“Tough Love,” written by Rebecca Rand Kirshner
With Joyce gone and the weight of the Dawn on her shoulders, Buffy has conceded to the inevitable: she has to drop out of university. “Tough Love” opens as she’s expressing her regret over this turn of events to her poetry professor.
She’s not the only one racking up personal losses. Ben has been missing for two weeks, and his supervisor at the hospital seems to consider this a firing offence. Which: fair enough. He is a doctor, after all.
Ben only gets a moment to savor that sense of having been cheated of his dreams before Glory takes him over again. He fights the transformation, but fails. The Goddess is back and, she says, she is hungry.
Later in the episode, we’ll see Buffy indulge a similar moment of bitterness, that feeling that her life has been eaten by her sister’s needs. It’s something she and Ben share, even if they don’t know it.
In the earlier portion of this season we were obliged to wonder how Ben fit into the S5 villain landscape. Even after we knew he was tied to Glory, there was a certain amount of ambiguity about who he was. Was he a good guy? A bad guy? He got that Queller demon to kill all the brain-sucked victims of Glory, after all. Euthanizing the mentally ill is not a pursuit for the cuddly at heart. But now that we understand how thoroughly doomed he is, the question arises: why didn’t he throw himself on Buffy’s mercy as soon as the scabby gang told him she was the Slayer? He has as much to gain as they if Glory fails.
In a world where Ben was more cleverly written still, we might wonder if his attempt to date Buffy had something to do with getting her on his side.
The real answer to this question, I suppose, is that he was afraid Buffy would kill him. That would sort out the problem of Her Scrumptiousness pretty handily.
Speaking of Glory, she’s luxuriating in the miracle that is bubble bath technology, while blindfolded members of her scabby entourage wait on her hand and foot. She complains about them having brought her a “pulseless, impure, follically-fried vampire”—a rather delightful description of Spike—when what she wanted was the Key. She’s realized that whatever data they may have gathered in their Scooby-stalking last week, it’s up to her to do the actual thinking. She tells them to spill everything they saw and overheard.
Bailing on school is one thing when you’re a college sophomore, and entirely another when you’re fourteen. Instead of charmingly apologizing to poetry professors, Dawn’s in trouble for skipping classes and ignoring her homework. The principal has summoned both Summers girls to her office for some tough talk, and soon enough she kicks Dawn out of the conference. Few of us probably need the later explicit revelation that she’s telling Buffy to shape up or face losing custody of her sister.
Fleeing this happy scene, we zoom over to The Magic Box. Anya is bravely trying to bring up the mood by telling everyone she is embracing patriotism, especially the part of patriotism that intersects with good old American money-making values. Dawn and Buffy arrive, and Buffy tells Giles about her Dawn troubles. She begs him to be bad cop. Seriously: begs.
“I may be a grownup, but you’re her only real family now,” Giles tells her. “She needs you to do this.”
It’s completely believable that a woman who has gone toe to toe with giant snakes and other fiends from the Whedonverse’s many pits would nevertheless be terrified of this kind of responsibility. But Buffy tries to rise to the occasion, coming down hard on Dawn about her homework. Willow gets in the way and suffers some collateral damage as a result.
By now, Glory has decided she knows who the Key is. She is, perhaps fortunately for the continued existence of the universe, incorrect. She thinks it’s Tara, you see.
Tara is, of course, with her beloved, who is trying to process her defensiveness over the cranky exchange with Buffy. Willow feels excluded from the dead moms club, and once again is succumbing to a terror of failing at being Buffy’s BFF. The conversation takes a dangerous drift, though: Tara mentions how Willow’s increasing witchy power is frightening. This segues handily into “don’t you trust me?”
At the beginning of this scene, Willow was trying to avoid a disagreement. But soon Tara’s the one trying to wiggle out of the conversation. Instead it gets worse: they dig into whether Willow’s just playing at being a lesbian, and will eventually go back to boinking boys. Ouch, ouch!
There’s unpleasantness at Chez Slay, too, where Buffy is trying to organize Dawn. Dawn, understandably, is kicking back. I’m not real, she argues, so why would I need an education? Buffy tells her what the principal said: Key or no Key, if big sis can’t make Dawn finish ninth grade, they’ll be fending off Glory with a social worker and foster parents in the mix.
