May 2004 posts
Scholars Lecture on
'Buffy' Show (article from Yahoo news on Buffy convention)
-- Rufus, 04:52:50 05/29/04 Sat
www.yahoonews.com
Scholars Lecture on 'Buffy' Show
Fri May 28, 7:53 PM ET
By KARIN MILLER, Associated Press Writer
NASHVILLE, Tenn. - It's tough for scholars to be taken seriously
when their subject is a TV show about a California blonde fighting
evil in a high school built on a gateway to hell. Particularly
when the title is as campy as "Buffy the Vampire Slayer."
But enough professors and writers study the comedic drama and
its spinoff, "Angel," to hold a deadly serious academic
conference here this weekend attracting more than 325 people.
Buffyologists from as far away as Singapore were presenting 190
papers on topics ranging from "slayer slang" to "postmodern
reflections on the culture of consumption" to "Buffy
and the new American Buddhism."
There was even a self-conscious talk by David Lavery, an English
professor at Middle Tennessee State University, on Buffy studies
"as an academic cult."
Lavery and Rhonda Wilcox, a professor at Gordon College in Georgia,
co-hosted the conference and are known as the "father and
mother" of Buffy studies. They acknowledged they've endured
a lot of ridicule from colleagues, but said that's part of the
topic's allure.
"It keeps the uncool people away. If you can't get past the
title you have no business watching," said Lavery, who co-wrote
a book on Buffy with Wilcox.
"It's a badge of honor," said Wilcox, adding that the
feeling is similar to a central theme of the show. "The main
characters are outsiders. Others are looking at them funny, but
they know they're doing the right thing so they do it anyway."
When Wilcox first heard the show's title, she thought "it
would either be stupid or the anti-stupid. Within the first few
minutes I realized how wonderful and clever it was."
Wilcox, who wrote her doctoral thesis at Duke University about
Charles Dickens, compared the show's depth and texture to his
19th century serial novels. "I think it's a great work of
art."
It's also become quite a teaching tool.
College courses across the globe are devoted to the show, which
was canceled last year, and secondary schools in Australia and
New Zealand also provide Buffy classes. Episodes often are used
to reach troubled teens, Lavery said.
Geraldine Bloustien, a professor who teaches Buffy among classes
on communication studies and media production at the University
of South Australia, coordinated a similarly popular academic Buffy
conference last year in Adelaide.
"It's fascinating that here is a piece of television enjoyed
all over the world," she said. "It has a coherence and
a depth I hadn't seen for such a long time. It's like `Sesame
Street,' which you can appreciate on several levels."
About a dozen scholarly books on Buffy have been written, including
one from the prestigious Oxford University Press coming out next
year.
Jana Riess, a religious book editor for Publishers Weekly, said
she's gotten tremendous response to her book "What Would
Buffy Do? A Vampire Slayer as Spiritual Guide." On Friday,
the conference bookstore sold out its copies and she had to bring
extras in from her car.
She said she first got "sucked" into the show when she
was pregnant and up late one night. "I was so entertained,
and then I was embarrassed that I was so entertained.
"But then some of the best conversations I had about spiritual
and moral issues were sparked by scenes from Buffy, like what
happens after we die and whether the needs of one should outweigh
the needs of the many."
Riess was thrilled with the opportunity to connect with fellow
Buffyologists:
"We are the few, the proud, the lonely."
___
On the Net:
Slayage, the Online International Journal of Buffy Studies: http://www.slayage.tv
Replies:
[> Thanks, Ruf!! -- LittleBit, 10:30:36 05/29/04
Sat
[> Secondary schools in NZ?????? -- angels nibblet,
02:12:01 05/30/04 Sun
Waaaaaaaaah, why not MY secondary school in NZ?
/whine
Hurrah! The world is becoming enlightened as to the greatness
of Buffy!
Thanks Rufus :-)
20 Reasons To Rewatch...(Angel
Odyssey 5.21) -- Tchaikovsky, 10:59:09 05/29/04 Sat
Right, mind out, I'm going to quote Kipling.
I keep six honest serving-men
(They taught me all I knew);
Their names are What and Why and When
And How and Where and Who.
OK, that's plenty for one day. But this idea, of questioning everything,
came to me as I was watching 'Power Play'. It's the first time
in a long while I've gone into an arc-y episode where plot is
the main issue completely unspoiled, and I enjoyed it a lot for
that. Who would have expected Lindsey or Drogyn to suddenly turn
up? Not me, in any case.
