Buffy the Vampire Slayer – I Only Have Eyes for You

This is one of my very favorite episodes of Buffy – and it’s not just because it features Christopher Gorham (Auggie on Covert Affairs). There’s a symmetry to this episode, sort of a poetic rightness. But more on that in a bit.

The episode opens with a brief scene at the Bronze, where it’s clear Buffy’s still blaming herself for what happened to Angel, and now to Jenny. (Oz is absent again – somehow I’d remembered him playing a larger role in season 2 than he actually did.) The story then moves to a couple fighting, which Buffy interrupts by kicking a gun out of the guy’s hand. A few more strange things happen, including Xander’s locker sprouting an arm and trying to drag him in.

Giles:  Ooh! Sounds like paranormal phenomena.
Willow:  A ghost? Cool!
Xander:  Oh, no, no. No. No cool. This was no wimpy chain rattler. This was ‘I’m dead as hell, and I’m not gonna take it anymore.’
Giles:  Well, despite the Xander-speak, that’s a fairly accurate definition of a poltergeist.

Giles thinks it’s Jenny, but Buffy’s flashback dreams and other clues point to a 1955 murder-suicide. Willow, who has taken to teaching like a toddler to a mud puddle, does some research via Jenny’s files and sites on paganism. (But didn’t Angelus destroy Jenny’s computer? Perhaps they were on her home computer.) But with the sites and the exorcism spell and the healing rose quartz and the scapulas, this episode seems to mark Willow’s first step toward witchcraft.

Xander:  Something weird is going on. Isn’t that our school motto?

Angelus, Drusilla, and Spike move into an abandoned mansion on the edge of town. Things are getting worse between Angel and Spike. Angelus is starting to act almost as crazy as Drusilla (which is saying something), recklessly provoking Spike while Dru loves it that her two guys are fighting over her. But Spike is not the sort of vampire you want to provoke. The murderous intent in his eyes makes the perfect lead-in to the season finale.

I love the feel of the 1950s flashbacks. The music, clothing, and lighting bring the period to life even though the building remains the same. Some of the paranormal occurrences look a little fake, but I thought they did a great job with Cordelia’s perceived disfigurement. And I believe this is the first episode where the mayor is mentioned, and it shows that Principle Snyder is afraid of him (knowing his fate, he has good reason to be).

The gang figures out the ghost keeps reenacting what happened that night, with the same result. (On another tangent, why hasn’t this happened before during the 40-some years since the incident? Is this the first year since then that they’re doing another Sadie Hawkins dance, and that’s what triggered it?)

Buffy:  He wants forgiveness.
Giles:  Yes. I imagine he does. But when James possesses people, they act out exactly what happened that night. So he’s experiencing a form of purgatory instead. I mean, he’s doomed to kill his Ms. Newman over and over and over again, and…forgiveness is impossible.
Buffy:  Good. He doesn’t deserve it.
Giles:  To forgive is an act of compassion, Buffy. It’s, it’s not done because people deserve it. It’s done because they need it.
Buffy:  No. James destroyed the one person he loved the most in a moment of blind passion. And that’s not something you forgive. No matter why he did what he did. And no matter if he knows now that it was wrong and selfish and stupid, it is just something he’s gonna have to live with.
Xander:  He can’t live with it, Buff. He’s dead.

My absolute favorite part of this episode is the climax, where Buffy and Angel act out what happened that night. Only this time, James chooses Buffy to play his role, with all her guilt about destroying the person she loved. And as the scene plays out, they don’t seem to be simply reciting events from decades ago. They are having the conversation they would have if Angelus could be Angel again, just for a few minutes.

Buffy/James:  You can’t make me disappear just because you say it’s over.
Angel/Grace:  I just want you to be able to have some kind of normal life. We can never have that, don’t you see?
Buffy/James:  I don’t give a damn about a normal life! I’m going crazy not seeing you. I think about you every minute.
Angel/Grace:  I know. But it’s over. It has to be!
Buffy/James:  Come back here! We’re not finished! You don’t care anymore, is that it?
Angel/Grace:  It doesn’t matter, it doesn’t matter what I feel.
Buffy/James:  Then tell me you don’t love me! Say it!
Angel/Grace:  Is that what you need to hear? Will that help? I don’t. Now let me go.
Buffy/James:  No. A person doesn’t just wake up and stop loving somebody! (Raises a gun.) Love is forever. I’m not afraid to use it, I swear! If I can’t be with you…
Angel/Grace:  Oh, my God!
Buffy/James:  Don’t walk away from me, bitch! Stop it! Stop it! Don’t make me!
Angel/Grace: All right. Just… You know you don’t want to do this. Let’s both…just calm down. Now give me the gun.
Buffy/James:  Don’t. Don’t do that, damn it! Don’t talk to me like I’m some stupid…
(The gun goes off.)

The “just wake up and stop loving someone” part is so perfect for Angel and Buffy, and the normal life part screams the end of season three. Yet to continue the perfection of this scene – this time Grace doesn’t die. Because Angel is a vampire and can’t be killed by a bullet. So this time, when James goes to reenact his suicide, Grace is able to stop him.

Buffy/James:  Grace!
Angel/Grace:  Don’t do this.
Buffy/James:  But-but I killed you.
Angel/Grace:  It was an accident. It wasn’t your fault.
Buffy/James:  Oh, it *is* my fault. How could I…
Angel/Grace:  Shhh. I’m the one who should be sorry, James. You thought I stopped loving you. But I never did. I loved you with my last breath.

Ooo, that last line is so perfect. All I can see is Angel in the alley, screaming Buffy’s name as his soul leaves him. But my heart breaks for Buffy, in that one moment after the kiss, when Grace and James’ spirits have gone. Buffy whispers, “Angel?” and for that half second you can see the wild hope that rises in her. Maybe Angel is back. Maybe he really does forgive her for what she did. But then he shoves her away, and she shatters.

