Tag Archives: Cordelia

May 7, 2010 · 9:00 am

Cultural Catchup Project: The Challenge of Clarity Amidst Chaos (Buffy the Vampire Slayer)

The Challenge of Clarity Amidst Chaos

May 7th, 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.

When I say that Buffy the Vampire’s third season gets off to a rocky start, your immediate response should be “of course it gets off to a rocky start.” The show completely threw a wrench into things by having Buffy leave Sunnydale behind for the bright lights of a rundown neighbourhood in an unnamed urban centre we presume is Los Angeles, and the consequences from that event are going to be significantly more damaging than the more subtle psychological impact felt at the start of the second season. You can’t expect “Anne” to feel like just another episode of the show, just as you can’t expect for “Dead Man’s Party” to quickly bring things back to normal now that Buffy has returned to Sunnydale.

However, I do think that there are elements of both episodes which feel just a smidge too convenient; while the situations may be messy and complicated, the metaphors and themes are all clean and concise. They represent necessary parts of Buffy’s journey, and the emotional conclusions to both stories (first Buffy rediscovering part of her identity and then the gang coming to terms with what has changed over the summer) are well played by all involved, but the linearity of this particular course correction feels odd when watched directly after the depth of the second season’s final stretch of episodes.

This doesn’t mean that the show is off to a bad start, but rather that “Anne” and “Dead Man’s Party” wear their purpose in their sleeve a bit too plainly for my tastes.

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May 4, 2010 · 6:28 pm

Cultural Catchup Project: “Becoming” (Buffy the Vampire Slayer)

“Becoming”

May 4th, 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.

Every good drama series boils down to character development, and I started my analysis of Buffy the Vampire Slayer’s second season talking about how Joss Whedon was willing to create clear consequences from the end of the first season within Buffy as a character. This wasn’t a show that was going to forget where it came from, where the events of the past were going to simple fade away. As we’ve discussed, there are occasionally episodes which offer a palette cleanser, a way to sort of wind down from particularly important episodes, but the show neither forgets nor forgives.

“Becoming,” the show’s two-part second season finale, is ultimately evidence of the importance of character to the show, but it’s an episode which feels like it’s doing a lot more heavy lifting than we’re used to. This is not to say that the show isn’t building on what has been done in the past, or that any of the character development in the episode feels unearned in any way, but the introduction of flashbacks and the ability for magic to undo substantial character development are nonetheless kinks in the series’ structure. It doesn’t revolutionize the show, but it very clearly reminds us that the rules can change at any moment, and that characters are sometimes slaves to fate or magical intervention in ways which threaten their happiness, their health, and their proper development as human beings.

It’s a non-linear, unpredictable sort of character development which offers a nice conclusion to a non-linear, unpredictable sort of season.

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May 2, 2010 · 4:16 pm

Cultural Catchup Project: Post-“Innocence,” It’s Personal (Buffy the Vampire Slayer)

Post-“Innocence,” It’s Personal

May 2nd, 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.

When I wrote about “Surprise” and “Innocence,” I entered into the posture I tend to take at certain points along this journey: when you know that things eventually get very dark and complicated, you tend to cry wolf at any sign that things are becoming very dark and complicated. It was clear from fan response that these two episodes represented a turning point of sorts, and watching them you see a dramatic character transformation that does in fact “change” the series in a way that seems pretty substantial.

However, the interesting thing about the episodes which follow “Innocence” is that the changes are for the most part subtle rather than substantial. While people tended to agree with my statement that Angel’s transformation represents a true “game-changer,” I have a feeling that the impact has more to do with the series’ long term changes than with any sort of immediate shift in the series’ narratives. While you could argue there is now more darkness in Buffy’s world, that doesn’t really change the tone of the series, nor does it dramatically alter the kinds of stories the show decides to tell.

Rather, the changes during this period come in the form of the supernatural becoming personal, with supernatural phenomenon presenting itself (primarily) in ways that tap into something inherent to these characters rather than inherent to the Hellmouth or some sort of demonic power. It’s a subtle shift in the series’ dynamics, but it is nonetheless a fairly important development which reinforces the events of “Innocence” within, rather than against, the series’ typical narrative structures.

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April 29, 2010 · 12:33 pm

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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April 29, 2010 · 12:01 am

Cultural Catchup Project: “Bad Eggs” (Buffy the Vampire Slayer)

“Bad Eggs”

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.

When I was going through the first season, I was warned by many that there were some weaker episodes which weren’t indicative of the show’s future quality. However, to be honest, most of it worked fine: we expect there to be kinks, and the episodes only felt like failures if you were holding them to standards that the show simply didn’t have at that point in time.

However, I think “Bad Eggs” is a complete failure regardless of one’s expectations, an episode which never once evolves into something worthwhile or even all that interesting. You can see what the episode is trying to accomplish, and you can even see how the script tries to work around its inherent flaws, but none of it actually comes together into an episode that manages to stand on its own two feet.

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April 28, 2010 · 12:01 am

Cultural Catchup Project: “Ted” (Buffy the Vampire Slayer)

“Ted”

April 28th, 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.

What strikes me about “Ted” is that it was entirely possible that the story within the episode could have been real. Being that this is Buffy the Vampire Slayer, and not Buffy the Normal Teenage Girl, we presume that Ted is some sort of demon, and that his sudden intrusion on Buffy’s life as an unwanted father figure is some sort of dastardly plot. However, the less-than-malevolent stepfather figure is both a real circumstance and a fairly familiar trope independent of the supernatural, which means that for much of the episode we’re wondering whether this could really just be Buffy and her mother being victims of an angry, abusive man rather than a robotic Frankenstein monster obsessively trying to recreate his creator’s wedded bliss.

