’s conclusive evidence that she’s a demon. By now, Buffy has had to work with and associate with plenty of people she disliked (Faith, Kendra, Spike…) I would expect her to apply this flexibility to her relationship with her roommate, but Buffy still has time adjusting. I suppose this is Whedon’s way of once again delineating Buffy the Vampire Slayer and Buffy the little blonde girl.
The Harsh Light of Day, and Fear Itself both deal with Buffy’s insecurities and weaknesses. I find the entire situation with Parker upsetting, but also a little predictable. Buffy is no longer innocent. She has seen real horror-fighting it on a nightly basis, and being spectacularly deflowered by it. Further, she attended a very real-world high school. She should know how to pick up on questionable signals. Parker may have been making all the right moves, but everything about him declares “Poop head.” (Interestingly, Willow, who has only been with Oz, understands the situation much faster than the experienced Buffy.) Especially after Angel, Buffy should have been much more cautious with physical intimacy.
Instead, she pursues the new relationship with all the gusto of a classic rebounder, and is then surprised when it ends badly. Parker, the fear demon, and even the battle with Spike in the broad daylight all serve to show Buffy’s weaknesses and insecurities brought to the fore for everyone around here to see. Nevertheless, her wide-eyed innocence in these episodes seem to undermine her strength and experience as a Slayer and as a strong young woman. Rather than truthfully portraying the difficulties of the transition to college (which, I believe, was the writers intentions) these few episodes show Buffy being improbably beaten by the common place which her peers are able to handle.
Thursday, March 5, 2009
She's a Big Kid Now
Our little Slayer is all grown up. The episodes Graduation Day Pt. 1 and 2 and The Freshmen are as defining a span in the female hero’s journey as the smashing of the Master’s bones at the beginning of Season 2. In this arch, Buffy breaks through the major constraints that have held her back as a Slayer.
Graduation Day begins Buffy’s revolt against the powers and authority that have held her down. When Angel is in danger, Buffy finally sees that the Watcher’s Council is of no use to her. Buffy’s gone against their wishes plenty of times in the past, but by telling Wesley to close up shop, she’s completely rejecting the Council’s control. She refuses to follow their orders, and instead uses her own means of saving Angel.
Buffy continues her semi-rebellion with her mother. Joyce has never been a strong parent, often acting as more of an obstacle and annoyance than a guide. Still, she does represent an authority figure, as well as Buffy’s family commitments. By sending Joyce away, Buffy is eliminating the vulnerability of needing to protect her mother, and also switching their roles. For once, Buffy is truly in charge, giving her mom directions without excuses or dancing around the truth. To her credit, Joyce actually listens to her clearly wiser daughter, without to much fuss.
Buffy’s battle with Faith is her final step in breaking free of her constraints. Faith has, throughout the season, acted as a foil for Buffy. She is everything Buffy could be, without self-control and the limitations of those around her. By attempting to kill a fellow human for her personal desires-Angel in this case- Buffy really is in “big sister’s clothes.”
Interestingly though, in The Freshmen this unconstrained Slayer is shown to be as lost and bewildered as any of the other new students at the University. As a recently matriculated freshman, I think the episode does over-do the shock of college. However, it serves to emphasize Buffy’s humanity. She may be powerful when it comes to fighting demons- she still manages to take out a nest of vampires in between classes- but Buffy is still an 18 year old girl, as subject to “normal” pressures in college as she was in high school.
Graduation Day begins Buffy’s revolt against the powers and authority that have held her down. When Angel is in danger, Buffy finally sees that the Watcher’s Council is of no use to her. Buffy’s gone against their wishes plenty of times in the past, but by telling Wesley to close up shop, she’s completely rejecting the Council’s control. She refuses to follow their orders, and instead uses her own means of saving Angel.
Buffy continues her semi-rebellion with her mother. Joyce has never been a strong parent, often acting as more of an obstacle and annoyance than a guide. Still, she does represent an authority figure, as well as Buffy’s family commitments. By sending Joyce away, Buffy is eliminating the vulnerability of needing to protect her mother, and also switching their roles. For once, Buffy is truly in charge, giving her mom directions without excuses or dancing around the truth. To her credit, Joyce actually listens to her clearly wiser daughter, without to much fuss.
