My Reviews Other Reviews Buffy vs. Dracula A rather woeful season opener (but then, Buffy seems to have this tendency). However, I must add that I find the idea of Dracula owing Spike money and their erstwhile rivalry vaguely amusing. Real Me An interesting episode and nicely delivered by the only slightly annoying Dawn (I think she reminds me too much of the people I went to grade school with, yech). The one meager Spike scene was semi-interesting: Spike-Harm banter, but not very compelling and served as little more than a mental deus ex machina for the Harm-inator. The Replacement Cute story. Finally some development for Xander (and some confidence thank God!). Obligatory Spike scene, him rampaging through the garbage dump. The Replacement Out of My Mind On principal, since this is such a Spike-heavy episode, I probably should give it more stars. But for some reason, although a lot of individual scenes are priceless, the entire thing failed to gel as a cohesive whole. Let's take the good: the ending, where Spike and Buffy end in a clinch, Spike topless, Spike all in black, Spike snarky. The bad: Spike and Harmony together (they never worked for me, not like Spike and Dru who have true chemistry, and even Spike and Buffy who have almost as much chemistry), the Buffy and Riley scenes which are guaranteed to start me grousing, Buffy in general who's quivering lower lip and tear-filled eyes just make me want to throw my stuffed Spike at the television. So therefore, the rather ambivalent rating. Out of My Mind No Place Like Home Vaguely interesting. Trance overrated and since when does Buffy have the necessary spell casting skills to do such a spell? I think not! Hysterical Spike scene, him acting all crush-like. Family A very good episode. Of course, in the realm of Buffy significant others Tara rates top of my list next to Oz (that's not saying much tho', considering how I feel about Riley (:P), how I felt about Angel when he was around Buffy, and Cordy). Thus, it is only natural that I enjoy a Tara-centered episode. Let me note the most disturbing part of this episode however: the scene with Spike engaged in extracurricular Harmony activity and thinking about Buffy --> possibly the only moment in Buffy history when I've ever been truly grossed out (esp. since Mr. Marsters was shirtless again -- which should have been yummy). I'm still quivering with disgust. However, the end sequence with Spike popping Tara one all in the interests of scientific endeavor was just priceless. Like the cream in an eclair (when it's not filled with hot dogs). And however much I loved Willow and Oz together, I enjoy Will and Tara too. In fact, can I just say that Willow lucks out when it comes to SO's? She falls in love with good solid PEOPLE, as opposed to Buffy who falls in love with cliches (the 'good' vampire, the 'superhero GI Joe'). Anyway, a really good episode that would have been just as good without Spike (horrors! Did I say that?!). Family Fool for Love An absolutely perfect episode. First, the structure: flashback episodes are usually very difficult to do well, but the Buffy-verse overcomes all odds. The idea that Buffy finally comes to the man who could quite possibly train her best in fighting vamps is inevitable, perhaps, but the episode relies heavily on Mr. Marsters' hypnotic story-telling voice to shocking effect. He lovingly describes his kills in seductive fashion almost lulling us into forgetting that this man is but a barely restrained and joyful killer. This story-telling structures works to maximum effect and the flashbacks enhance a visually stunning backdrop. Best of all, the transitions from past to present to past with the same dialogue (Spike speaking to Buffy from the past) is nicely eerie and mythic in nature. And boy, don't Marsters look yummy as a punk. Btw, I think the 1977 Slayer kicked butt. Did you check out her trousers? Way cool. And her outfit also explains Spike's sudden fetish for leather. The acting was superb, especially in regard to our titular fool, but the supporting cast was also extremely effective, in particular the Chinese slayer whose last words broke my heart. All in all, a superb episode that nicely compensated for 5th season's dearth of depth and Spike. Fool for Love Darla Nice solid ending to the two-parter. I must say that Fool for Love was better merely because the structure was sexier. However, this nicely tied up some inconsistancies in Angel's character development and more of Spike is always a good thing. Darla Broadcast in tandem with Buffy's Fool for Love ..., Darla follows through that episode's themes, exploring the vampire history of Angelus, Darla, Spike and Drusilla through five different eras. Virginia Colony, 1609, and Darla is a dying whore, turned into one of the undead by The Master (a very welcome return for Mark Metcalf). London, 1760, and the Master loses his 'dear one' as she turns renegade with Angel. London, 1880, and Angelus, Darla and Drusilla gain a new ally in Spike. Then to Romania, and the gang is horrified to learn that Angelus has been cursed with a soul by gypsies. China, 1900, and the 150-year-old love affair is torn apart. Los Angeles, 2000, and Darla is human once again but her body is "decaying moment by moment," and she begs Angel to give her eternal life once more ... Skillfully juggling the eclectic time periods and narratives, Minear delivers a mesmerizing tale that boast a surprising degree of cohesiveness. While perhaps a little disorienting for casual viewers, Darla is a deeply satisfying experience for fans, as the writer ties together loose ends that we were not even aware were loose, whie showing scenes from Fool for Love from a different standpoint. 