Tag Archives: Season 4

Cultural Catchup Project: One Faith, Three Narratives (Buffy and Angel)

One Faith, Three Narratives

July 8th, 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 the first crossover between Buffy and Angel, I wrote that it wasn’t so much a crossover as it was ancillary elements (a returning Spike, the Gem of Amara) crossing between the two series and created largely independent stories which happened to share a basic foundation. However, Spike was a fun villain at that time as opposed to a neutered anti-hero, and the Gem of Amara was a simple MacGuffin without much meaning, so the episodes were meaningful less for what crossed over and more for the stories which those elements created for each series’ respective arc.

As we arrive at the final crossover event (stretching, technically, over five episodes) of the season, what’s clear is that the rules have changed: while the awakened Faith is, like Spike, a character-based connection between the two worlds, it is a connection with much more baggage than Spike’s villainy, and one with wide-reaching complications for both narratives. Whedon is very interested in Faith’s story, which remains diverse and compelling over the course of these episodes, but he is acutely aware of the different role her story plays in each series: while there is technically a clear thread which charts Faith’s behaviour over the course of the four episodes in which she appears, there is a distinction between how much each series focuses on her story as opposed to the story of those around her.

The result is three separate stories, unquestionably connected but distinct in terms of their sense of momentum. While a single narrative of Faith’s awakening stretches over both series, and Buffy and Angel travel back and forth between the two shows working out some of their lingering issues, Faith’s impact on Buffy’s narrative (in “This Year’s Girl” and “Who Are You”) is very different from Faith’s impact on Angel’s narrative (in “Five by Five” and “Sanctuary”), her story finding the series in two very different places which result in unique consequences.

For Buffy the Vampire Slayer, Faith’s return is a continuation of a past storyline and a thematic reminder for the series’ ongoing arc; for Angel, Faith’s return is a turning point for the series’ sense of narrative momentum and character dynamics. Throw in Faith’s individual narrative, and you’ve got the sort of television event that you don’t see every day, and one which helps justify the decision to watch the two series simultaneously even in its quasi-fractured structure.

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Cultural Catchup Project: Taking a Turn in Season Four (Buffy the Vampire Slayer)

Taking a Turn in Season Four

July 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.

In discussing this series of episodes as a collective whole, I am neither making a commentary on their individual merits nor suggesting that they are all working towards the same thematic purpose. Rather, as I noted in my most recent “Angel” post, I want to talk about the two-parters in their own posts, and so I’m sort of forced to lump these together to avoid going overboard with the reviews (not that you’d mind, but I do need to spread out my time). Plus, the plot moves so quickly in this series of episodes that it’s hard to really write about them individually after watching a number of them in succession: any of the positivity at the end of “Doomed” is complicated by “The I in Team” and “Goodbye Iowa,” to the point where I need to consider the progress of the arcs as a whole rather than the individual segments.

And so before I take a brief glimpse at “A New Man” individually (since it doesn’t have much to do with these arcs, even as it intersects with them in subtle ways), I want to focus on Riley, Maggie and Adam at this important juncture of Buffy’s fourth season, where the series very quickly transitions from a pretty open-ended season structure to a clear, objective-driven protagonist/antagonist structure, albeit one which remains complex (although perhaps not as complex as I might have liked).

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

“Hush”

July 1st, 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.

I’ve fairly certain I’ve seen the final few minutes of “Hush” before.

It was some time early in the decade, and Canada’s SPACE was airing the “Top 10 Buffy Episodes” in a day-long marathon which my brother was either watching or recording. I have no memory of watching an entire episode, or even which episodes I was seeing, but I remember Riley crouched down in some sort of crawl space with a gun, and I recognized the Gentlemen in that vague type of recall which is created when you aren’t really paying attention to what you’re watching.

I don’t know if I want to go back in time a la the Doctor and force myself to sit down for the entirety of that marathon, as watching the episode out of order would rob it of some of its appeal, but I do certainly wish that I could go back in time and experience this with everyone else at the turn of the century. More than any other episode of Buffy so far, I wish that I could have been there to write a review and to analyze the myriad of ways in which this is easily the most well-executed hour of television Buffy has produced to this point. While other episodes have been more emotionally resonant or explosive, no other episode has felt this expertly and ingeniously crafted. Compelling both as a standalone piece of entertainment and as an advancement of the season’s story arcs, “Hush” didn’t leave me speechless so much as it made me wish that I could go back to the turn of the century and be part of the initial response to what is rightfully heralded as one of the series’ finest moments.

And since I don’t have a TARDIS sitting around, writing about it now will have to do.

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

“Something Blue”

June 30th, 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.