5.21- 'Power Play'
Zipping towards the end of the Season, and here we start off with
a conceit reminiscent of 'Trash' if more of a shock tactic and
less humourous, (if naked Nathan Fillion isn't shocking, which
is debatable). We see the climax of the story in the teaser, and
then we go back 19 hours and see how Angel got into that quirky
position. Except that it's not that simple. The nineteen hours
doesn't do the expected thing of building up Angel's complex motivation
for his uncharacteristic act. It instead attempts to get the audience
into as much of a state about Angel's motivations as possible.
Several interpretations are possible for a casual viewer: that
Angel is Angelus after all; that he really has got obsessed by
power; or that he's become the high achiever in some kind of macabre
High Flyer employment metaphor. The Office Job analogy is landed
on quite insistently here, and handled with a certain aplomb.
But I think it should be obvious to rabid and fanatical viewers
that the whole malarkee prefixes a reveal of Angel's motivation.
Given this, I think David Fury does an excellent job on not boring
the fans who know the game he's playing. For instance, the end
of the third act, where we see the repetition of the teaser, is
not wasted time, since the teaser could well have been a 'Shroud
of Rahmon' type mislead, whereas the second time round we see
the much more final-looking murder.
30 reasons to rewatch 'Power Play':
1) Current affairs. Watch the teaser again. Compare to the images
from Abu Grahib. It's obviously not a direct parallel, since it
was filmed before the tapes, and frankly, had it been, it would
have been an insensitive scene to film in my opinion. I found
the degradation of the man with the bag on his head almost unbearable
when we know how many similar incidents have occured and been
recorded out in Iraq.
2) Optimism. In an episode which goes almost as dark as 'Reprise',
(but Minear keeps the medal), we start off the first act, (although
already in incoherence land considering the teaser), with Angel
seeming as happy as he's done in a long old while. His relationship
with Nina appears actually to be working. This is used expertly
later in the old Job/Marriage dichotomy.
3) Honesty. Angel tells Nina 'I don't like what I am'. This is
a hint very early on that the whole conceit is a mislead. If Angel
is so aware of the possibility of corruption, of the Lear King
sitting on his throne and half-ignoring his advisors, then he
wouldn't be on the verge of self-hatred and able to be so open
about it.
4) Spike/Illyria bonding. This works delightfully well, and Fury,
always a dab hand at Spike, lets Spike's own self-awareness of
his own personas (personae?), play into Illyria's insincerity.
Even the high and mighty one is irritated by Wesley's cold shoulder.
5) To shout at Fury. OK, it's an acquired taste as a pleasure-
but Fury's become a writer I love to be mildly irritated with.
He just won't leave the insistent crude jokes alone, even at this
stage of the Season. Mind you, he's gone a long way towards redeeming
himself this Season, so I cut him a little slack.
6) Awareness of continuity: 1. Wesley's repudiation by Angel,
just like in 'Origin', comes with the argument that Angel does
not have time to worry about the small stuff. In the end, it shows
the flaw in his plan, just as 'Epiphany' did all those shows ago.
Because if Angel goes out in some grand, sweeping gesture, regardless
of how much it is of his own choosing, he's not still there to
deal with 'sweating the small stuff'. Lunasea often mentions a
missed 'if' in the phrase, 'If there is no bigger meaning, then
the smallest act of kindness, is the greatest thing in the world'.
I'm not sure about this. Angel's universe is about distrusting
prophecies and working at tiny aspects of Good. I'm tempted to
replace the 'If' with a 'Since' in the Whedonverse. All this,
regardless of how uplifting the final Act is, (and we'll see later
that I think it's extremely so), is still legwork for 'Not Fade
Away' to transcend.
7) Illyria as a Blue Meanie.
8) Continuing angel Gunn, devil Hamilton. Gunn continues to act
as Angel's conscience, a metaphor which has done stirling service
in the latter part of the Season, and really pays off here. When
we later see Marcus' Schwarzeneggerian brutality with Angel, we're
made to consider the moral ambiguity not just of what he appears
to be doing, but the thin line he actually is treading.
9) Racketball and ritual sacrifice. Another aspect of the Corporate
Machine theme to this episode. Two colleagues prattling about
the details of their jobs. And Angel seems to be giving more away
to unknown extras than the main characters. The isolationing continues.