Buffy’s battle with Faith is her final step in breaking free of her constraints. Faith has, throughout the season, acted as a foil for Buffy. She is everything Buffy could be, without self-control and the limitations of those around her. By attempting to kill a fellow human for her personal desires-Angel in this case- Buffy really is in “big sister’s clothes.”
Interestingly though, in The Freshmen this unconstrained Slayer is shown to be as lost and bewildered as any of the other new students at the University. As a recently matriculated freshman, I think the episode does over-do the shock of college. However, it serves to emphasize Buffy’s humanity. She may be powerful when it comes to fighting demons- she still manages to take out a nest of vampires in between classes- but Buffy is still an 18 year old girl, as subject to “normal” pressures in college as she was in high school.
Tuesday, March 3, 2009
Highschool And The Hellmouth...again.
Dopplegangland, Enemies, Earshot
These three episodes are some of the last to embody the “high school as hell’ metaphor. Buffy and the Scoobies are nearing graduation, and the writers seem determined to play the metaphor out in as many ways as possible. All of the characters have their problems, no matter how epic or supernatural, in some way reflected in the mundane trials of Sunnydale High.
Dopplegangland opens with Anya engaging in the favorite extracurricular activity of Sunnydale students- communing with the dark forces. A former vengeance demon trapped as a human, Anya lists a stream of demonic concerns, before adding “And I’m flunking math.” I think she echoes the position of many a high school senior, ready and willing to try out their ‘power’ in the world, but still stuck counting down the days until graduation.
The episode’s focus quickly shifts to Willow, and her eternal struggle for naughtiness. After feeling taken advantage of and marginalized because of her shy nature, Willow accidently conjures her vampiric alter ego, last seen in The Wish. Like Willow’s Halloween ghost, Vampire-Willow is unlimited in every way Willow could imagine. We see Vampire-Willow as self-controlled, irreverent, seductive, and even “a little bit gay.” (Willow, gay? No, surely not.) In the end though, Willow sees that unleashing her inner nature to this degree would be impossible in the well-defined boundaries of high school. She decides to stay in her role of responsibility to keep from upsetting the balance of her life.
Faith also continues to play a certain role to keep from upsetting the balance, but for entirely different motivations. Whereas Willow is a truly good character, whose alter ego acts evil, Faith is now completely gone to the dark side, but continues to play nice. She reflects the facades so often seen among high school cliques, where ‘friends’ are totally pleasant to one another’s faces, but secretly prepare for back-stabbing at the first opportunity. We see this tendency taken literally by Faith.
In Earshot, Buffy is finally able to see through the pretenses of her classmates and all those around her. This episode, more than many others, gives real credence to the normal issues of high school, were friends and enemies are the monsters faced. Buffy helps Jonathon, the poor bystander picked on one too many times, with the same kindness and understanding as any of the other victims she saves from actual demons. As the gang prepares to leave Sunnydale, these conflicts between inner demons and flesh and dust ones can only serve to complicate future plots. Way to go, Whedon.
These three episodes are some of the last to embody the “high school as hell’ metaphor. Buffy and the Scoobies are nearing graduation, and the writers seem determined to play the metaphor out in as many ways as possible. All of the characters have their problems, no matter how epic or supernatural, in some way reflected in the mundane trials of Sunnydale High.
Dopplegangland opens with Anya engaging in the favorite extracurricular activity of Sunnydale students- communing with the dark forces. A former vengeance demon trapped as a human, Anya lists a stream of demonic concerns, before adding “And I’m flunking math.” I think she echoes the position of many a high school senior, ready and willing to try out their ‘power’ in the world, but still stuck counting down the days until graduation.
The episode’s focus quickly shifts to Willow, and her eternal struggle for naughtiness. After feeling taken advantage of and marginalized because of her shy nature, Willow accidently conjures her vampiric alter ego, last seen in The Wish. Like Willow’s Halloween ghost, Vampire-Willow is unlimited in every way Willow could imagine. We see Vampire-Willow as self-controlled, irreverent, seductive, and even “a little bit gay.” (Willow, gay? No, surely not.) In the end though, Willow sees that unleashing her inner nature to this degree would be impossible in the well-defined boundaries of high school. She decides to stay in her role of responsibility to keep from upsetting the balance of her life.