Tara heads off to a multicultural fair, feeling all sad and trying to get past the fight. This conveniently removes her from any locale where a “Holy Crap, Glory’s En Route!” alarm might go off. In time, Willow mopes her way over to the magic store to tell Giles what happened. He tells her that the quarrel’s over and that, from it, she might draw the conclusion that she and Tara can have the occasional argument without ending their relationship.
It is his lot, this week, to be the Fount of Adult Wisdom. Buffy may have bought all the responsibility for guiding Dawn into grownuphood, but Joyce’s death has simultaneously cemented her Watcher’s position as responsible adult for all the others: Xander, Tara, Willow, Anya and Buffy herself are all, for various reasons, essentially parentless.
That’s one heavy load, I say.
At least he accumulates some good karma in the process, and he spends it catching one of Glory’s minions, more or less by accident. There’s some pre-interrogation snarling between them. Then, when the camera and the girls have their backs turned, something not so accidental happens to Scabby. Instead of buttoning his lip, he offers Giles the scoop on what’s going on. Which is: “We’re watching the Slayer’s people while Glory fetches the Key.”
For a second they think Glory knows about Dawn. Then they realize he means Tara.
And, indeed, Glory has turned up at the cultural fair and is entertaining herself by smooshing Tara’s hand. She has a leetle taste of her blood and realizes Tara, like Spike, falls into the greater set of things that are not her Key. Glory tries bullying the truth out of her, but Tara has more intestinal fortitude than Scabby. So Glory mind-sucks her instead. Willow arrives too late to help.
This turn of events brings the Scoobies back to the hospital, officially their least favorite place since the Hellmouth got blasted off the face of the Sunnydale High School library. Doctors (not including Ben) help clean Tara up and treat her arm. They also rule that she has to spend the night in the psych ward.
Dawn doesn’t get to attend this particular medical outing; she’s left in the crypt with Spike and his fabulous collction of week-old, psychedelic bruises. In his battered state, he’s something of a poster child for the concept of “Seriously, Dawnie, nobody can protect you from Glory.”
But Spike does his best to jolly her up. Unfortunately, he goes with this gambit: “Maybe Glory doesn’t want to kill you. Maybe it’s something . . .”
“Worse?” Dawn has figured out that she is responsible, in an indirect way, for everything that has happened to him and now to Tara. She worries that this makes her evil, or at best not good.
This exchange between the two of them is lovely and, while it’s not funny, it is imbued with that little bit of Spike humor that makes this character so genuinely likeable. Peculiar sweetness is absolutely the theme of this relationship with Dawn in S6 of BtVS.
But this is Willow goes berserk week, isn’t it? A creepy prelude to rages to come? So let’s look in on her. Once she realizes she can’t spend the night with Tara, she switches over into unslakeable thirst for revenge mode. Buffy tells her she can’t go after Glory, because it’s an ill-advised idea that will get her extremely killed. But in a way it’s Dawn all over again: Buffy lays down the law sort of half-heartedly, hoping to be obeyed but without demonstrating any follow-through. The Scoobies leave Willow alone just when they shouldn’t. Surprise, surprise, she makes straight for the scary books. Darkest magick ahoy!
(It might be time, Giles, to move the scary books. Practically the only people who haven’t gotten into them at this point are characters not appearing in this season, like Jonathan and Faith and Willy from the bar.)
With the help of the books Willow discovers her inner scary veiny self, and then she heads off to Glory’s. Interestingly, she is the first one to cause the god some physical distress. Then the tide turns and Glory begins mopping the floor with her. By now, though, Spike has convinced Buffy that assuming Willow won’t do something dumb is, well, let’s go with deeply not of the smart.
(Spike’s heartfelt: “I’d do it,” is his second thoroughly golden moment in this episode. I give “I’m not good, and I’m all right,” to Dawn, the edge here.)
Buffy rushes off to save Willow. They escape, just barely, and next we see our two best friends caring for their beloved girls. It’s a moment of connection for them: instead of being the person who can’t understand what Buffy’s going through, Willow has become the other one who knows, the other Scooby with a needy dependent.
This would be a lovely moment to end on if Dawn weren’t endangered and Tara weren’t injured and TV-crazy, but Glory’s done with lovely. She huffs and puffs and blows down the apartment wall. Tara gets agitated and sees through Dawn’s disguise. “Oooh, shiny!”