It results in the right kind of standalone Buffy episode, one which captures a unique tone that differentiates the episode from the rest of the series while still fitting into some ongoing storylines and the dominant themes of the season.

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April 27, 2010 · 12:01 am

The Cultural Catchup Project: “What’s My Line Parts 1 & 2” (Buffy the Vampire Slayer)

“What’s My Line Parts 1 & 2”

April 27th, 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.

The end of what is almost a four-episode arc, the two-part “What’s My Line” manages to play perfectly into Buffy’s crisis of identity which stems from both the concerns regarding maturity and the future in “Lie to Me” and the threads of responsibility and consequences in “The Dark Age.” Buffy has spent a few episodes questioning the life she leads, and the Career Fair does a great job of both crystallizing those concerns and transferring them into the realm of the ordinary teenage girl who wonders about her future.

Just as Giles’ inescapable future as a Watcher led him to leave Oxford and fall in with the wrong crowd in London, Buffy watches her classmates become excited about their future and starts to worry about her own. However, “What’s My Line” introduces so many different roadblocks, including a trio of assassins and the wonder that is Kendra the Vampire Slayer, to her experience that she starts to reconsider what it’s like to live a day in her shoes, and the show nicely unites a potentially chaotic episode within key themes that resonate throughout the second season.

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April 24, 2010 · 12:54 am

The Cultural Catchup Project: Season Two’s Cult of Personality (Buffy the Vampire Slayer)

Season Two’s Cult of Personality

April 24th, 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.

When a show is making the transition between its first and second seasons, personality is perhaps its greatest asset. If you’re going to be creating new stories, and if you tied off a lot of the show’s loose ends in the previous season, you’re creating a situation where suspense and anticipation are replaced by creation and expectation. These are different beasts, and if you’re not ready to fully commit to a fast-paced serialized series then your best strategy is to use your show’s personality in order to “weather the storm,” so to speak.

What Buffy the Vampire Slayer does early in its second season is use personality as its ultimate goal, if not necessarily doing so in a straightforward or consistent fashion. The show has always been about its characters, and our attachment with the series’ strong but somewhat uneven first season is likely based on Xander’s wit, or Willow’s pragmatism, or Giles’ cantankerousness, or Buffy’s hidden vulnerability. However, while the second season does continue to rely on Xander’s one-liners or Giles’ dry sense of humour, it is not content to coast by: starting with the premiere, “When She Was Bad” and extending into “Halloween,” the show puts each personality under a microscope in ways which verify the importance of personality to the success of this series on the sides of both good and evil.

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April 21, 2010 · 4:00 pm

The Cultural Catchup Project: Promise and “Prophecy Girl” (Buffy the Vampire Slayer)

Promise and “Prophecy Girl”

April 21st, 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.

Going into “Prophecy Girl,” I was expecting something big – everyone had indicated that this episode, as Whedon returns to writing and takes over directing duties, is when the show finally finds itself. Because I know that the series is going to eventually become heavily serialized, and that the first season finale is supposed to be the start of that push towards more complex stories, I expected to have all sorts of new potential to be writing about.

Instead, I’ve discovered that “Prophecy Girl” is ultimately a subtle rather than substantial shift in the series’ trajectory, a question of execution rather than some sort of creative shift. With Whedon behind the camera, the emotional resonance of the episode and its stories is the strongest its been thus far, and there are a couple of pretty key bits of character development which sort of clears the slate heading into the second season. However, produced like many first season finales, you can tell that this was either a beginning or an end depending on if the series was picked up, and so it spends as much time resolving as it does complicating.

The result is that all of my prophecizing and pontificating about earlier episodes is probably more substantial than what I have to offer about “Prophecy Girl”: it was entertaining and emotional, and signals the show is coming into itself quite nicely, but it’s only made me anxious to move on already. However, I made a promise to write about it, so some thoughts on the finale and the first season overall are necessary at this stage in the Cultural Catchup Project.

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April 10, 2010 · 12:05 pm

The Cultural Catchup Project: Story and Scale in Hellmouth and Harvest (Buffy the Vampire Slayer)

“Story and Scale in Hellmouth and Harvest”

April 10th, 2010

[This is the first in a series of posts over the next few months as I catch up with Buffy the Vampire Slayer and Angel for the first time. For more information about the project, click here. You can follow along with the 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 hosting a link to each installment.]

I went into Buffy the Vampire Slayer’s two-part series opener, “Welcome to the Hellmouth” and “Harvest,” expecting an origin story. When it comes to mythology-heavy shows – or what I presume to be mythology-heavy shows – like Buffy, there is an expectation that they should start with an episode that tells the origins of (in this case) our eponymous heroine. Considering that I knew the show was at least marketed based on the novelty of a teenage girl slaying vampires, it seemed like those first moments of discovery and revelation would be a logical place to start.

However, as I’m sure fans are very aware, “Welcome to Hellmouth” does not start with an innocent teenager learning that it is her destiny to fight vampires. Instead, it starts with a teenager fully aware of her destiny and fairly adept at handling her superhuman skill set, skipping over the “bumbling rookie” phase and moving right onto the phase where Buffy is confident, jaded, and just wanting to move on with her life.

Perhaps this is because Joss Whedon decided that the 1992 film, despite the liberties taken with his script, had already dealt with the origin story, or perhaps it was a decision designed to help explain how Sarah Michelle Gellar (20 at the time) could pass as a 16-year old. Or, perhaps, Whedon was just very keenly aware of what kind of story would best serve as an introduction to these characters and this world: it may not be a traditional origin story, but the precision with which Whedon plots out his vision makes up an occasional lack of tension, and results in a strong introduction to just what this series means to accomplish (and what I hope it accomplishes in the coming months).

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