Faith also continues to play a certain role to keep from upsetting the balance, but for entirely different motivations. Whereas Willow is a truly good character, whose alter ego acts evil, Faith is now completely gone to the dark side, but continues to play nice. She reflects the facades so often seen among high school cliques, where ‘friends’ are totally pleasant to one another’s faces, but secretly prepare for back-stabbing at the first opportunity. We see this tendency taken literally by Faith.
In Earshot, Buffy is finally able to see through the pretenses of her classmates and all those around her. This episode, more than many others, gives real credence to the normal issues of high school, were friends and enemies are the monsters faced. Buffy helps Jonathon, the poor bystander picked on one too many times, with the same kindness and understanding as any of the other victims she saves from actual demons. As the gang prepares to leave Sunnydale, these conflicts between inner demons and flesh and dust ones can only serve to complicate future plots. Way to go, Whedon.
Friday, February 27, 2009
Holy Slayer
If Buffy is going to embrace any sort of quasi-Christian significance, we’d better start with the basics: “Our Father…which hast blown me off on my birthday, effectively creating then abandoning me?” or “Our Father…which hast suppressed my strength and betrayed me for an archaic test?” or even the standard “Our Father which art in Heaven.” Well, no- the only supernatural creatures so far are Hellmouth-drawn, not Heaven-sent.
So, when it comes to Abrahamic religion, what’s a secular Slayer to do? Well, it appears, parody the Hell out of it, (pun intended) and then disregard the traditional ideals of God and Devil for a more humanistic view of Good and Evil. In Revelations, Helpless, Bad Girls, and Consequences, Buffy does just that.
Buffy has a continual focus on the traditional moral questions of Christian thought, but without a Christian doctrine to answer for. The characters act of their own wills, without consulting any higher power than the books and knowledge of their fellow humans. Rather than a Bible, Giles uses the diaries of other Watchers, similarly crosses and Holy Water are used alongside wooden stakes, cross bows, and the occasional gun. In Sunnydale, the only thing that is sacred is what is useful. Buffy doesn’t “reflect a new American Christianity” as the article in Fighting the Forces declares, but she rejects it. The patriarchal Christian ideas are suggested but never explored.
This lack of Divine guidance has an interesting effect on the characters. They are all intrinsically more humanistic, more focused on this world, and avoiding an afterlife rather than analyzing it. This means of course, that they are free to go either way. Like Faith, a Slayer can choose to look out for herself and work for her own happiness. “See. Want. Take. Have.” are Faith’s commandments, and she follows them to the detriment of those around her. In a more religious series, this would put her more firmly in the Evil column, but in Buffy, she merely shows the darker side of human will. Faith still saves Buffy at the end of Consequences, an act which Faith would have avoided if she were traditionally evil.
On the other end of the spectrum, we have Buffy and Angel, working for good if not God. “I hate being the good one,” says Buffy, but she still continues fighting. Her motivations are moral, springing from a personal love of those around her and a sense of personal responsibility for the world’s protection. In a sense, this compassion almost elevates Buffy to a divine level herself. While by no means all-powerful, Buffy is gaining more control over herself and others, working to eradicate negative forces, protect those she loves through her power (including her Angel), and even taking the symbolism to a new level with a certain sacrifice and blood-ritual coming up at the end of Season 5 (greater love…) It remains to be seen how far Buffy will ascend, but so far it seems that Buffy has replaced the Christian emphasis on an all-powerful God with a focus on a very human 18 year old girl.
So, when it comes to Abrahamic religion, what’s a secular Slayer to do? Well, it appears, parody the Hell out of it, (pun intended) and then disregard the traditional ideals of God and Devil for a more humanistic view of Good and Evil. In Revelations, Helpless, Bad Girls, and Consequences, Buffy does just that.
Buffy has a continual focus on the traditional moral questions of Christian thought, but without a Christian doctrine to answer for. The characters act of their own wills, without consulting any higher power than the books and knowledge of their fellow humans. Rather than a Bible, Giles uses the diaries of other Watchers, similarly crosses and Holy Water are used alongside wooden stakes, cross bows, and the occasional gun. In Sunnydale, the only thing that is sacred is what is useful. Buffy doesn’t “reflect a new American Christianity” as the article in Fighting the Forces declares, but she rejects it. The patriarchal Christian ideas are suggested but never explored.