10)Instinctive thinking vs conceptual experience. We are so often
asked to believe in logic, in experience, in prior experiments
in television, that it's magical to see it go the other way for
once. As Illyria and Spike discuss the embattled leader, it is
Illyria who sees Angel as a concept, and little brother who sees
him as a person. And Spike is not blinded by affection, but judges
correctly. Angel is, after all, not seduced by the power that
Illyria mentions.
11) Slash gift of purchase.
12) Crash Bandicoot. The sheer sight of Drogyn and Illyria playing
it together was delightful, but it always occured to me when watching
my brother play that the furry little creature was a bit incongruous.
He always seems drawn as a frivolous, rather clownish character,
when in reality his skills demonstrate concentration, determination
and and an unquenchable desire to complete what's right in his
position. Crash is Angel powering on towards his hoped-for Overthrow.
13) Shadowkatian perspective games. We're as unequivocally out
of Angel's perspective in this episode as we are in 'Harm's Way'.
The extra layer of complexity is that we're not just with Harmony.
We're with Gunn, Wesley, Spike, Drogyn and Nina. What we don't
understand, they don't understand. Why doesn't he take his girlfriend
and calm down for a week or two. Has he actually killed Fred?
Whither his conscience? The ministers of grace become the audeince:
puzzled and a little thrown by Angel's sudden beigeness.
14) Lorne's Celebrity Power Wisdom. The old green one gets a few
good moments this week. After the Young Guns shout out, we get
Angel selecting Lorne as his 'poster boy'. Lorne, remember was
the chap inside the limousine in 'Home'- the man who took one
look at Wolfram and Hart's list of clients and was straight in
to the deal. He's Angel's self-reflection, and therefore morally
flimsy and adjustible. What's good for Angel will satisfy him-
he's a status quo fan, (and not the Dad Rock band).
15) The genius of Contner. I think I'm right in saying that over
Buffy and Angel, he has directed the most episodes, even more
than Joss himself. You can see why here. Firstly, there's a shot
framed precisely as in 'Soul Purpose', where the inversion is
in the head of the perceptive viewer. You remember Boreanaz' beautiful
direction on the line 'Try looking within'. Now watch the second
act confrontation between Wesley and the gang. Here again we see
Angel in the foreground, with the rest framed in the background
over his shoulder. But this time we are the irrelevant minor players
trying to work out this massive Hero in the foreground, and getting
no-where. We still however, (and this is the beauty of the shot),
understand that Angel is in the forefront of the situation, and
there's nothing us lackeys can do to stop him, if he's decided
on path. Great direction.
16) No nonsense Angel. 'That's not an answer' 'Then I guess you
don't get one'. This is the Angel of 'Enemies'. Enjoying the role
so much that you start to be wary of his revelling in his own
Act. 'Enemies' was, for me, a little too nasty to Buffy- more
than was necessary. Likewise here, Angel's curtness with Wesley
is heart-rending. How much of Liam's sadist lurks within Angel?
17) More Contnerian goodness. We see the pull back on Wesley at
the beginning of the third act. He's framed in the mirror, recovering
from Angel's cruelty. Who is this man in the mirror? Still Wesley.
But not the Wesley we see in the flesh. He's the man 'doubled
over with pain' in his dark as night Joke in 'Underneath'. Plus
it's just aesthetically interesting. Which is a bonus.
18) The irrepressible Mr Macdonald. Lindsey comes in to our ladder
climbing employment theme of the week as the drop-out. The rising
star who eventually just couldn't be Venus. The man frustrated
from the Fraternity. Where Angel was in Season Two, and where
he thinks he's advanced from. Lindsey as Angel's 'better alternate'
may well be back in the finale, methinks.
19) Spring Fling-y Nina break-up. One of the most painful romantic
relationship moments in a while. Well written, and well acted.
Angel is acting in the greater good, but what does he look like
to us, or our surrogate Nina? The man who has never got close
to anyone fails to get close again. The relationship breaks down
as he sends them out of the country. It's the sad story of Angel's
continuing dilemma- he still, as Hero, as Warrior who wants one
final fight, feels it necessary to keep emotional distance so
that he doesn't hurt anyone. Hurt them the way he hurt Buffy.