And just like that, Glory really, truly, finally knows where her damned Key is. No more checking under the fridge or eliminating the Scoobies one by one. We are moving into the endgame.
Next: On the Lam!
A.M. Dellamonica has tons of fiction up here on Tor.com! Her ‘baby werewolf has two mommies,’ story, “The Cage,” made the Locus Recommended Reading List for 2010. There’s also “Among the Silvering Herd,” the first of a series of stories called The Gales.
Now you can read her novelette, “Wild Things,” that ties into the world of her award winning novel Indigo Springs and its sequel, Blue Magic.
TARAAAAAA
The death of Tara is heartbreaking, and The Body is heartbreaking, but this is the only episode of Buffy that makes me cry EVERY. TIME. Tara and Willow have the most positive relationship of anyone in all of Buffyland, and theirs is the only one continually ripped apart and I have ALL OF THE SADS because of that.
you know. Clare Kramer’s portrayal of Glory is so good, I too would be prepared to worship her.
(leaving aside the horrible things she does to e.g. Tara, who I too would be prepared to worship)
I agree, build6. I hear a lot of crap about Kramer and Glory, but she’s one of my favorite BBs on the show, and I love her performance.
I always felt Glory, like Faith, was a commentary about Buffy, which is why her California girl persona works so well here.
I think it was a poll in the BtVS fan magazine that listed Glory as Best. Villian. Ever. over the course of the series. I was surprised by that (it’ll always be The Mayor for me), but I thought Kramer did a fine job.
I love the interaction btwn Spike and Dawn in this ep. – especially his line: “I’m not good, and I’m ok.” In just a few words, it sums up where he’s at mentally, as well as providing a modicum of reassurance for Dawn. She, not unlike Buffy, is all too ready to accept full responsibility for the badness in their lives, when none of it’s really her fault. Bad things happen to Good people all the time (especially in the Jossverse).
Unhappily, Tara is right not to trust Willow when it comes to magic.
I’m also on board with your choice of “I’d do it” as one of Spike’s golden moments. “For the right person” he’d take any chance, no matter how risky. Hell, he’ll be the first up Glory’s tower.
There are some lovely Spike moments in this latter chunk of S5, Dianthus, I agree.
The Mayor would be my fave villain too, though.
This is the week I’m actually moving across the country, folks. You’ll have my full attention again next week… but I will pop in once or twice, I promise. I love seeing what you say about these episodes even more than I enjoy rewatching them and thinking them through myself. The only thing better than doing it this way would be to have you all over once a week to do it in person.
I too feel that Glory was the best Big Bad of them all. The actress was tone, pitch and time perfect — which isn’t always that easy to do, especially in stilettos and very tight dresses.
Good moving!
Next week I’ll be leaving, not across the country, but down the country, for a couple of weeks. Don’t know as I’ll be in for the finale — o lordessa, I must be in for the finale! Even if late. :(
The Mayor is clearly the best Big Bad, but I’d put Glory in as a close second, with Angelus a distant third. All leagues ahead of Adam and the Three Nerds, or even The Master.
The Glory arc is really heating up here, with her finally doing what she should have done weeks ago, and going full-out after Buffy and her friends; hard to understand why she waited so long, since she knew that Buffy was the Slayer and even knew where she lived quite awhile back (the real reason, of course, is that if she had, the Glory arc would have come to a head before the end of the season). Her attack on Buffy is relentless, and it’s quite clear that Buffy could have done nothing to stop her if fate hadn’t intervened, and also that, unlike even The Mayor or any of her other adversaries, Buffy is scared of her. With good reason. She’s hopelessly overmatched, and she knows it. That alone would be enough to rank Glory at the very top of Buffy villains.
Yes, some lovely Spike/Dawn interchanges here. It’s interesting that the soulless villain is the only one that Dawn can really turn to and confide in, and the only one who really understands her and what she’s going through. It’s pretty much the same with Spike and Buffy already, and this will become even clearer in the next season.
@5. That would be So. Much. Fun! We could do potlucks and put up a chore board. We’d rotate clean up and stuff so you wouldn’t have to do it. Are you moving to the West Coast from East, or vice-versa? I’m a West Coaster myself.
Seriosly, I hope your move goes smoothly. Personally, I hate moving. I don’t move well.
@6. Ginger Rogers had to do everything Fred Astiare did, backwards and in high heels! ;-)
@7. No soul = less judgemental?