Episodes Beginning with Flash Forwards

I recently watched a new episode of Leverage (“The Grave Danger Job”), and it started out with the scene pictured above – Hardison waking up in a coffin. Then the opening credits rolled, and the next scene had the dreaded words at the bottom: Two Weeks Earlier.

A lot of shows use this technique at one time or another, giving audiences a glimpse of the climax to hook them into watching the episode. Even the entire premise of How I Met Your Mother is based on this – the beginning scenes in many episodes are set in 2030, and the narrator in every episode is 2030 Ted.

For some reason, most of the time TV shows are structured this way, it really annoys me. I’m the type of person who doesn’t look at the last few pages of a book ahead of time, tries to watch movie sequels in the correct order, and puts off reading book two in a series until I’ve read book one. I feel these flash forward clips steal the thunder from the climax, and my interest drops away, both when they let me know that the next scene is however many days in the past, and when they return to the climax moment in the regular narrative.

Yet I didn’t mind when they showed a clip of Hardison in the coffin on a preview for “The Grave Danger Job.” So it wasn’t the spoiler itself that bugged me. Maybe I was bothered because it felt like the show was cheating to drum up more suspense, when it actually cheapened what would have been a great dramatic moment.

The only time I remember actually enjoying a flash forward beginning was on an episode of NCIS: Los Angeles. It showed one of the main team members getting shot, and it was only later revealed after the event replayed during the climax that the whole thing had been a con. So they weren’t only conning the bad guys, they were conning the audience too. I thought it was brilliant.

A recent study showed that people enjoyed reading a short story more if they’d been given spoilers about the ending or the climatic twist. People who love reading the end of a book praised the findings, thinking they finally had justification for their method of reading.

I disagree. Sure, they got more pleasure out of reading the story, but that was because the tension was gone. The suspense had vanished. Suspense is what keeps readers’ attention through a whole novel. Suspense keeps people glued to their seats in a movie theater. Suspense keeps viewers tuning into most TV shows each week.

Knowing the end and/or the dramatic twists of a story (whether told through print or film) also ruins any element of surprise. You can only watch something for the first time once. Why would you ruin that first time experience with spoilers and knowing the end? I would love to somehow remove a few of my favorite TV shows from my mind to be able to again experience the wonder and awe and surprise of watching them for the first time.

Not that rewatching a show is bad, just a different experience. When you rewatch a show, you have the knowledge of how everything will work out in the back of your mind, which does remove some of the tension. But you’ll have forgotten little details that will surprise you along the way, and hints of future twists will pop out at you.

So I think that’s part of the reason I don’t generally like episodes that begin in the middle of the action, then back up to the beginning of the story. The writers are trying to mix second viewing elements into my first viewing, and I don’t want them messing up the only time I’ll watch the episode for the first time.

Do you like previews of what’s to come later in the story? Or do you prefer letting things unfold chronologically?

Buffy the Vampire Slayer – Killed By Death

Okay, I don’t know who came up for the title for this episode, but it’s vague to the point of annoyance. I had to see a screenshot of the episode to remember what it was about. On top of that, it seems inanely redundant. I know the kid calls the monster “Death” and its German name means “child death,” but even as someone who watched the episode before, I didn’t make the connection of the title to this episode. Death is all too common in the Buffyverse.

Names aside, this is one of the few Buffy episodes that’s as spooky as Supernatural. Hospitals are creepy enough on their own, but add an invisible life-sucking creature that goes after kids and you have the stuff nightmares are made of. Buffy’s memories of what happened to her cousin and her delirious state only add to the dream-like quality.

This episode follows up with “Passion” well, having Angel come after Buffy twice in her weakened state, but her friends (especially Xander) have her back. Is Angel ready to kill her yet, or just torment her in her weakened state? At the cemetery it seems that his plan is to pick off her friends, one by one, preferably in front of her.

Despite the seriousness of the situation, the Scooby gang manages to add a huge helping of humor to an otherwise somber episode, perhaps to prove that laughter is the best medicine?

Xander:  Man, Buffy! My whole life just flashed before my eyes! I gotta get me a life!

Cordelia:  So this isn’t about you being afraid of hospitals ’cause your friend died and you wanna conjure up a monster that you can fight so you can save everybody and not feel so helpless?
Giles:  Cordelia, have you actually ever heard of tact?
Cordelia:  Tact is just not saying true stuff. I’ll pass.

Xander:  Finding out who this thing is takes priority. Cordy, you should go with Giles.
Giles:  Why do I have to have… Uh, good thinking. I could do with a research assistant.
Cordelia:  Let’s go, tact-guy.

I love Willow pretending she’s crazy by screaming that she’s covered with frogs (if I remember right, that’s the one animal she’s afraid of) to distract the security guards. One of the guards (the one Cordelia distracted earlier) is played by Willie Garson (Mozzie on White Collar). Until Eliza Dushku’s guest role on White Collar a few weeks ago, he was only credited actor to ever appear on both shows.

Other notable bits in this episode: We get to see Buffy as a little girl, and she sees herself in the role of the hero even then (perhaps an early hint of her awareness as a Potential?). Cordelia knows Xander’s not over Buffy. And Oz is once again absent.