This lack of Divine guidance has an interesting effect on the characters. They are all intrinsically more humanistic, more focused on this world, and avoiding an afterlife rather than analyzing it. This means of course, that they are free to go either way. Like Faith, a Slayer can choose to look out for herself and work for her own happiness. “See. Want. Take. Have.” are Faith’s commandments, and she follows them to the detriment of those around her. In a more religious series, this would put her more firmly in the Evil column, but in Buffy, she merely shows the darker side of human will. Faith still saves Buffy at the end of Consequences, an act which Faith would have avoided if she were traditionally evil.
On the other end of the spectrum, we have Buffy and Angel, working for good if not God. “I hate being the good one,” says Buffy, but she still continues fighting. Her motivations are moral, springing from a personal love of those around her and a sense of personal responsibility for the world’s protection. In a sense, this compassion almost elevates Buffy to a divine level herself. While by no means all-powerful, Buffy is gaining more control over herself and others, working to eradicate negative forces, protect those she loves through her power (including her Angel), and even taking the symbolism to a new level with a certain sacrifice and blood-ritual coming up at the end of Season 5 (greater love…) It remains to be seen how far Buffy will ascend, but so far it seems that Buffy has replaced the Christian emphasis on an all-powerful God with a focus on a very human 18 year old girl.
Monday, February 23, 2009
In The End, You're All You've Got
In the latest installments of Buffy, the theme of Buffy’s identity seems to be emphasized. From Becoming Pt. 2, Anne, and Faith, Hope, and Trick, Buffy is really tested as a person, much more so than just as a Slayer.
In the finale of Season 2, Becoming, Buffy struggles to hold on to her identity as everything she values is taken away. Her friends are grievously injured, taking away her support system and the ‘siblings’ of her unorthodox family.
Poor Giles is also abducted and tortured, leaving Buffy without her Watcher for the first time since assuming her duties as Slayer. Added to this, Buffy’s mother Joyce is unable to cope with the truth of Buffy’s calling, and has a reaction more appropriate for a temperamental teen than a loving parent. Joyce has been less than supportive in the past, but it’s the final straw in their mother-daughter relationship when Joyce threatens to kick Buffy out of the house. Thus deprived of her parent figures- however imperfect they are- and after losing her friends and lover, Buffy is stripped of everything that she has worked to maintain in her life.
In spite of the losses, at this point, she has nothing to hold onto but her Slayer duties. The only thing that separated Buffy from past Slayers, such as Kendra, were her relationships. Without her family and friends behind her, Buffy is able to fully embrace the roll of the Slayer. Turned cold and business-like, Buffy fights violently with Angel, and in the end is able to kill the man she loved. Before the fight, a resigned Buffy asked the demon Whistler “What more have I got to lose?” Although it seems she’s lost everything around her, he answers that there’s one more thing she can lose. In the next two episodes, it turns out that this last thing is Buffy’s own identity.
In Anne, Buffy attempts to run away from her Slayer duties. She’s been through more than anyone- even the Chosen One- can handle, and so hides behind an adopted persona. I think it’s telling that her friends attempt to carry on the slayage without her. The Scooby Gang does their best to replace Buffy’s identity as Slayer, until Buffy is able to once again pick up the mantle as hero.
Also, in Faith, Hope, and Trick, Buffy’s personal identity is threatened. Faith appears, and is able to take on the same duties as Buffy, and seemingly fits perfectly into Buffy’s life- charming her friends, mother, and Watcher. However, unlike other episodes where Buffy is willing and eager to give up her job, she feels threatened by Faith and fights to keep her place. She even gives up her attachment to Angel, returning his ring. When Buffy lists the things she wants in life, she says “I want to date, and shop, and hang out, and save the world from unspeakable evil. You know, girly stuff.” It’s interesting that the Slaying, which she’s so often described as a burden, is now an important part of her life. It took the loss of everything else around her, but Buffy is now fully ready for the next part of her journey.
In the finale of Season 2, Becoming, Buffy struggles to hold on to her identity as everything she values is taken away. Her friends are grievously injured, taking away her support system and the ‘siblings’ of her unorthodox family.
Poor Giles is also abducted and tortured, leaving Buffy without her Watcher for the first time since assuming her duties as Slayer. Added to this, Buffy’s mother Joyce is unable to cope with the truth of Buffy’s calling, and has a reaction more appropriate for a temperamental teen than a loving parent. Joyce has been less than supportive in the past, but it’s the final straw in their mother-daughter relationship when Joyce threatens to kick Buffy out of the house. Thus deprived of her parent figures- however imperfect they are- and after losing her friends and lover, Buffy is stripped of everything that she has worked to maintain in her life.