I never think of Warren, Jonathan and Andrew as the Big Bad of S6; *Willow* is the Big Bad of S6.
I’m aware that this may not be a popular opinion but S6 is my favourite Season by far. The roots of where Willow ends up go so far back into the show – it’s beautifully done.
Popular or not, it’s your opinion, and you’re entitled to it.
S6 has its moments. Tabula Rasa as a whole is quite good, a nice mix of silly and sad (except for Tara’s hair-don’t. She’s too pretty to be running around with a dead squid on her head). I’m not crazy about what I see as nearly operatic excess, even tho’ I think I understand why they did what they did. Also, Buffy’s bad behavior gets overshadowed by the AR. That’s prob’ly my biggest gripe.
OTOH, we got a bit of foreshadowing for it all the way back in s2 – When She Was Bad. Buffy’s still dealing with her first death, so what does she do? Challenges Angel (“Kick my ass.”) and c*ckteases Xander. With Spike, she can do both. Little did we know.
I never thought I’d say this, but I’m finding Dawn a little more palatable as this Rewatch wears on. Her general petulance is understandable, particularly with the way that Buffy treats her in these first months following their mother’s death. It’s this weird sort of dichotomy — on the one hand, Buffy’s absolute devotion to Dawn is clear, but on the other, her resentment towards Dawn is only thinly veiled. She literally says: “It’s not like I don’t have a life, I have Dawn’s life now.” with Dawn in the room. That’s pretty harsh.
Not to mention treating her like a four year old: We’ll make a chart with gold stars! Small wonder Dawn is so upset. It’s kind of degrading, almost dehumanizing, when the very thing she needs is to be treated like a human, like someone with worth. And even when Buffy finally levels with her — “They’ll take you away” — she adds “from me” only after the fact. I feel like it’d go a long way for her to get down to Dawn’s level and just look her in the eye and say: I don’t want them to take you away from me. But Buffy can’t seem to bring herself to do that, which says a lot about her mixed feelings on the subject as a whole.
Buffy has a lot of growing up to do. And so does Willow. It’s both painful and tender watching her take care of Tara in the end, and the knowing look she gives Buffy. “I know you understand.” Love Willow’s transofrmation over the course of this episode. And how clearly she loves Tara. “Is she your sister?” “She’s my everything.” It’s so sweet and then so sad knowing what’s coming. How utterly Willow loses sight of that.
The scene between Dawn and Spike is wonderful, too. Spike used to feast on girls like Dawn; used to do terrible things to them. He says as much in Season 7 when he’s trying to get Buffy to kill him. But he displays such a capacity for gentlness here. There’s this great moment where he reaches out to stroke her hair, then jerks his hand back at the last second. He was gentle in life, as we know. That that permeates, even without a soul, says a lot about his character.
“I’d do it.” stands out, too. He’s almost abashed when he says it. He keeps looking at the ground. “For the right person. For someone I loved.” I feel like it’s obvious what’s implied here, what with what he did for Buffy, keeping Dawn’s secret, letting Glory beat the crap out of him. He’d do anything for her. That kind of loyalty is pretty hard to come by, and much as Buffy’s had legitimate reasons to despise Spike, she’s beginning to realize just how genuinely devoted to her he is.
Gotta take a moment to appreciate Emma Caulfield’s continually delightful potrayal of Anya. In particular I loved the moment when Willow confesses that she doesn’t want to spend a night without Tara, and Anya cheerfully offers to sleep with her instead. It’s so utterly the wrong thing to say; it’s so clear that Anya can only barely grasp the emotional context of what’s going on. But that she’s trying, even when she fails so spectacularly, really endears her to me.
@@@@@9, I agree with you, if it helps :^D
@@@@@ Gardner, I can forgive how long it took Glory to come around to this point, b/c as it’s made clear in this episode, when we see her in the show, are the few times she’s ascendant. The times we don’t see her, she’s Ben. It’s not like that for the entire 9 months period of the season she was out and about, shopping instead of finding her Key. The bigger culprit of this manufactured delay is S7.
@11. It’s funny, I didn’t like Anya much at first, but she grew on me. Ditto: Dawn. Also, Wes (who really came into his own over on AtS). Spike, I loved from the get-go. You just never know.
Whereas Anya charmed from the first. But I did have to learn to like Wes.