The episode ends with a fun scene as the trio of friends lounge in Buffy’s room, watching TV and generally acting like six-year-olds:

Buffy:  Oh, mom?
Joyce:  Mm-hm?
Buffy:  I wanted crunchy peanut butter.
Joyce:  Oh, sorry.
Buffy:  A-and I said extra jelly.
Joyce:  Anything to help my daughter get well.
Willow:  Oh, and while you’re up, could I get a refill? It’s just I’m so comfortable.
Joyce:  Of course.
Willow:  Thanks.
Xander:  Oh, oh, oh, and another bag of cheesy chips.
Joyce:  Uh, you ate the last one.
Xander:  No, there’s another bag hidden behind the raisins.
Joyce:  (sighs) I’m on it.
Xander:  Your mom’s tryin’ to Bogart the cheesy chips. What’s that all about?

Supernatural – Bloody Mary

Another good and creepy episode with the Winchester brothers. Out of all the shows I watch, Supernatural is the one most likely to make me worry about things that go bump in the night. I say most likely, because TV shows and movies rarely scare me – but then, I don’t really seek out ones that do. Horror is not my genre of choice. I much prefer thrilling adventures and deep characterization to cheap scare tactics.

It’s interesting – the three episodes of Supernatural I’ve enjoyed the most so far have all been ghost stories. Perhaps it’s because those types of stories seem to have more emotional depth, and their serious nature suits the somber tone of the show. Most episodes of other speculative shows I watch feature bad guys you can punch and behead (and sometimes toss out witty insults and puns while doing so).

“Bloody Mary” starts out with a trio of preteens playing Truth or Dare, with one dare involving saying “bloody Mary” three times in front of a mirror. Sam and Dean notice an unusual death notice in the paper, and head to Toledo to investigate.

The topic of money comes up briefly when Sam bribes a morgue clerk with Dean’s poker “earnings,” which makes me wonder what Dean and Sam are living on. Yes, a few of the jobs they could get with referrals would earn some cash, but the majority of the work they do involves no payment at all. Yet they have to pay for gas, food, and motel rooms somehow. What about Sam’s college tuition?

I love it that the ghost, set free by the breaking of the mirror, has to confront the idea of all the people she’s killed when faced with another mirror. But why did Dean’s eyes start bleeding too? Was it the power of the ghost set free and out for vengeance, or does Dean have a secret in his past involving a death, too?

I liked the way this episode finally starts to deal with some of what Sam’s going through with Jessica’s death. And a bit more of the mystery is peeled away. Sam had dreams about what was going to happen? Since he was a baby when this thing killed his mother, even if he heard all the details later there is no way he’d be able to picture it exactly. So it had to be some sort of psychic warning (which given one spoiler I’ve seen about the show, makes perfect sense). But I’m glad they still showed that it’s effecting him. Something that traumatic, even if Sam’s making steps toward healing, should not go away in 4 episodes.

Buffy the Vampire Slayer – Passion

As soon as Angelus begins narrating this episode, you know it’s going to be dark and deadly. After two episodes of biding his time, sending Buffy undead classmates and roses, Angel begins to strike at her, both directly and indirectly.

At first, he’s merely watching from the shadows. Buffy doesn’t sense that he’s there, though she was able to do it quite easily before, when he had a soul. None of the four leaving the Bronze even notice as he kills someone right in the alley. (Speaking of which, where was Oz in this episode? Perhaps his band had a gig out of town, but would he really be absent from school for several days?) Angelus sneaks into bedrooms, leaving drawings and dead fish. And then he goes after Buffy’s mom.

As Spike warns him, he’s playing a dangerous game, taunting a Slayer. But Angelus doesn’t seem to care. Perhaps he’s trying to create a new masterpiece, to top what he did to Drusilla. I don’t think he’s intending to turn Buffy into a vampire (though that would be a volatile mix, being a Slayer and a vampire, especially if he drives her insane first), just to hurt her. He tends to be pretty picky about who he turns, and having her around, even as a vampire, would be a constant reminder of the humanity he was once reduced to. After all, he didn’t turn his family into vampires, but simply destroyed them and any connection he had to humanity. Becoming a vampire, to him, is an honor, a reward, and he wants to punish Buffy. Now I could see him turning someone close to her to punish her, but not Buffy herself.

Of course, the tragedy of this episode is the cruel end to Giles and Jenny’s love story. First Giles’ past gets between them, then Jenny’s, and just as they get past that AND just as Jenny discovers a way to restore Angel’s soul, Angelus strikes. Joss Whedon is so mean. (Spoilers ahead for the season eight comics!) And it’s horribly sad but almost right in a way that both Jenny and Giles die in the same way. At the hand of the same person. (Though controlled by Angelus in one instance and Twilight in the other.) Side note: I think that’s one reason why people liked Spike even when he was still evil. He never killed anyone we cared about.

It’s Drusilla’s vision that tips Angelus off that Jenny’s trying to restore Angel’s soul. That’s one thing that bugs me about Drusilla – she doesn’t fight fair with all her psychic visions and hypnosis. But she’s hilarious in this episode, carrying the owner-less (thanks to her) puppy around. I love how she names it Sunshine, which for a human would be like naming it Radioactive Poisoning or Arsenic.

Speaking of lighter moments, I love how excited Willow gets about covering the class for a few minutes:

Jenny:  Um, I might be a little late tomorrow. Do you think you could cover my class till I show?
Willow:  Really? Me? Teach the class? Sure!
Jenny:  Cool.
Willow:  Oh, wait. W-what if they don’t recognize my authority? What if they try to convince me that you always let them leave class early? What if there’s a fire drill? What if there’s a fire?
Jenny:  Willow, you’re gonna be fine. And I’ll try not to be too late, okay?
Willow:  Okay. Good. Earlier is good. Will I have the power to assign detention? Or make ’em run laps?

The episode ends on a somber note as Willow prepares to take over the class until a new teacher arrives. And a lone floppy disk falls to the floor, awaiting a future episode . . .