“Something Blue” is one of those episodes of Buffy that is inherently playful, a quality that I think defines many of television’s finest series. While some shows grow content and refuse to “mess with a good thing,” other shows go out of their way to play with expectations to see how things might be different. When a show like How I Met Your Mother tries out a new narrative device, or when Glee gives “Bohemian Rhapsody” an entire act, the shows aren’t clinically experimenting with different structures: rather, they’re playing with their respective narratives, netting results which help define each series as unique within the television landscape (even if the results are at times divisive).

And play is not necessarily a strictly comic notion, either: shows like Breaking Bad and Mad Men do not spring to mind when I use the word “playful,” and yet what is “Fly” if not a playful depiction of Walt’s growing psychological struggle, and isn’t “Shut the Door. Have a Seat” a merging of heist film structures with Mad Men’s historical fiction? Sometimes I think people presume that you can’t spell serialized without serious, but these sorts of dramas rely on characters like Saul Goodman or Roger Sterling who make the light observations without damaging the tension within their respective series. – they’re serious dramas, but that doesn’t mean they’re serious all the time, willing to play with our expectations for the sake of dramatic or comic effect.

“Something Blue” is an episode about Willow’s struggle to overcome tremendous grief, and while the episode is inherently comical and wistfully playful at times, there is no point at which Willow’s emotional pain feels as if it is being mocked or disrespected. While Willow’s attempts to overcome her own pain result in a series of humorous events, the playfulness of the consequences always remains connected to Willow’s feelings, allowing for the episode to capture a character’s fragile state of mind and have some fun at the same time, a feat worthy of some discussion.

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Cultural Catchup Project: “Pangs”/”I Will Remember You” (Buffy and Angel)

“Pangs”/”I Will Remember You”

June 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.

I noted in my review of the episodes of Angel which led up to “I Will Remember You” that Angel, as a character, wasn’t really the focus of the episodes in question. As pointed out in the comments, this is quite logical: Doyle is the new character who needs to be introduced properly for the series to succeed, and Cordelia best bridges the gap between Angel’s business and the kind of person he tends to help (the helpless). However, since “Bachelor Party” closed with Angel running off to rescue Buffy from peril, I sort of presumed that the latest crossover between the two series would help rectify this particular issue.

“Pangs” and “I Will Remember You” do, in fact, bring Angel back to the forefront of his own series, but I find it interesting how imbalanced the episodes are in his favour: while Buffy may appear in “I Will Remember You,” the episode’s narrative devalues the crossover from Buffy’s perspective to the point where these episodes don’t actually impact Buffy’s character in any substantial fashion. Buffy is a series currently juggling a large number of storylines, while Angel is by comparison fairly open-ended: as a result, while Buffy and Angel’s relationship completely takes over in “I Will Remember You,” “Pangs” remains grounded by Buffy’s ongoing arc to the point where the episode actually feels fairly uneventful (if still functional).

However, the value of the crossover is found in “I Will Remember You,” which is an incredibly important episode if we consider Angel as its own standalone series. To this point left in abstraction for viewers to fill in either through watching Buffy or learning about it from someone who watched the earlier series, Angel’s relationship with Buffy invades the spinoff in its nascent stages, a decision which is especially dangerous considering the narrative arc created in the episode. There’s every chance that this crossover, merging the two worlds together, will make it so viewers will wonder why they were ever split apart in the first place, and lead to resentment over the fact that they won’t truly be reconciling.

I’d argue, though, that a heavy dose of character-appropriate tragedy leads “I Will Remember You” away from nostalgic desires towards further building Angel as a protagonist in his own right, an important step for the spinoff series.

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Burn Notice – “Breach of Faith”

“Breach of Faith”

June 25th, 2010

This review doesn’t really exist to talk that much about the Burn Notice-y “Breach of Faith” (for a review of the episode, check out Alan or Todd) so much as it exists to talk about the season as a whole. I realized after watching this episode that I haven’t actually written about the show yet this season, an oversight which I shall now rectify.

…I like it, I guess?

What, that isn’t enough for you? Okay fine: some more detailed thoughts on the season’s arc after the jump.

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Cultural Catchup Project: Pulling Back the Curtain (Buffy the Vampire Slayer)

Pulling Back the Curtain

June 23rd, 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.

I’ve talked a bit along the way about the notion of spoilers as it relates to watching these series. I know enough about Buffy as a whole that there are certain things I have unknowingly committed to memory which have effectively spoiled certain elements of the series. For example, I distinctly remember a marathon of the “Top 10” Buffy episodes that my brother taped on television at some point early in the decade, and during that time I remember seeing bits and pieces of “Hush,” and “Once More with Feeling!” As a result, there are certain images etched in my mind, in some cases mistakenly (as we learned when I thought it was Cordelia with Xander in “Once More with Feeling”) but in all cases meaningfully. For better or for worse, Buffy’s substantial cultural capital meant that there were things about the show I internalized without fully understanding the context.