9. EclecticMayhem — I hear you on that. Especially how season 6 opens out of season 5 seamlessly — and the seamless conclusion that you never have seen coming despite the seamlessness! Those three finale episodes of 6, after all that went before them … well, we’ll all talk about that when the time comes.
Love, C.
Wesley started out as a caricature, but he became really interesting. For me the best of him was when he tried to burn Lilah’s contract.
@16. You’re right. Wes was about as 2-D as they come at the start. Same problem I had with Caleb. Ugh. I really hated him, but not for the right reasons.
I remember enjoying most of the Wilah ‘ship. Lilah was way better than Eve, and I was sorry to see her go. Heard Stephanie Romanov (?) speak at a convention once. She was great: smart, funny, sexy. ASH was there, as well as James Marsters. Fantastic threefer!
I love Anya, always loved Spike – even back in the dodgy(er) accent days and I even like Dawn; Michelle Trachtenburg pulls off some excellent physical comedy (squeak! fall!)
Re: Wes – however…
*guilty admission* I’ve never watched Angel…
Explanation – I was never a Bangel shipper (Angel’s bloody stupid) mostly because he was so f*cking miserable the whole time! All he did was mope!
This anti-Angel bias spread into a dismissal of Boreanaz himself until I saw him interviewed (on Graham Norton I think) and realised how funny he is in real life. He’s a hoot as Booth.
I know I’m missing out on a whole bunch of cross show polination… should I just get on with it and watch Angel? I’m not sure I can cope with Vincent Kartheiser – I want to punch him in the face every time I watch Mad Men…
Eclectic, Angel is one of those weird shows, because while his name’s in the title, he’s not really the main character. The surrounding cast more than makes up for him.
And well, Kartheiser, well, let’s just say Angel won’t make you feel any better about him.
But Wesley gets the BEST arc, once he shows up.
@18 –
I didn’t follow Angel when it was “on the air”, and only got into it out of (I’m not joking here) a sense of duty, partially triggered by my desire to watch the Buffy “crossover” episodes.
I found Angel season 1 to be a real grind to watch. Actually almost all of the series felt pretty haphazard to me, like they slapped their scripts together at the last minute and “this was the best we could do in the time we had”. From what I read subsequently, however, I think it’s explained by various “real world” problems that ended up giving them “story” problems (actors’ schedules changed etc. – I understand one of their initial actors had a drug problem; Charisma Carpenter’s pregnancy made them give up their original planned arc). I was also genuinely disturbed by the introduction of the “lightning girl” character. No lead-in, sudden introduction, *extremely* overtly sexualised – I don’t mean to be offensive but I seriously wondered at the time if she was the girlfriend of one of the producers or a network exec or something and was “demanded to be included”.
(by “no lead-in” what I mean is, in that one episode her “backstory” was introduced etc. and suddenly she’s a “big player” in the story of Angel & gang – it’s too abrupt. The “right” way to do it is best exemplified nowadays in Person of Interest – you have characters introduced in one episode and then you find out as the season progresses how significant etc. he/she is; it really gives you the feeling that “there’s a story behind this” as opposed to “just slapping something together week by week”).
There are a couple of good episodes in the earlier seasons, but I actually feel their last season was the only one that was anywhere near as good as Buffy overall.
(Speaking of Person of Interest – Amy Acker yay! Notwithstanding my dislike of AtS overall, I wish they’d lasted one more season, say – I would’ve loved to see more of Illyria)
@17 –
heh, I also like Lilah & Wesley. I actually feel they didn’t really make use of Stephanie Romanov as much as they could have (I kept feeling she could do more than what the story needed from her). A lot of the in-firm “maneuvering” she had to partake in just seemed so … juvenile, and as a result so much of what she had to do in the show seems like a waste of everybody’s time – ours *and* hers.
But I don’t dislike Eve however. I … just wish they did more with her? Heh that’s part of my whole complaint with AtS I guess, it’s like they just slapped everything together in a weekend (I’m not saying it’s their fault, if something in real life happens that throws your original plans out, you can only do so much damage control), so it’s no surprise people were “wasted”, and there are therefore too many “monster of the week” episodes.