'Event' episodes don't come mych more eventful than this ... Brian Barratt, Xpose, Issue #53 Shadow Creepy. We've always known Spike was a killer, but now he's an obsessive (but funny) stalker. Shadow Listening to Fear Oh God. How awful. I'm sorry, I know that Binns over there says what an interesting story, but I think it's gobbledygook. Blech. Yes, the space monster's nasty, but please. Dull dull dull. The Spike scene is just more disturbing (now he's collecting pictures?). Riley's starting to wipe out any trace of sympathy I had for him (momentarily) when he confessed he knew Buffy didn't love him. And even Dawnie's pissin' me off. This show better get back on track or I'm just going to have to take a viewing hiatus. Listening to Fear First of all, the elements of this episode that don't really satisfy: in an extremely heavy-handed scene, the sudden exposure of Ben the intern as somehow important; and the equally sudden entry to the Buffy universe of demons from outer space. The latter concept is a difficult one to get our heads around, and too little time was spent introducint it to us, with the consequence that many fans will be turned off the episode before it really gets started. That would be a shame, because there are many things to enjoy about [it]. The space demon in question is actually one of them, in a succession of increasingly scary scenes that benefit from our lack of knowledge about the thing as well as the fact that they take place in the dark. The presence of Spike and a very gloomy Riley adds to the general sense of unease, and it's just about believable that Buffy doesn't realize what's happening with either of them. It's Joyce's condition that sets the tone of the episode and provides its most powerful scenes. Kristine Sutherland proves herself capable of portraying mental disorder -- a major challenge for any actor -- while Sarah Michelle Gellar and Michelle Trachtenberg deal superbly with her daughters' reaction, together with the added complication of Dawn's secret identity. Plus, of course, there's arguably the best washing-up scene yet seen in a television drama. John Binns, Xpose, Issue #53 Into the Woods Good seriously disturbing episode. We finally get some depth on the boy! Instead of fake (forced) depth. And an excellent scene between Spike and Riley when they commiserate on their mutually unrequited love. It's unfortunate that the minute that Riley develops some character they boot him off the show. The Anya-Xander moments are very touching and give some much needed depth to that relationship. But although I've been a Spike fan from the beginning, he's becoming more and more disturbing and disgusting in this obsessive character arc of his. Can't wait until he either goes back to being the Spike we all know and love or gets on with his love. Into the Woods It's difficult to be sure how long Joss Whedon has intended Riley's character and storyline to develop in quite this way, but it's interesting that -- just as our suspicions about Tara strengthened the effect of her father's arrival a few episodes ago -- the climax of the storyline effectively makes a virtue out of what had previously seemed like a vice. In Riley's case, it's the fact that since the Initiative wound up he's seemed purposeless and a little pathetic -- which has been frustrating until now, but in retrospect looks like a careful setting-up of this episode's dramatic events. The subject of [this episode] is perhaps the darkest, most adult and most uncomfortable ever dealt with by the series, with clear echoes of self-harm, prostitution, and sado-masochism. It's terribly satisfying to see it dealt with so well, and in the process shaking up the sensibilities of our regular characters. Sarah Michelle Gellar again delivers the goods by portraying Buffy's realistic but unhealthy reaction, which had this reviewer yelling at the screen that she should talk to Willow, Giles, Joyce or Riley rather than resorting to violence. Xander's contribution, and his final speech to Anya, were unexpected and particularly satisfying, exhibiting the depth of feeling of which we've always known he was capable. Who would have thought that some of the most emotionally affecting scenes in Buffy since Angel was sent to Hell would come from the departure of Riley? John Binns, Xpose, Issue #53 Triangle Some people say Willow's behavior is inconsistent, I say remember "Something Blue"? Hello, way consistent. Personally, I think this episode was a hoot and a holler. And the permutations of usual character pairings: Anya and Willow, Tara and Buffy, Spike and Xander! The latter make a fabulous commiseratin' couple. And a reappearance of Dr. Spike the Love-meister (last truly seen in Lover's Walk and Initiative is a welcome relief from more of Spike's creepiness with candy's and the Buffy-quin (we get to see that this episode too). I must say I dislike the Spike who scrabbles to please. Give me the who-cares Spike anyday. ---- Checkpoint Decent catastrophic event episode. Quentin Travers bores me silly (even though the actor, the immeasurable Harris Yulin is the greatest actor in the world, bow down, bow down), but the Watcher-ette who did her thesis on Spike was hysterical. *snicker* Great interviews with the Scooby Gang. But the main tension was missing. So, to sum up, great individual bits, less great on sustaining the momentum. ---- Blood Ties Dawn gets to stretch her acting chops as a girl with a severe identity crisis (and we thought normal teenagers had problems). And Trachtenberg and Marsters have great campy chemistry (let's go break into the Magic Box! Yeah!). Does Mr. Marsters have chemistry with everyone? ---- Crush This should be subtitled The Lives and Loves of William the Bloody. Almost perfect. The quibbles? Seeing my poor Spike in such a state channeling Drusilla. And the general humiliation that seems to be dumped on our fave vamp this season. However, it was very nice to see the old Spike out on the prowl with Dru with that scene at the Bronze surely one of the best of the season. Dru was in fine form, Harmony less than the usual annoying, Buffy appropriately revolted and Dawnie's continued interaction with Spike a hoot and a half. It's scary to think that the man, while defanged and kindly thought of as 'safe', is still spooky as hell in his delivery of certain ... ah, memorable ... lines. Two thumbs up! ---- I Was Made to Love You It has its moments. Ben, in dress, hysterical. The sleazy geek guy was *almost* sympathetic (surely a tour de force performance from the actor to make it thus). Spike getting thrown through a window was amusing and, most delightfully, a hunt of Ripper made an appearance. Nicely done that. And Joyce's teasing "I left my bra in his car" was delicious. The main story though, although obviously necessary for Buffy's healing, was flat and the actress who played the robot April, while cute, remarkably lacking in any charisma (which may have been the point, she was supposed to be boring). This made it hard to invest too much into her character and her death, while miniaturely poignant, hit no lasting chords. Much more effective was the last 5 minutes where Buffy finds her mother dead on the couch. ---- Forever Not as good as "The Body," which came before it, but then it would be hard to live up to that excellent episode. ---- Intervention ---- Tough Love ---- Spiral ----