20) Hamilton as 'The Terminator'. I'm not usually in with the
fight scenes, but in this case, awesome choreography of the precisely
machine, efficient, mindless, brutal work that Marcus does. Adam
Baldwin has been a joy, and is another good reason to look forward
to 'Serenity'.
21) The 'Home' bookend game. Several hints in this episode that
we're going to get the bookend to 'Home' I wanted in 'Origin'
and didn't receive. This seems like the first half of dealing
with the question, and hopefully 'Not Fade Away' will provide
the second. One particular echo here: Lindsey's reference to Angel's
Kingdom as 'the chocolate factory' directly echoes Lilah. And
makes you wonder whether this is more than co-incidence, and was
a company in-joke back before Angel's chieftan.
22) The Inner Circle. An effortlessly powerful and excellent image
of those shadowy figures with the real power, (Oil Barrens, Corrupt
Accountants, Aristocratic American Families), it was intelligent
writing to use Vail, Sebassis and the Fell Brethren, people we've
seen before and not thought much of, rather than a new horde.
Because it's not about people you never see. It's about people
you do see, but don't recognise the importance of. Mutters
under breath: do see, but of which you don't see the importance?
That's even uglier
23) Connor reference. 'Your son kills quite well'. The small talk
here is painfully difficult for Angel to stand, but he makes a
good job of it. The scary thing in all of these most worrying
of cults is how human they can be. In our rush to demonise
them, (here most are demons), we forget they have taste, desire
and animal instincts. This, for me, was why the fantastic Branagh
'Conspiracy', where Heydrich talks about a Schubert quartet which
will 'tear your heart up', was so wonderfully true and deeply
saddening. How can they feel that and let such atrocities happen,
recommend them even?
24) The Reveal. It's a goodun, and it's the best excuse for a
lengthy exposition scene in a long old while. 'Right, I have six
minutes to fit in these pages of dialogue. I know- Angel tells
the gang he only has six minutes to fit in these reams of dialogue.
Problem solved.'
25) Joss/Executives metaphor. There has to be a bit of a metaphor
of Joss/Angel, Writers/Wesley etc Network Executives/Circle going
on here. Joss appears to have abandoned all he stood for, (intelligent
arcy plotting), when he goes for standalones and brings in Spike
as a populist stunt. But it turns out he's hating the executives
as much as ever, and doing all the same things with his writers
in private.
26) Samson reference. A brilliant one, for who hasn't seen Spike
in 'Chosen' as Samson, the blind Judge, bringing down the temple
and crushing himself with the Ubervamps. This was such an apposite
reference that it got my spine tingling in the same way Giles'
desperately sad 'Tilting at Windmills' did.
27) Cordelia was benevolent. Nah nah ne nah nah. Told you. Humm,
I mean, this completes the tidy legacy that Cordelia has left
to Angel during Season Five, and I was happy in a Well Told Story
way only, and not in a petty rightness way.
28) The thorn itself. An excellent and striking visual prompt.
29) The Vote. Yes, Angel refers the honourable gentlemen to democracy.
And then, for a change, takes their choice at face value, rather
than making their minds up for them. This was unutterably moving
to me- when we've learnt and finally moved on, closing the loop
of moral ambiguity we left behind.
30)The last shot. The use of the glass screen through Angel's
office has been constant this Season, (I'd love someone to tie
them together thematically, if anyone's interested). This one
was beautiful as we end on the puzzle of 'What is Hamilton really
seeing?' Has Angel really fooled everyone?
Good stuff, with a point deducted for my worries about the moral
of the story being the opposite of 'Epiphany', which I fully and
whole-heartedly agreed with.
-Thanks to aliera as always.
-I apologise for bombarding the messageboard at the moment, but
in my defence, most of my posts would usually have got archived
by now. It's much quieter than it used to be.
-Which just leaves 'Not Fade Away'. See you soon...
TCH
Replies:
[> I was sure I'd changed that to *30* -- Tchaikovsky,
11:00:17 05/29/04 Sat
Just to clarify, in case you're on board with 20 but 30 is just
too many...;-)
TCH
[> You're having an end-of-the-season marathon! -- Masq,
13:29:15 05/29/04 Sat
I'm really, really curious now what you will think of "Not
Fade Away", because like all fans, you sort of put all your
hopes and expectations into that episode because it's the last
one. They can't possibly wrap up all the dangling plot lines and
points.