Anyways back to Wesley/Alexis Denisof, I just think it’s SO great he paired up with Alyson Hannigan in real life :-)
@18. I watched AtS, but I haven’t rewatched it the way I’ve rewatched BtVS. I’ve forgotten a lot of it. Would I recommend it? With reservations. I remember liking Doyle, and Denis (Cordy’s ghostly roommate) and Gunn. I wasn’t too sure about Lorne in the beginning, but he really grew on me. More Spike/Lorne interaction would’ve made me very happy. Pure Comedy Gold. Never totally understood why they didn’t have Spike sing for Lorne (not that that would’ve been funny; it probably would’ve made Lorne cry).
I may have mentioned this before, but I dream of Spike, Lorne and Oz, sitting around sharing a drink and talking about music. I can imagine Lorne mounting a spirited defense of Disco, much to the others’ dismay.
@21. RL throws plenty of curves, it’s true, but I seem to remember reading an interview w/ Whedon where he pretty much admitted they were making it up as they went. “Flying by the seat of [their] pants” was the phrase he used, IIRC.
I started watching AtS from the beginning. I actually used to like Angel as a character, much more then than now. In fact, I didn’t really start disliking him until AtS s5.
Angel is really more of a guy’s guy IMO, whereas Spike has more appeal for the ladies (this one, certainly).
I didn’t actively dislike Eve. I was just pretty “meh” about her, and preferred Lilah.
When Joss & Co. finally got around to Wes/Fred, it felt like they were already past their “best before” date. Very disappointing.
Boreanaz was capable of being funny in light comedy bits even when playing Angel, although most of those moments came in ANGEL the show. Angel was actually gloomier and more Byronic in BUFFY than he was on his own show, where they lightened him up a bit from time to time, probably necessary if he was going to be the lead character of a series; you had to like him more than you necessarily did on BUFFY if him being the lead characer was going to work. A few of the ANGEL episodes were actually pretty funny, or, in the Whedon manner, had intensely funny bits IN them, in spite of the other stuff that’s going on.
Boreanaz is hardly a great actor, but he’s a capable performer, able to play both drama and light comedy, within his limits, and the future of his career after BONES is fairly clear–it’ll look much like Tom Selleck’s subsequent career, where he’ll end up playing the gruff Police Captain or the Mayor or the Governer in one cop show or another, and he’ll do a perfectly good job of it.
I didn’t like Wes on BUFFY, where he was (intentionally) intensely annoying, but Wes on ANGEL had an interesting arc, going in the course of a few seasons from the comically inept slapstick Comic Relief character to a grim and intensely competent Man of Mystery, quite a stretch for any actor, but Alexis Denisof pulled it off. Wes is the character in the Whedonverse who probably changed nature the most over the course of his shows, with the exception of Spike.
The limitations in Angel as a character aren’t so much due to Boreanaz’s acting (tho’ it’s not great) as the writing IMO. They basically gave the character three main settings:
1. King of Pain
2. Giant Doof
3. Psychotic B*st*rd
Is it any wonder why Spike runs rings around him?
Cordy had a pretty good evolution too, until they ruined it. Bleah.
The Giant Doof didn’t show up much on BUFFY, that was mostly on ANGEL. On BUFFY, you got King of Pain/mysterious romantic interest, with an occasional side of Psychotic Bastard.
One thing they did right on ANGEL in later seasons was having the rest of his Scoobie Gang, especially Cordellia, mock him for his dour solemnness and self-absorption, which teasing he accepted glumly but as if unable to deny the truth of it.
Interesting that Angelus was alway much sharper and funnier in a grimly black-humored way than Angel was; he always seemed to be considerably smarter too. It took Angelus about five minutes to figure out how to kill The Beast; I’m not sure Angel ever would have figured it out.
‘Mr. Mystery Guest’ Angel was kinda cool, but once the mystery was solved? Meh.
Angels in the Bible are God’s messengers. That was mostly his function in the early days – show up, deliver cryptic message, disappear into the night.
http://www.youtube.com/watch?v=5YSSSHQQZxg
@18: Angel is worth watching, despite its (many) flaws and sudden/bizarre character departures/additions. I’m in the same boat when it comes to Vincent Kartheiser — can’t stand him. He pretty much fills the “Dawn” role on Angel without any of her likeable qualities. I’m not someone who likes her much, but I’d take her over Connor anyday.
Seasons 1, 2 and 5 (particularly 5) are the most palatable. Seasons 3 and 4 are just… there were moments when I wanted to throw the computer across the room. Weird/creepy/weak storylines, unlikable character changes — it got pretty bad there for awhile. But come Season 5, Buffy and Firefly were over, so Joss jumped back on the wagon and did his best to finish strong.