In spite of the losses, at this point, she has nothing to hold onto but her Slayer duties. The only thing that separated Buffy from past Slayers, such as Kendra, were her relationships. Without her family and friends behind her, Buffy is able to fully embrace the roll of the Slayer. Turned cold and business-like, Buffy fights violently with Angel, and in the end is able to kill the man she loved. Before the fight, a resigned Buffy asked the demon Whistler “What more have I got to lose?” Although it seems she’s lost everything around her, he answers that there’s one more thing she can lose. In the next two episodes, it turns out that this last thing is Buffy’s own identity.
In Anne, Buffy attempts to run away from her Slayer duties. She’s been through more than anyone- even the Chosen One- can handle, and so hides behind an adopted persona. I think it’s telling that her friends attempt to carry on the slayage without her. The Scooby Gang does their best to replace Buffy’s identity as Slayer, until Buffy is able to once again pick up the mantle as hero.
Also, in Faith, Hope, and Trick, Buffy’s personal identity is threatened. Faith appears, and is able to take on the same duties as Buffy, and seemingly fits perfectly into Buffy’s life- charming her friends, mother, and Watcher. However, unlike other episodes where Buffy is willing and eager to give up her job, she feels threatened by Faith and fights to keep her place. She even gives up her attachment to Angel, returning his ring. When Buffy lists the things she wants in life, she says “I want to date, and shop, and hang out, and save the world from unspeakable evil. You know, girly stuff.” It’s interesting that the Slaying, which she’s so often described as a burden, is now an important part of her life. It took the loss of everything else around her, but Buffy is now fully ready for the next part of her journey.
Thursday, February 19, 2009
Girl Power
As we come to the end of Season Two, Buffy is in a very important phase of her journey as a female hero. In What’s My Line Part Two especially, Buffy’s femininity is increasingly emphasized, as are the feminine strengths of other women in the show.
In this episode, it’s all about the female dominance. The women steal this show, and the men are made to sit back and watch, or are chained up and made to whimper (no complaints from the Angel fangirls). Buffy and Kendra use their Slayer strength to defend their weaker friends and allies. However, it is the emotions of each of these women that help them carry the day.
Buffy is able to save Angel in part, of course due to her love and complete dedication to him. After vanquishing a roomful of demonic assassins and vampires, Buffy cradles Angel gently in her arms. The others can only stare in amazement at her quick shift from warrior to lover. It’s Buffy’s access to both aspects of herself that make her stronger than the traditional one-dimensional male hero.
Kendra too, though less tender than Buffy, learns to use her emotions to her advantage. Kendra seems to be losing her battle with the assassin, until her foe dare to tear Kendra’s shirt- her one and only favorite. This is the ultimate girly-no-no, and gives Kendra the extra emotional edge she needs.
We also see Drusilla restored in this episode, and her power is truly frightening. She effortlessly lifts the crippled Spike, and carries him from the burning church, holding him like a mother would cradle a child. With her strength released, Dru becomes a darker force in the series, rather than a source of comic relief.
Also, although she is clearly insane- thanks in part at least to Angel- Dru is also shown to be cold and calculating throughout the following episodes. Beginning with her vengeful torturing of Angel, to her ‘perfect’ party, and eventual murder of Kendra, Drusilla plots and schemes in a way that puts the master to shame. Interestingly, her visions and fits of madness always serve her purposes perfectly. This selective insanity makes me wonder exactly how much control her character has over her actions, which become progressively more deliberate as the show develops.
In this episode, it’s all about the female dominance. The women steal this show, and the men are made to sit back and watch, or are chained up and made to whimper (no complaints from the Angel fangirls). Buffy and Kendra use their Slayer strength to defend their weaker friends and allies. However, it is the emotions of each of these women that help them carry the day.
Buffy is able to save Angel in part, of course due to her love and complete dedication to him. After vanquishing a roomful of demonic assassins and vampires, Buffy cradles Angel gently in her arms. The others can only stare in amazement at her quick shift from warrior to lover. It’s Buffy’s access to both aspects of herself that make her stronger than the traditional one-dimensional male hero.
