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.
Thursday, March 26, 2009
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.
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