In some ways, the Cultural Catchup Project is a dangerous way to watch the show if I’m concerned about further spoilers, but in reality nothing that has been “revealed” by the comments on these posts hasn’t been fairly clearly choreographed by other signifiers. While I remain wary of substantial plot spoilers which may not be so easily predicted, it is only inevitable that watching a series which aired a decade ago and doing so with an observational eye will undoubtedly reveal things that may have surprised other viewers at the time.

So long as the show around them remains entertaining, as it does when Joss Whedon and Co. finally pull back the curtain on Buffy’s fourth season in “Wild at Heart” and (particularly) “The Initiative,” all these subtle spoilers will do is alter the experience from one of shock and surprise to one of appreciation and curiosity. It may not be the same, but it is not definitively less rewarding either, indicating how no one person will view a series in an identical fashion as any other.

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Cultural Catchup Project: New Beginnings in “The Freshman” and “City Of” (Buffy and Angel)

New Beginnings in “The Freshman” and “City Of”

June 19th, 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.

It’s only fitting that, as Buffy and Angel’s paths diverge into two separate series, the Cultural Catchup Project forces them back together for the sake of analysis.

There is no plot-based connection between “The Freshman,” Buffy’s fourth season premiere, and “City Of,” Angel’s “pilot” of sorts which started off its first season: while there is a brief moment shared between the two episodes, it is an easter egg more than a substantial development. However, both episodes tell more or less the same story: our protagonist moves onto a new stage in their life in an unfamiliar location and struggles to reconcile their past life with their present situation.

In that sense, both episodes serve the function of a pilot: while “The Freshman” isn’t debuting a new series, it is ushering in a new era for Buffy, as she heads down the road to UC Sunnydale and discovers that it is truly a “whole new world” in more ways than she bargained for. And “City Of,” while unique in that Buffy viewers have a greater understanding of Angel and Cordelia’s characters than those tuning in for the first time, still needs to introduce Angel’s current goals and set up just what kind of show Angel wants to be.

And while both episodes were entertaining, I’m going to make the argument that neither of them were actually that successful when considered as the beginning of their respective seasons.

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Cultural Catchup Project: Decision Time (Buffy and Angel)

Decision Time

June 13th, 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 sat down to considering the overwhelming amount of feedback in regards to the future of the Cultural Catchup Project, I felt as if I was a supreme court justice considering the fairness of a long-standing law. There were clear arguments from both sides, and it wasn’t as if any one opinion was wrong: for a while, it seemed like my decision would in some way serve as a definitive argument in favour of a particular side, a power that comes with a great responsibility which is a little bit exciting.

However, I realized when I really sat down to consider the situation that it is a power that I am not capable of wielding. What the response to that post demonstrate is that everyone feels differently about this issue, and prioritizing any one person’s opinion or even the majority opinion would be almost impossible. I’d love to be the one to finally determine the absolute best way to watch Buffy the Vampire Slayer and Angel, but it’s impossible to make that determination unless I’ve, you know, actually watched Buffy the Vampire Slayer and Angel in various different configurations with an objective eye towards what I’ve been watching.

And when I really think about it, as much as I remain objective regarding my view of this series due to my position as a critical observer of television, I ultimately want my experience with Buffy and Angel to be as subjective as possible without losing all semblance of objectivity. I want to follow not necessarily what will result in the best experience but rather what will result in the most satisfying experience even if it is objectively inferior to other alternatives.

As a result, I can officially announce that…

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Cultural Catchup Project: How Do You Solve a (Scheduling) Problem Like Angelus?

How do you Solve a (Scheduling) Problem like Angelus?

June 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.

We have reached a crossroads in our journey with Buffy the Vampire Slayer – later today, I intend on watching “Graduation Day,” at which point I will be officially done the show’s third season. Now, I’ll likely take the weekend to write about that finale and Season Three as a whole (which will include the previous four episodes of the series, which I haven’t found the motivation to write about in further detail amidst a fairly busy period of time but which seem to be building towards the finale in a way which will make my essay on the finale more complex), but there are other pressing concerns which need to be addressed.

While I’m looking forward to the finale, I’m also looking forward to what comes afterwards, the million dollar question of sorts. When I started this project, I committed to doing both Buffy and Angel this summer, and I don’t entirely think I understood the enormity of that task. Just so we’re clear, enormity isn’t all bad: I don’t mind watching large volumes of entertaining television, after all. That being said, I can’t help but feel like the decision I make now will fundamentally change how I experience two different television series, and it’s a decision I do not want to make lightly.

Accordingly, I want to run down my options here at the blog, and then ask anyone with experience in this area to share their own opinions on how, precisely, to handle the complicated nature of the series’ crossover episodes which start with Buffy’s fourth season as Angel splits off into its own narrative. I’m aware there is no right answer, and ultimately this is going to be a gut sort of thing, but I still want to see what the Cultural Catchup Commenters, those who have been reading but not wading into the discussion, and even those who haven’t been following the project at all, have to say on the issue.

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