Suits – Legal Deceit

I watched the pilot of Suits based on two things – an interesting promo ad and the fact that the show stars Gina Torres (Zoe on Firefly and Jasmine on Angel, among other things). I don’t typically watch legal dramas. In fact, the only lawyer-related things I’ve watched recently on TV shows were a few courtroom scenes on Bones and stuff related to Wolfram and Hart on Angel.

The Suits pilot didn’t wow me. I thought it was interesting, but I didn’t connect with any of the characters. Harvey initially appears to be a stereotypical lawyer – cutthroat, selfish, and possessing an almost magical knack for getting his way. Mike is likable enough as a brilliant college dropout, but didn’t seem distinctive. At the end of the episode, I wasn’t excited about watching the next one.

So I set the show aside and didn’t give it a second thought until my sister mentioned she was enjoying it. And with all my other USA network shows ending this week, I figured I’d give it another chance.

The show is smart and well-plotted. The twist of someone pretending to be a lawyer helps this show stand out from the rest. It’s nice to see Mike becoming more competent, and to see that Harvey does have a heart, after all. Lewis is great as the rival you love to hate, Rachel is a cute potential love interest for Mike, and Donna, Harvey’s assistant, steals every scene she’s in. We don’t get to see too many sides of Gina Torres as Jessica, the managing partner, though, which is a shame.

I’m still not thrilled about the show, but I think that may be because I don’t care for legal dramas in general. In fact, this is the first time I’m even blogging about one, and I can’t think of another show in the genre of which I’ve watched more than an episode. And based on this show, I don’t think I’d ever want to work at a law firm. Yet I’m still watching this seven episodes in, so take from that what you will. And just yesterday it was announced that the show has been renewed for a second 12-episode season, so it must be doing something right.

What is your favorite genre of TV show?

Buffy the Vampire Slayer – Bewitched, Bothered and Bewildered

I love how this show has both humorous and serious episodes, with many being a macabre mix of both elements (“Tabula Rasa” comes to mind as one). This episode definitely falls on the comedy side as Xander faces the consequences of a love spell gone wrong.

Xander and Cordelia’s relationship is finally out in the open, and since it’s causing her popularity to wane, Cordelia decides to break up with him, right after he gives her a sweet little heart-shaped necklace for Valentine’s Day. I think the moment I finally began to like Cordelia’s character was when Xander asked for the necklace back and we find out Cordelia’s wearing it, hidden under her shirt. The look on her face when she takes it off is heartbreaking.

Amy’s back to cast the spell gone awry, and while most of the special effects seem cheesy, it’s interesting to note that her eyes go black and even red, consistent with what we’ll see in season 6. But I wonder why no one even thought of going to Amy for help with the gypsy curse later on this season? Of course, her error in this episode might give them cause to discard the idea.

In a recent roundtable discussion, Sarah Michelle Gellar mentioned this episode, saying something along the lines of, “I was getting burned out, so they turned me into a rat for an episode.” (Tried to find the exact quote but couldn’t.) And I love it that Oz punched Xander, and his fumbling statement afterwards:

Oz:  I was on the phone all night, listening to Willow cry about you. Now, I don’t know exactly what happened, but I was left with a very strong urge to…hit you.

I also found it a bit odd that Giles was so hard on Xander in this episode. In fact, now that I think about it, I don’t remember Giles and Xander ever connecting very well. Which is a shame, since considering what Xander’s dad was like he could have really used a good father figure.

My favorite “discovery” on rewatching the episode was this little gem:

Angelus:  Dear Buffy. I’m still trying to decide the best way to send my regards.
Spike:  Why don’t you rip her lungs out? It might make an impression.
Angelus:  Lacks… poetry.
Spike:  It doesn’t have to. What rhymes with lungs?

Nearly three entire seasons after this, in our first introduction to Spike as a human, he’s an awkward young poet trying to find a word that rhymes. Side note: I didn’t realize until I read the new Spike comic (thanks to Erin on Twitter since I don’t live near a comic store to get the exclusive code) that what William chose to rhyme with effulgent was “a bulge in it,” not ebulgent as I’ve seen it written many times. And it’s not just in relation to the poem, so BtVS may have created a new word! Not that they haven’t reformed many other words over the years.

But the scene with the different gifts for Drusilla further clarifies just how different Angel and Spike are. Spike, evil vampire, gives Dru a necklace (interestingly, the same gift Xander gives Cordelia). Angelus, evil vampire, gives Dru a fresh human heart.

Since the gift of a necklace makes a stark parallel between the relationship of Spike and Dru, and Xander and Cordelia (or Cora, which is a name only Xander calls her), I think it’s worth exploring a few others. Both Dru and Cordelia sometimes treat their guys as mere boys, with disdain and condescension. Both break up with them because of perceived love for someone else. Both will or have been involved with Angel/Angelus. Xander used to be in love with Buffy, Spike will be in love with Buffy. Any other parallels I’m missing?

White Collar – Cruel Cliffhangers

The summer finale of White Collar was last night, and once again, the writers left us with a mean cliffhanger. I wonder if they get paid on a sliding scale based on how much they torment viewers.

And with USA Network’s split schedule, they get to have cliffhanger moments twice as often. In the 2 1/2 years the show’s been running, there have been five cliffhangers. And I clearly remember every one.

Suffice it to say, there are going to be plenty of spoilers below. So beware!

I sort of envy people who came to the show late, like my parents and siblings. They avoided months of restless wondering.

The first mid-season finale (halfway through season 1) ended with Peter confronting Kate, in a way that made it seem like he was the one who’d been controlling her moves. And for weeks we wondered – could Peter be the bad guy? Was he betraying Neal? And if not, what was he doing there, wearing that ring?