Kendra too, though less tender than Buffy, learns to use her emotions to her advantage. Kendra seems to be losing her battle with the assassin, until her foe dare to tear Kendra’s shirt- her one and only favorite. This is the ultimate girly-no-no, and gives Kendra the extra emotional edge she needs.
We also see Drusilla restored in this episode, and her power is truly frightening. She effortlessly lifts the crippled Spike, and carries him from the burning church, holding him like a mother would cradle a child. With her strength released, Dru becomes a darker force in the series, rather than a source of comic relief.
Also, although she is clearly insane- thanks in part at least to Angel- Dru is also shown to be cold and calculating throughout the following episodes. Beginning with her vengeful torturing of Angel, to her ‘perfect’ party, and eventual murder of Kendra, Drusilla plots and schemes in a way that puts the master to shame. Interestingly, her visions and fits of madness always serve her purposes perfectly. This selective insanity makes me wonder exactly how much control her character has over her actions, which become progressively more deliberate as the show develops.
Monday, February 16, 2009
School Hard, Halloween, What's My Line
In the latest episodes of Buffy, a few new themes are introduced or emphasized. One of these, the repeated, gratuitous shots of a shirtless, brooding Angel, will with any luck continue. However, other themes that a bit more to the story arc are introduced in this segment of Season 2.
In School Hard, we see for the first time how complacently oblivious Buffy’s mother Joyce and the entire town of Sunnydale are. Even with evil staring them in the face, or chasing them down the hallways of Sunnydale High, the parents and students seem more than willing to accept the flimsy cover up of Principal Snyder and the police. While of course reflective of people’s general tendency to notice only the things they’re comfortable with, the cluelessness of townspeople is also a convenient tenant for Whedon to develop this early in the series. He wouldn’t want too many vigilant citizens interfering with future plots.
Halloween and What’s My Line Part 1 both serve to develop Buffy’s issues with her dual identity. Interestingly, vampires and demons are said to avoid Halloween, though no substantial reason is ever explored thoroughly. However, this makes sense, if we think of the vampires as a metaphor for our inner demons or desires. As Buffy says, Halloween is a night to “come as you aren’t.” Our inner selves are already on display, so there’s no place for the vampiric metaphor. It’s interesting how each of the characters manifest this. Xander, who has lost face in front of his testosterone-drenched peers, is turned into an impressively manly soldier, while Willow is forced to shed her demure ghost-costume and reveal her inner temptress, and consequently takes charge for most of the night. Buffy, on the other hand, who has been forced to take care of a heard of children and forced to take care of Sunnydale through her Slayer duties, is turned into a princess who not only wants to be taken care of, but is incapable of fending for herself. I think it’s worth noting that Cordelia is the only one who doesn’t change, possibly because she has nothing to hide. The overly-seductive cat outfit she wears is not much different from her everyday attire. Cordelia admits openly to being the “dating Slayer” and so she’s not fighting with a split identity like the other characters.
This problem of identity continues in What’s My Line. Buffy feels limited by her destiny as Slayer, but it seems clear from this episode that her friends are also influenced by situations outside their control. Both Giles and Kendra are subject to the same powers that Buffy is, but they have embraced their fates rather than fighting. Angel, too, is constricted by his nature. He, however, has learned how to get by: “I lurk.” In a more mundane sense, Willow’s and Xander’s futures are also controlled by their own natures- Willow’s by her unusual intelligence and technical abilities, Xander’s by his innate slackage. Buffy doesn’t seem to recognize the constrictions they are all under. In Halloween, Drusilla asked “Do you love my insides? The parts you can’t see?” For Buffy, the answer is not yet, and we’ll have to make through a few more seasons before she truly comes to accept her inner self.
In School Hard, we see for the first time how complacently oblivious Buffy’s mother Joyce and the entire town of Sunnydale are. Even with evil staring them in the face, or chasing them down the hallways of Sunnydale High, the parents and students seem more than willing to accept the flimsy cover up of Principal Snyder and the police. While of course reflective of people’s general tendency to notice only the things they’re comfortable with, the cluelessness of townspeople is also a convenient tenant for Whedon to develop this early in the series. He wouldn’t want too many vigilant citizens interfering with future plots.