I can understand why it all felt so slapdash. Whedon had Buffy to focus on (and then Firefly). For awhile he was juggling all three, so of course Angel would be the show that he neglected. And there were inherent problems with the show, namely that Angel couldn’t really have a love interest after the whole “perfect moment” with Buffy ordeal without raising red flags. They tried, but it always felt half-assed.
But there are some truly great characters hidden in there — Lorne, Fred/Illyria, and Wes for sure. You just… you’d never expect what happens with Wesley, nor that Alexis Denisoff would have the range to pull it off. I remember being unhappy when they first brought him onto the show (post Doyle), but I’m glad he stuck around. There was also some good character development with Faith, who I didn’t like as much on Buffy.
I say Angel is worth watching because it expands the Buffyverse and gives some greater context, not just on many of the characters, but on the worldbuilding side of things, too. It’s like one of those 1.5 books series authors write — maybe it’s not a prequel or a sequel, but it’s still worth reading if you were a fan of the book.
Thanks everyone – I’m going to bite the bullet and give AtS a go – mostly because I want to see Alexis Denisof strut his funky stuff.
I’ve also seen a wee clip of Angel as a muppet and that’s got to be worth the price of admission!
Oh – btw @dianthus – I meant to say ages ago (but I’m crap) thanks for pointing out how far back Buffy’s S6 behaviour goes – I hadn’t thought of that at all. It’s even more deep rooted than Willow’s meltdown!
I hated Connor, a character with great possibilities ruined by the actor’s sodden performance and lack of chaisma. Dawn was ten times better than Connor was.
The arc where they spent most of the season going to Lorne’s fantasy world “home dimension” was very silly indeed, bordering on farce, and almost caused me to give up on the show, but the show recovered and got better. ANGEL was characterized by huge, almost drunken, swerves in direction and atmosphere, though, another indication that Whedon was paying little or no attention to it. He let BUFFY go downhill too (unlike some, I hate the final season), and was obviously pouring all his effort into FIREFLY.
@29. You’re not crap, and thanks for the shout-out. One hour was so much easier to take, but yeah, some deep roots there.
Puppet Angel – priceless! A wee little puppet man! He even vamps out – Totes Adorbs. Hellbound (also AtS s5) is a tour de force for Spike.
@30. I’m not a big fan of s7, either, despite some beautiful Spuffy stuff. The plot-eating virus that attacked the latter half of the season, Kennedy, Caleb…Ugh!
S7 is the only Buffy season I don’t rewatch (except occasionally firing up the episode where Buffy and Spike cuddle, haha)
“Angel as muppet” – that’s Season 5 too :-). I’m wondering if it’s actually workable to *only* watch S5 of AtS without bothering with any of the earlier seasons… you’d save a lot of (wasted!) time, and what are you really losing? Not all that much.
I dunno, there were some good ANGEL episodes scattered around other seasons. I suspect that you could put together two seasons of pretty good ANGEL episodes if you ignored continuity, and maybe another season of tolerable episodes.
You could put together maybe three seasons of good to first-rate BUFFY episodes that way, and another two or possibly three seasons of tolerable episodes, depending on how forgiving you were being. 7th Season was nearly a total loss.
yeah there are a handful of worth-watching AtS episodes outside S5… I’m just not sure about the “cost-benefit analysis” there. So much grind for how much gain?
Buffy – there’s some unevenness too, but I feel alright to just say “watch up till the end of S6, then stop”. Buffy S1 is the “weakest” technically, which I felt was completely understandable since they were just starting out (and omg SMG (and everybody else too) looked so young in it, I’d forgotten until my own rewatch), but even then it was better than AtS S1… I think I just put my finger on what I didn’t like about it (over and above it just not being very good) – that since the people involved had had so much experience (from Buffy at least, if not elsewhere in their careers), they “should have known better”.
There’s only one ep from s7 that I like most of the way thru (let alone all the way thru), and that is Beneath You. I say ‘most of the way’ cuz they manage to cheapen the drunken comfort sex btwn Spike and Anya back in Entropy. This may sound odd, but I loved that scene. It’s the look of understanding that passes btwn them, after. It’s a small island of sanity in the sea of chaos that is s6.