The season one finale ended with a plane exploding. Who wanted Neal and Kate dead? How would Neal get over losing her?

The second summer finale (halfway through season 2) ended with Mozzie being shot. The outcry I read over and over online was, “Not Mozzie!” He was just enough of a secondary character that he could really have died, but such a favorite that no one wanted to imagine the show without him.

The season two finale ended with Peter accusing Neal of faking a fire to steal the Nazi treasure, and Neal hotly denying it, only to later find out that someone close to him had done exactly that. Out of all the cliffhangers, this was the one I minded least, but the complications that arose were far-reaching.

The third summer finale ended with Keller telling Peter he’d seen the treasure, and kidnapping Elizabeth to get it.

While the mid-season finales seem to be more intense in terms of “what if?” emotional turmoil, it’s the season finales that drive the action for the following seasons. We find out Mozzie’s not dead and Peter’s not the bad guy quite quickly once the season resumes. So I’m hopeful they’ll find El in the next episode – but that one episode will be amazing.

If anything could postpone Mozzie’s island getaway, finding out that Mrs. Suit is in danger will. Mozzie is closer to her than to anyone else on the right side of the law (and perhaps even on the wrong side, too), and it’s his stealing of the treasure that got her kidnapped. His putting the bounty on Keller that gave him the opportunity to escape the FBI.

Not that Neal’s going to be feeling any less guilt. Keller is his enemy. Neal’s lies to Peter led to this.

But my guess is that the treasure’s only going to be a side issue during the next episode. The focus will be on getting El back.

I just hope that, when this is all hashed out, that Peter realizes that Neal was having to choose between Peter with all the confines of the anklet, and Mozzie with all the treasure he could imagine. And that in the end, Neal chose Peter.

Buffy the Vampire Slayer – Phases

This Oz-centric episode firmly establishes him as part of the Scooby gang. I love how he’s still his typical contemplative self, even when faced with the fact that he’s a werewolf. And I think it’s hilarious that he became one because his little cousin bit his finger.

Giles:  Meaning the accepted legend that werewolves only prowl during a full moon might be erroneous.
Cordelia:  Or it could be a crock.
Xander:  Unless the werewolf was using last year’s almanac.
Buffy:  Looks like Giles has some schooling to do.
Giles:  (gets excited) Yes, I must admit I am intrigued. Werewolves, it’s… it’s one of the classics. I’m sure my books and I are in for a fascinating afternoon. (leaves)
Buffy:  He needs to get a pet.

Having werewolves change for three nights instead of one puts a unique twist on the myth, and was probably very helpful to the writers. Willow’s comment about it at the end of the episode was fun, too, in the midst of this sweet exchange:

Oz:  I spoke to Giles. He said I’ll be okay. I just have to lock myself up around the full moon. Only he used more words than that. And a globe.
Willow:  I’m sorry about how all this ended up. With me shooting you and all.
Oz:  It’s okay. I’m sorry I almost ate you.
Willow:  It’s okay. I kind of thought you would have told me.
Oz:  I didn’t know what to say. I mean, it’s not everyday you find out you’re a werewolf. That’s fairly freaksome. It may take a couple days getting used to.
Willow:  Yeah. It’s a complication.
Oz:  So… Maybe it’d be best if I just… sorta…
Willow:  What?
Oz:  Well, you know, like, stayed out of your way for awhile.
Willow:  I don’t know. I’m kind of okay with you being in my way.
Oz:  You mean, you’d still…
Willow:  Well, I like you. You’re nice and you’re funny. And you don’t smoke. Yeah, okay, werewolf, but that’s not all the time. I mean, three days out of the month I’m not much fun to be around either.
Oz:  You are quite the human.
Willow:  So, I’d still if you’d still.
Oz:  I’d still. I’d very still.

By the way, I love Willow and Cordelia connecting over their frustration with guys. And Xander’s reaction to them hanging out. Poor Xander, having to deal with the girl he used to love, the girl who used to be in love with him, and the girl he used to hate but now is starting to like. Which makes this a great lead-in episode for “Bewitched, Bothered and Bewildered.”

Giles:  It acts on-on pure instinct. No conscience, predatory and aggressive.
Buffy:  In other words, your typical male.
Xander:  On behalf of my gender, hey.
Giles:  Yes, let’s not jump to any conclusions.
Buffy:  I didn’t jump. I took a tiny step, and there conclusions were.

I also love all the references to season one in this episode. We have Oz noticing that the cheerleading statue’s eyes follow him, from “Witch.” Xander mentions being possessed by a hyena, a reference to “The Pack,” though he flubs up with keeping up the appearance of memory loss. And both “Teacher’s Pet” and “I Robot, You Jane” are mentioned here:

Xander:  Buffy, you can’t blame yourself for every death that happens in Sunnydale. If it weren’t for you people’d be lined up five deep waitin’ to get themselves buried. Willow would be Robbie the Robot’s love slave, I wouldn’t even have a head, (looks at the coffin) and Theresa’s a vampire.

After Theresa hurried away from an approaching werewolf only to run into Angelus, I felt kind of sad. For half a second I’d thought, “Great, she’ll be okay now,” and then I remembered. Angel isn’t Angel anymore.

Which brings to mind another thought. If vampires rise the night after they’re turned, why are so many of them already buried? Yes, there have been a few episodes, like this one, where they rise in the morgue or at a funeral home, but it seems the majority of them in Sunnydale claw out of graves. And those graves usually already have inscribed headstones. Maybe things are different in California, but I live next to a cemetery and it takes weeks or longer for new graves to get a marker, and they’re usually the flat ones that are flush to the ground. But I guess the show thought recreating the iconic image of a vampire rising out of the dirt backed by a headstone was more important than being strictly realistic for the few people who would mind.