Halloween and What’s My Line Part 1 both serve to develop Buffy’s issues with her dual identity. Interestingly, vampires and demons are said to avoid Halloween, though no substantial reason is ever explored thoroughly. However, this makes sense, if we think of the vampires as a metaphor for our inner demons or desires. As Buffy says, Halloween is a night to “come as you aren’t.” Our inner selves are already on display, so there’s no place for the vampiric metaphor. It’s interesting how each of the characters manifest this. Xander, who has lost face in front of his testosterone-drenched peers, is turned into an impressively manly soldier, while Willow is forced to shed her demure ghost-costume and reveal her inner temptress, and consequently takes charge for most of the night. Buffy, on the other hand, who has been forced to take care of a heard of children and forced to take care of Sunnydale through her Slayer duties, is turned into a princess who not only wants to be taken care of, but is incapable of fending for herself. I think it’s worth noting that Cordelia is the only one who doesn’t change, possibly because she has nothing to hide. The overly-seductive cat outfit she wears is not much different from her everyday attire. Cordelia admits openly to being the “dating Slayer” and so she’s not fighting with a split identity like the other characters.
This problem of identity continues in What’s My Line. Buffy feels limited by her destiny as Slayer, but it seems clear from this episode that her friends are also influenced by situations outside their control. Both Giles and Kendra are subject to the same powers that Buffy is, but they have embraced their fates rather than fighting. Angel, too, is constricted by his nature. He, however, has learned how to get by: “I lurk.” In a more mundane sense, Willow’s and Xander’s futures are also controlled by their own natures- Willow’s by her unusual intelligence and technical abilities, Xander’s by his innate slackage. Buffy doesn’t seem to recognize the constrictions they are all under. In Halloween, Drusilla asked “Do you love my insides? The parts you can’t see?” For Buffy, the answer is not yet, and we’ll have to make through a few more seasons before she truly comes to accept her inner self.
Thursday, February 12, 2009
Metaphorically Speaking
As the first season comes to a close, Buffy’s character is clearly coming closer to growing up. The series also begins to make use of more explicit metaphors to emphasis some of Buffy’s major themes.
The ‘’big bad” is the vampire to end all vampires- the Master. Apart from his very 1990s-esque special effects, the Master is truly grotesque. He shows his vampire face at all times, without the cover up of the human façade of his younger lackeys. More than any other vampire, the Master is recognizably evil. His very existence obligates Buffy to fight, forces her to put more emphasis on her slaying duties, rather than one the important things like dating and high-school.
Also, unlike the unorganized, blindly vicious vampires that Buffy stakes by the dozen every episode, the Master is logical and calculating. He plots and schemes the best way to destroy Buffy’s life and gain power. He has a focus on prophesies and magical books that would make Giles proud, and this cold professionalism is what makes him so difficult for Buffy to defeat. She ultimately does of course, with only a very short interval of death. She even deals with her own fear of her inevitable end, when she smashes the Masters bones in season two, metaphorically smashing her own haunting mortality.
The later segments of Buffy also begin to explore more in depth Buffy’s personal and romantic relationships. In his appearance in Never Kill A Boy, the sweet, shy Owen represents the normal boy Buffy wants but can never have. Owen is, at the beginning, completely innocent, as can be seen by his very light shirt when he comes to pick Buffy up. Thus attired, he spends an evening at the Bronze discussing the morbidity of Emily Dickenson, and death in general- which he admits, he’s never experienced. However, as Owen learns about Buffy’s life, and attempts- pathetically- to help her fight, he’s seen in a dark over shirt, very similar to that worn by a ensouled vampire. Buffy tries to protect Owen as a token of her normal life, but it’s too much for him. At the end of Never Kill A Boy, Buffy much watch him- once again in his light shirt- as he walks away, taking her dependence on her innocent, pre-Slayer life with him.
Xander unwittingly sums up the metaphor of Owen as the boy who Buffy can never have, saying she “Needs someone who knows your deepest, darkest secrets.” Cue Angel, (and of course his giggling fangirls) Buffy’s perfectly mismatched counterpart, who is everything Buffy needs, but can never let herself have.
The ‘’big bad” is the vampire to end all vampires- the Master. Apart from his very 1990s-esque special effects, the Master is truly grotesque. He shows his vampire face at all times, without the cover up of the human façade of his younger lackeys. More than any other vampire, the Master is recognizably evil. His very existence obligates Buffy to fight, forces her to put more emphasis on her slaying duties, rather than one the important things like dating and high-school.