The scene at the end of Showtime is also favorite, when a battered Spike manages to dredge up some ‘tude, and Buffy looks @@@@@ him w/ her heart in her eyes.
Also, too, the scene wherein Spike presents himself for the staking.
You can probably imagine most of the other bits of s7 that work for me. Mostly, tho’, it’s just bits. *sigh*
What’s really sad is that some people went ape dump about Buffy & Spike cuddling, despite the Soul and Forgiveness and Symbolism. I was more upset by all the ick over @@@@@ Casa Summers. I had very little interest in Raith, and even less in Killow.
I heard that the actress playing Kennedy was uncomfortable with the lesbian angle. She probably wasn’t even cast with that in mind, resulting in zero chemistry.
I seem to remember JM saying they ramped up the homoeroticism btwn Spike & Angel in s5 cuz it made DB uncomfortable. Nice.
This serves to promote the cause how?
One gets the impression that Whedon didn’t like either Angel the character or ANGEL the show, and kept coming up with ways to punish them for existing. Apparently he didn’t approve of Angel as a Love Interest for Buffy, and only reluctantly went along with it when the popularity of the character made it possible to have a spinoff.
@36. It’s the strangest thing, isn’t it?
I know Whedon was initially against Buffy being with another vampire (Spike) after Angel. Why they decided to make her Angel(us)-lite in that relationship, I’m not entirely sure. Part of it may have been to punish us for liking Angel/Bangel.
Apparently he was initially against Buffy becoming romantically involved with Angel in the first place.
I wasn’t aware of that, but it doesn’t surprise me, considering he was employing the ‘vampire = addict’ metaphor. I seem to recall he wasn’t sure about casting DB in the role, but the women were all: Cast him. Caaast him. It’s also ironic, given how it became one of the over-arching themes of the whole bloody show.
Also, too: PAIN! and SUFFERING! It’s good for you; makes you strong. I’m doing you a favor, dammit, so quit yer b!tchin’.
I know you said you weren’t following the comix, but this made me think. BtVS is now suffering the same wild swings (IMO), while A & F has been remarkably well focused. Go figure.
all this talk of Spike reminds me of the bit in the previous episode where Glory goes “he’s *completely* useless”. Just love the way she says it (or since I’m a Glory-worshipper, I just love the way She says it).
I’m glad I’m not the only one here who likes Glory/Clare Kramer. Heh if we were to be amongst her worshippers, we’d easily be the best looking haha.
Actually, really thinking about it … Glory’s not so bad to her minions is she? She’s definitely killed less of her own guys than, say, the Master. Heck she even shows up to beat up Knights of Byzantium and save a couple. Sure she’s not outright *nice* to them, but who’s the God here? And all she wants is to go home, is that so wrong? “Yes people will die” is a problem because of arbitrary self-interest (we’re not so concerned about food animals dying are we). And plenty of people kill people too.
Her minions seem to genuinely adore her as opposed to operating solely out of fear. And it’s not all “nasty business” when it comes to serving her, it seems mostly semi-domestic stuff (packing/unpacking her clothes, holding boxes of chocolates while She bathes etc.).
@40 Glory is certainly my favourite Big Bad (as in Big Bads who’re actually Bad rather than simply under a lot of stress – see S6 & Willow).
Kramer’s performance is fabulous and she’s certainly a stunning, stunning woman. I always enjoyed the use of the Tamara de Lempicka artwork in her ‘pad’; if anyone looks like the living embodiment of the women de Lempicka painted then it’s Clare Kramer!
@40. Spike is not completely useless. He’s very decorative.
Heresy!
@41. I never even noticed artwork in Glory’s flat! Turned to Mr. Google for an eyeful. From delempicka.org: capturing ‘the power, sensualism, and hunger for conquest’ of her time. That sounds about right.
See, I knew you were cool. Used to think I was smart, tho’. Yeesh.
Oh hey now @dianthus – I merely recognised the painting and Clare Kramer’s likeness to de Lempicka’s style of portraiture. I didn’t know about ‘the power, sensualism, and hunger for conquest’ stuff so *snaps* to you for finding that info and *we’re not worthies!* to Whedon and to Production Designer Carey Meyer (I had to go look that up) for an extraordinary contribution to the mise en scene.
Thinking about it, Kramer has the kind of classic beauty that would also have lent itself to a comparison with Pre-Raphaelite portraiture but the message behind the de Lempicka is much more powerful.