The werewolf hunter, Kane, going after Oz seems to foreshadow when the Initiative goes after him in season four. It also brings to light the whole monsters vs. monsters debate that will play a major role in several future episodes, both in Buffy the Vampire Slayer and Angel (especially “That Old Gang of Mine”). And things just get murkier as you delve deeper into the Buffyverse. (Hmm, now I’m imagining someone writing a thesis on Buffy and the death penalty.) Where would you draw the line on creatures Buffy should slay versus those she shouldn’t?

Supernatural – Phantom Traveler

This episode finally sets up the “why” for future episodes. If Dean and Sam aren’t going to be following a trail of otherworldly clues to find their dad, they need to have a reason for coming across all of these supernatural baddies. Since word likely got passed around that John Winchester’s number was the one to call when dealing with paranormal events, having his voicemail message refer people to Dean’s cell is a good way for the brothers to find out about “jobs” in the future.

“Phantom Traveler” was interesting but not amazing. Jaime Ray Newman, whom I’ve most recently seen in season three of Veronica Mars, guest stars in the episode and gives a decent but unremarkable performance. I think the episode gave too much away at the beginning with showing how the plane went down – figuring out the why is what causes viewers to be glued to seats. Sometimes it works to have the audience know more than the main characters as it creates tension; here it doesn’t. It just makes Dean and Sam look slow for not figuring it out sooner (when in reality, they figured things out almost too quickly).

The one part I did enjoy about this episode was Dean’s fear of flying. Having a character that faces off against demons and ghosts without breaking into a sweat get all panicked about stepping onto a plane was a great stroke.

This season is beginning to remind me of  season one of Angel, but it’s only a murky reflection. While many shows have a “baddie of the week” premise (from speculative shows with actual monsters to crime drama with murderers to catch), what keeps viewers watching is the team dynamics as they solve things. Limiting the team to only two members strips away most of the potential dynamics, but a show can pull it off if the two characters sizzle together. Sam and Dean don’t. They don’t even have an explosive secret to up the tension.

Another way this show pales in comparison to Angel (and most other shows) is the tiny amount of a long-term story arc. Yes, they want to find their dad. Yes, they want to find the thing that killed their mom and Jess. But that’s it, and those quests get far too little screen time. And there doesn’t seem to be any sort of plan toward finding either of those – just a whole lot of wandering and maybes. So frankly, I’m getting a little bored.

Buffy the Vampire Slayer – Innocence

Or rather the loss of it.

This is easily one of the most heartbreaking episodes of the show. Angel is gone; Angelus is back – and yearning for a good kill. And to break Buffy’s heart in the process.

Buffy goes from waking up alone, to worrying when Angel doesn’t contact her, to reeling from his cruel words, to realizing he’s now a soulless monster, to finding she’s the reason he lost his soul. All in about 36 hours.

(Quick sidebar here on a couple Angel vs. Spike soul issues. I’ve read several posts and comments wondering why Angel didn’t just go through the demon trials to get his soul back – he wouldn’t have to deal with this annoying curse and he and Buffy could be together. The main reason? Soulless Angel – Angelus – doesn’t want a soul. Angelus would probably be willing to go through the trials just to KEEP from getting his soul back. Look how hard he tries to prevent in later episodes of this season and in season four of Angel. Spike wanted a soul. That’s why he was willing to fight for it. And one brilliant post I read talked about why Spike got such blind devotion from Buffy in season 7. Love for Buffy had cost one vampire his soul, and that “I am poison” mentality echoed through Buffy’s relationships thereafter. But Spike’s actions changed that. Now, love for Buffy had caused a vampire to get his soul back.)

It’s surprising how many of the significant moments in this episode and the previous one involve water. Angel jumping in to save Buffy at the dock. Their escape from the factory (and what follows). Angel stumbling outside in the rain just before his soul leaves him. Their fight as water pours from the sprinkler system at the mall.

With the Slayer an emotional wreck, it’s up to the others to figure out how to save the day. And Xander comes through brilliantly:

Xander:  Whoa. Whoa! I… I think I’m having a thought. Yeah, yeah, yeah, that’s a thought. Now I’m having a plan. (The lights suddenly go out.) Now I’m having a wiggins.

Giles:  And we’re absolutely certain that, that Angel has reverted to his former self?
Xander:  Yeah, uh, we’re all certain. Anyone not feeling certain here?
Willow:  Giles, you wouldn’t have believed him. He was so… He came here to kill us.
Cordelia:  What are we gonna do?
Giles:  I’m leaning towards blind panic myself.

Cordelia:  This is great. There’s an unkillable demon in town, Angel’s joined his team, the Slayer is a basket case… I’d say we’ve hit bottom.
Xander:  I have a plan.
Cordelia:  Oh, no, here’s a lower place.

Willow also has a significant emotional journey in this episode, from finding out that Xander and Cordelia are together to gaining new respect for Oz.

Xander:  Willow, we were just kissing. It doesn’t mean that much.
Willow:  No. It just means that you’d rather be with someone you hate than be with me.

Oz:  So, do you guys steal weapons from the Army a lot?
Willow:  Well, we don’t have cable, so we have to make our own fun.

One thing that bugged me about this episode was that Spike was all fine with destroying the world, but by the season’s end he’s against it. Yes, it did seem to be more Drusilla’s plan while he was along for the ride, but it’s a little odd that his perspective would switch like that. Of course, the Judge’s version of the end of the world might have been nicer that Acathla’s. Or deep down, Spike knew that Buffy would stop the Judge (she’d always managed to pull out a win before). Or sitting around in a wheelchair for half a season gave Spike time to think of what things would really be like if the world ended. Or both times, it was all about Dru.

