Tag Archives: Angelus

Cultural Catchup Project: Fighting the War (Angel)

Fighting the War

July 31st, 2010

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

At first glance, “The Shroud of Rahmon” was a fairly unimportant episode: caught between “Darla” and “The Trial,” it seems strange to offer a standalone tale of Gunn’s cousin getting in over his head, featuring a mysterious shroud which brings out the worst in those in its presence. It’s not the worst story in the world, tying in with Elisabeth Rohm’s Kate, but it seems like a distraction from the fact that Darla is somewhere out there, and I don’t need to see someone sing karaoke to know that the series’ destiny very clearly awaits her return.

However, as the series embraces its destiny in the episodes which follow, we see that the Shroud was a bit of foreshadowing, a sort of preview of what we were about to see. While Angel’s previous high point to date, the Faith crossover, was in some ways dependent on our connection to Buffy and the arcs which started on that series, the run of “The Trial,” “Reunion” and “Redefinition” feels as if it wholly belongs to this series, even with a number of familiar faces in the mix.

This is largely because these episodes are not about Darla, or Drusilla, or about Wolfram & Hart – rather, they are first and foremost about Angel, about who he has become and what precisely he believes he can do. It is not that these other characters lack nuance, or that their stories stop progressing, but rather that their actions all work to force us to reconsider Angel’s heroism. What was once brave becomes reckless, and what was once heroic can very quickly become inhumane – Angel makes decisions which would to an outside observer make one believe that Angelus had in fact returned, but we see enough to know that his soul is perfectly intact.

It is simply the soul of a soldier, is all.

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Cultural Catchup Project: A Case of Deja Vu (Angel)

A Case of Deja Vu

July 3rd, 2010

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

As I get closer to the end of Angel and Buffy’s first and fourth seasons, respectively, the two shows are suffering from opposite problems when it comes to writing about them. While Buffy has gone through a lot of plot development which makes it difficult to write about a single episode as opposed to an arc, Angel is so devoid of plot development that nothing is really jumping out at me. It’s not that either show is depreciating in quality, but rather that Buffy is barreling through while Angel remains in the logical first season holding pattern (albeit with a twist, due to the events of “Hero”).

And so, while it isn’t ideal, I figure it’s best if I offer some quick comments on a large series of episodes for each show as opposed to trying to review them individually. These aren’t really thematic pieces, but more a grab bag assortment of comments regarding particular episodes. Now, I have some reservations about doing this for Buffy, and when that piece goes up later in the weekend I can assure you that it will go a bit more indepth with the growing arcs and some of the character work ongoing in the episodes leading up to the two-parter – however, for Angel, these episodes standalone in such a fashion that a quick paragraph on each seems like a nice way to capture the series’ progress of sorts.

If we can call it that, considering how much of it feels like a case of Deja Vu.

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Cultural Catchup Project: “Surprise,” “Innocence,” and the Art of the Game-Changer (Buffy the Vampire Slayer)

“Surprise,” “Innocence,” and the Art of the Game-Changer

April 29th, 2010

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

One of the interesting buzz words to emerge over the past few years within the television industry has been “game-changer.” Used to describe episodes which fundamentally alter our perspective on a particular series, or which send a series in a completely different direction, it’s become a common term which producers or networks will use if they want to drum up interest in a struggling series, or try to regain lost glory with a series beginning to lose its luster.

However, I hate that “game-changer” has taken on an almost wholly promotional context, because episodes which actually “change the game” are a really fascinating part of the television landscape. There is great benefit in a reinvention of sorts, as the producers of Lost learned when the Flash Forward structure brought new life to a series at its halfway point, but it is just as easy to fall off the rails: J.J. Abrams learned this lesson the hard way when his game-changing second season finale of Alias was a stunning hour of television but sent the show in directions it wasn’t capable of supporting.

What makes a good game-changer is something which lives on potential rather than mystery, which not only changes the game as we know it but also gives us a glimpse of how the new game is going to benefit the series moving forward. The change needs to feel like something which springs from the story rather than from a network note, and the consequences need to be something the show won’t live down but that it can also live with.

In other words, a good game-changer needs to be everything that “Surprise” and “Innocence,” the thirteenth and fourteenth episodes of Buffy the Vampire Slayer’s second season, embody: by merging romance with tragedy, and by turning its central character into an unwitting agent of terrifying change, Buffy moves beyond the limitations of teenage drama to something that strikes deeper into the limitations of the human condition.

Or, put more simply, Buffy the Vampire Slayer just got real.

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