Also, unlike the unorganized, blindly vicious vampires that Buffy stakes by the dozen every episode, the Master is logical and calculating. He plots and schemes the best way to destroy Buffy’s life and gain power. He has a focus on prophesies and magical books that would make Giles proud, and this cold professionalism is what makes him so difficult for Buffy to defeat. She ultimately does of course, with only a very short interval of death. She even deals with her own fear of her inevitable end, when she smashes the Masters bones in season two, metaphorically smashing her own haunting mortality.
The later segments of Buffy also begin to explore more in depth Buffy’s personal and romantic relationships. In his appearance in Never Kill A Boy, the sweet, shy Owen represents the normal boy Buffy wants but can never have. Owen is, at the beginning, completely innocent, as can be seen by his very light shirt when he comes to pick Buffy up. Thus attired, he spends an evening at the Bronze discussing the morbidity of Emily Dickenson, and death in general- which he admits, he’s never experienced. However, as Owen learns about Buffy’s life, and attempts- pathetically- to help her fight, he’s seen in a dark over shirt, very similar to that worn by a ensouled vampire. Buffy tries to protect Owen as a token of her normal life, but it’s too much for him. At the end of Never Kill A Boy, Buffy much watch him- once again in his light shirt- as he walks away, taking her dependence on her innocent, pre-Slayer life with him.
Xander unwittingly sums up the metaphor of Owen as the boy who Buffy can never have, saying she “Needs someone who knows your deepest, darkest secrets.” Cue Angel, (and of course his giggling fangirls) Buffy’s perfectly mismatched counterpart, who is everything Buffy needs, but can never let herself have.
Monday, February 9, 2009
Welcome to the Buffyverse
The series opens with the stereotypical, timid blonde woman. She seems unsure of herself, and in impending danger from her male escort. From the moment Darla appears, you find yourself just waiting for her to be eaten. However, the audience quickly sees that the seemingly innocent, weak female is actually the monsters we should fear, complete with fangs and an attitude. And so begins one of the most unexpected series on television.
From the very beginning, Buffy seems to contradict the traditional female hero. She is still very much in the virginal period of her personal growth, with her knowledge and skills largely untried. However, Buffy attempts to avoid her advancement toward self-actualization by rejecting her destiny throughout the first few episodes.
I think it’s interesting that Buffy’s reluctant reaction to her fate comes from the mind of a male writer, Josh Whedon. Female heroes, when created by female authors, are usually more willing to embrace their duties, while Whedon leaves Buffy with a reluctance to accept her own powers. This adds to a sense of Buffy as a very young hero, with as much focus on finding herself as on saving others.
This emphasis on Buffy’s youth and inexperience which is accentuated in the first three episodes is also shown by the opening credits of the first season, which emphasizes the theme of high school as hell. Traditional Gothic music and horror movie images of gargoyles and graveyards are juxtaposed with punk-tinged rock and scenes from Buffy’s ‘normal’ but equally difficult life. As well as learning more about herself as slayer, Buffy also tries to find her place as a teenager, where everyday problems of fitting in and finding her place are reflected by the monsters she faces. It’s one of the best aspects of the series to watch how Buffy’s personal life and duties as Slayer continue to influence each other and contribute to her growth as a female hero.
From the very beginning, Buffy seems to contradict the traditional female hero. She is still very much in the virginal period of her personal growth, with her knowledge and skills largely untried. However, Buffy attempts to avoid her advancement toward self-actualization by rejecting her destiny throughout the first few episodes.
I think it’s interesting that Buffy’s reluctant reaction to her fate comes from the mind of a male writer, Josh Whedon. Female heroes, when created by female authors, are usually more willing to embrace their duties, while Whedon leaves Buffy with a reluctance to accept her own powers. This adds to a sense of Buffy as a very young hero, with as much focus on finding herself as on saving others.
This emphasis on Buffy’s youth and inexperience which is accentuated in the first three episodes is also shown by the opening credits of the first season, which emphasizes the theme of high school as hell. Traditional Gothic music and horror movie images of gargoyles and graveyards are juxtaposed with punk-tinged rock and scenes from Buffy’s ‘normal’ but equally difficult life. As well as learning more about herself as slayer, Buffy also tries to find her place as a teenager, where everyday problems of fitting in and finding her place are reflected by the monsters she faces. It’s one of the best aspects of the series to watch how Buffy’s personal life and duties as Slayer continue to influence each other and contribute to her growth as a female hero.
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