Spike:  Are we feeling better, then?
Drusilla:  I’m naming all the stars.
Spike:  You can’t see the stars, love. That’s the ceiling. Also, it’s day.
Drusilla:  I can see them. But I’ve named them all the same name. And there’s terrible confusion.

I think it was genius for the network to use this two-part episode, aired on consecutive days, to transition the show from Mondays to Tuesdays. (Hmm, looked it up to double check – yep, the show stayed in its Tuesday 8PM slot for the rest of its run. That’s when I watch NCIS now, which debuted the year after Buffy the Vampire Slayer ended. And when the show moved to UPN, guess what the WB replaced it with? Gilmore Girls. To think of all the drama I missed because I didn’t start watching live TV until 2009.)

I was surprised (and pleased) to see how strongly Giles was on Buffy’s side, even when it meant turning against Jenny after she hid her past and motives for being there. (To be fair, she was pretty harsh to Giles after he hid his past.) It’s a little sad, knowing that she’d still be alive if Buffy had been able to kill Angel at the end of this episode. But the implications would be farther reaching that just that. If he’d been dusted as Angelus, would he have still been brought back somehow? It’s never mentioned that the First or the Powers That Be could do that, but it doesn’t seem out of their scope. And of course Wolfram and Hart brought back Darla, so they would have had both the means and the motivation (wanting him to fulfill prophecy) to bring back Angel, and if they used the same method, he would have come back as a human, which would have created a whole different set of issues.

Wow, this post went off on an awful lot of tangents – hope you don’t mind!

The closing song of this episode always makes me tear up a little. I have it on my iPod just so I can play it when I want to feel sad or am already feeling sad (the same with “Goodbye to You” and “Close Your Eyes”). I’ve heard complaints that the song doesn’t really fit in with the rest of the show, but just read the lyrics. They’re absolutely perfect for this episode (especially the last line):

Goodnight, my love, my moment with you now is ending…sleep tight, my love, goodnight, my love, remember that you’re my sweetheart.

Rizzoli & Isles – High Heels and Handcuffs

I watch too much crime drama, so last summer I was reluctant to jump into Rizzoli & Isles. But since there were few shows airing new episodes during the summer, and since Sasha Alexander (Kate from the early seasons of NCIS) was one of the co-stars, I decided to give it a try.

The 10-episode first season was great. Pairing two very different characters together to solve crimes has been done way too many times, but when it’s done well, it works. Rizzoli & Isles has the unique twist of having the duo be two females, instead the usual man and woman (Bones, Castle, etc.) or two guys (Psych, White Collar). Boston was also a fresh setting, for me at least.

The first season had a great mix of conflicts – Rizzoli dealing with both her past and present with the murderous Hoyt, crazy fun Italian family issues, and breaking in a new partner while still working with her old one; Isles with uncovering secrets about her past and naivety about certain situations. The show had some great guest stars too – in fact, Donnie Wahlberg’s character in a few episodes directly influenced me trying out Blue Bloods that fall.

But so far, the second season has bored me. The drama has felt overwrought, and none of the episodes that have aired so far has gripped me. It must be still doing well as far as viewers go, since TNT just ordered a 13-episode third season, but I’m not sure I’ll keep watching. I’ll probably finish out this season at least, especially since late August and early September will be a bit empty as far as new episodes go. I’m still hoping the show will pick back up, since it has a good cast and did so well in season one.

Buffy the Vampire Slayer – Surprise

This episode’s opening dream sets just the right amount of foreboding and mystery for the episode. I love how Willow’s interaction with the monkey directly ties into her and Oz’s earlier conversation – she’s speaking French, and saying that the hippo stole the monkey’s pants.

I’m surprised Drusilla didn’t show up much in later seasons of Buffy and Angel. She’s a great villain – creepy and crazy and psychic and hypnotic. Definitely not the sort of person you want to meet in a nightmare, let alone for real.

Finding out Jenny’s past adds an eerie twist to the surprise birthday party – where is Jenny really taking Buffy? And is it just me, or does her uncle’s outfit and mannerisms seem very similar to Merrick’s in the Buffy movie?

This is the first of the “birthday” episodes, and probably the most significant, as Buffy faces losing Angel, at Drusilla’s hand or the Judge’s, or for months when he plans to leave. And in the end, she does lose him, in likely the worst way possible. How could the sex education class in the previous episode miss the consequence of “having your boyfriend lose his soul”?

“Surprise” also marks Oz’s initiation into the Scooby Gang, even though he doesn’t quite join in on research parties just yet. I love his calm response to the fact that there are vampires. Angel’s help researching the Judge has a touch of pensiveness, knowing this will be his last happy interaction with the gang for quite a while.

Giles:  Still, best to be, uh, on the alert. If Drusilla is alive, it could be a fairly…cataclysmic state of affairs.
Xander:  Again, so many words! Couldn’t you just say, ‘we’d be in trouble’?
Giles:  Go to class, Xander.
Xander:  Gone. Notice the economy of phrasing: ‘gone.’ Simple. Direct.

Giles:  No, you won’t. We’re having a party tonight.
Xander:  Looks like Mr. Caution Man, but the sound he makes is funny.
Giles:  Buffy’s surprise party will go ahead as we planned. Except I won’t be wearing the little hat.
Willow:  But Buffy and Angel…
Giles:  May well be in danger… as they have been before, and, I imagine, will be again. One thing I’ve learned in my tenure here on the Hellmouth is that there is no good time to relax. And Buffy’s turning 17 just this once, and she deserves a party.
Xander:  You’re a great man of our time.
Willow:  And anyway, Angel’s coming. So she’ll be able to protect him *and* have cake.

I find it interesting that the Judge can kill on touch those with humanity, and some vampires have it (Spike, Drusilla, and Dalton) and some don’t (as we’ll discover in the next episode). Why is that? Was having that spark of humanity what made Spike able to change in later seasons?

Tru Calling – Reliving Days

I began watching this show for two reasons: Matt Bomer and Eliza Dushku. I’d heard the two were reuniting in an upcoming episode of White Collar (which aired earlier this week and was awesome), so I figured it was time I checked out this “canceled before its time” show.

I wasn’t all that impressed with the first few episodes. Dushku’s portrayal of Tru didn’t seem all that different from her portrayal of Faith on her early Buffy the Vampire Slayer days, and the other Davies siblings were annoying. Zach Galifianakis wasn’t as funny as I’d anticipated, and it took a while for Matt Bomer to show up in more than a scene or two. The show quickly fell into a formula – the first 10-15 minutes was the original day, and the rest of the show was Tru reliving the day and trying to save the victim.

I was kind of seeing why the show got canceled.

Then things started to change. Episodes delved deeper. Writers played with the formula. Bland characters gained added complexity. Harrison and Davis found out about Tru’s ability and helped her out. People closer to Tru – both friends and enemies – were put in danger. The mythology behind the show expanded, and a villain began to emerge.

And now, with ten episodes left, I’m starting to get attached to Tru Calling.

I still wish Eliza Dushku had decided to take the Faith spinoff show instead of doing this one, for several reasons. One, knowing this show only got 26 episodes. Who knows how long “Faith the Vampire Slayer” would have run? Two, because Joss Whedon pretty much makes anything better. Three, if the spinoff was a hit, it would have helped things out with Angel, especially if there were crossovers, and perhaps Angel wouldn’t have been canceled.

And is it just me, or do the intro credits seem to have a lot in common with the Dollhouse credits? Plus the graphics for the day rewinding remind me of the memory wipes on Dollhouse.

Buffy the Vampire Slayer – Ted and Bad Eggs

These two standalone episodes are sandwiched in between two important double-parters, and I wasn’t looking forward to rewatching them. But they surprised me, especially the first one.

“Ted”

I enjoyed this episode the second time through more than the first watching. Knowing what Ted truly was made him easier to stomach. It was interesting comparing Buffy’s reaction to having (as far as she knew) killed a human being to Faith’s in season three. And this episode was a fun precursor to season five’s robotics. Though I had to smile at Willow’s brand new 9-gig hard drive.

“Ted” also reminded me of season four’s “Living Conditions,” where Buffy “knows” that a new annoying person in her life is evil, while everyone else thinks she’s crazy.

Buffy:  Vampires are creeps.
Giles:  Yes, that’s why one slays them.
Buffy:  I mean, people are perfectly happy getting along, and then vampires come, and they run around and they kill people, and they take over your whole house, they start making these stupid little mini pizzas, and everyone’s like, ‘I like your mini pizzas,’ but I’m telling you, I am…
Giles:  Uh, Buffy! I believe the subtext here is rapidly becoming text. Are you sure there’s nothing you want to share?

Xander:  You’re having parental issues, you’re having parental issues…
Willow:  Xander…
Xander:  What? Freud would’ve said the exact same thing. Except he might not have done that little dance.

Cordelia seems to have settled into the Scooby Gang, without a bit of whining about helping out. And is it just me, or did the shop they investigate look a lot like the set of the Magic Box?

My favorite part of this episode was Giles and Jenny making up in a rather awkward but sweet fashion. Their scenes have added poignancy since I know what’s coming.

 

“Bad Eggs”

A rather bland monster-of-the-week episode, with one standout aspect being probably more kissing than any other episode of the show.

Xander:  Apparently Buffy has decided the problem with the English language is all those pesky words. You… Angel… big… smoochies?
Buffy:  Shut… up.

The highlight of the episode was the introduction of the vampire cowboys, Lyle and Tector Gorch, second to only Spike and Dru for a hilarious twosome of vampires. Though I do find it a bit hard to believe they survived a whole century as vampires with their intelligence levels.

Tector:  That the Slayer?
Lyle:  Yep.
Tector:  Ain’t that Angelus with her?
Lyle:  Yep.
Tector:  Well, how come she ain’t slayin’? And how come he’s about to make me blush?
Lyle:  Well, I don’t know, Tector. And how come you’s always askin’ me so many stupid questions?
Tector:  So, you wanna take him, or, uh, you want me to, Lyle?
Lyle:  I say we leave it. Wait till she’s alone.
Tector:  Why? You scared?
Lyle:  Nope. I could whip ’em both right now if I wanted to.
Tector:  Then why don’t ya?
Lyle:  ‘Cause I got me a plan. I’m the one that does the thinkin’, ‘member?
Tector:  Yeah. You do the thinkin’, Lyle. That is definitely your department. So why don’t you tell me again why we can’t kill ’em now?

Jonathan makes a brief appearance in this episode, but Oz and Jenny are noticeably absent, as well as Principal Snyder (shouldn’t he be the one spinning the cover story?). But the whole egg parenting was cute:

Xander:  Well, you know, it’s the whole ‘sex leads to responsibility’ thing, which I personally don’t get. You gotta take care of the egg. It’s a baby. You gotta keep it safe and teach it Christian values.
Willow:  My egg is Jewish.
Xander:  Then teach it that Dreidel song.

While some of the visual effects of this episode’s creature were a bit laughable, the thing that jumps out at Buffy was definitely creepy.

Xander:  Can I just say Gyughhh!
Buffy:  I see your ‘Gyughhh!’ and raise you a Nyaghhh!

Can you think of a typical high school experience that didn’t get a supernatural makeover on Buffy, but you wish it had?