And then of course they have to say something Profound about the
message of the series.
I hate to keep bringing up the Season 6 fic, but it's my way of
coping with the end. You said, How much of Liam's sadist lurks
within Angel?. It's one of the questions we hope to tackle
there.
[> Re: 20 Reasons To Rewatch...(Angel Odyssey 5.21)
-- s'kat, 21:36:09 05/29/04 Sat
Great review - been enjoying reading these, thanks for posting.
30)The last shot. The use of the glass screen through Angel's
office has been constant this Season, (I'd love someone to tie
them together thematically, if anyone's interested).
Actually someone has. Alcibades who used to post here and posts
on www.teaatheford.com, has a whole essay on mirror images, visual
metaphors and how that window has been used throughout the season
- look under her "Escher" posts, or the one entitled
Mirrors - I think. She and others on that board have also visually
been comparing every picture of the "black thorn circle"
since it first showed up - in I believe Lineage. They use screen-shots.
I highly recommend going and hunting - most of these are public
now.
[> [> Re: 20 Reasons To Rewatch...(Angel Odyssey 5.21)
-- Masq, 22:20:17 05/29/04 Sat
every picture of the "black thorn circle" since it
first showed up - in I believe Lineage. They use screen-shots.
I highly recommend going and hunting - most of these are public
now.
Wow, I'm going to have to check this out. There was some grumbling
that "The Circle of the Black Thorn" came out of nowhere
and wasn't lead up to sufficiently and was something ME made up
just prior to writing episodes 21 and 22 because they needed to
end the season on a final note with the lack of season 6.
I don't believe this myself, I think we can only make sense of
Lindsey McDonald's
behavior through most of the season as an attempt to infiltrate
the Circle.
[> [> [> Re: 20 Reasons To Rewatch...(Angel Odyssey
5.21) -- Rob, 08:31:41 05/30/04 Sun
For me, whether there were symbols earlier or not, the reveal
of the Circle of the Black Thorn, although they didn't reveal
it until the second to last ep, was earned because although
we hadn't heard it referred to by name before, we had seen a number
of its members before, scattered throughout the season. That to
me made it work, besides the fact that again, Lindsey's behavior
is only completely understandable as a tactic to get into the
Circle.
As for the circle symbol, I remember it was on the cyborgs in
Lineage, and also a similar one was on Illyria's tomb.
And wasn't there also a circle shape in Smile Time?
Rob
[> [> [> [> Re: 20 Reasons To Rewatch...(Angel
Odyssey 5.21) -- Masq, 10:57:51 05/30/04 Sun
God, now I have to go back and re-watch the entire season looking
for thorn symbols.
*sigh*
You people are corrupting me!
[> [> [> [> [> Not the entire season necessarily...(Angel
Odyssey 5.21) -- s'kat, 15:43:09 05/30/04 Sun
Not the entire season - go to these episodes in particular:
1. Lineage - it's the bomb that is in the cyborg, Fred is shown
over it.
2. You're Welcome - it's the overview of Angel fighting Lindsey
on the failsafe device
3. Hole in the World - it's the device that opens on the coffin
4. Timebomb - the design on the floor of the training room that
Spike and Illyria are fighting on
5. Soul-Purpose - the hole Fred looks through into Angel.
It got to the point by GiQ that I was beginning to wonder if
they were planning on going anywhere with the circle or if it
was just pure metaphor for the idea of eternal loop or gear. Then
of course we had Powerplay and my question was answered.
[> [> [> [> [> [> Thanks! -- Masq, 15:51:03
05/30/04 Sun
But I still have to rewatch all these eps just to check it out!
; )
[> [> [> [> [> [> [> Cool, but...
-- DorianQ, 21:53:55 06/03/04 Thu
Joss did know about the cancelation while they were finishing
filming Underneath (hence the apocalypse speech at the end probably)
and the circle seems like it really is a end of series villian
like Caleb was on Buffy. So I'm thinking he would have been thinking
of this in advance. (work with me here, I'm trying to think of
this as I write) The only thing specific that Season 5's stint
at Wolfram and Hart added was Angel's acceptance into the Circle.
My theory? The circle imagery would be shown from far earlier
on. I don't have the DVDs but someone has a lot of free time on
their hands could someone look? Like I said, the Circle seems
like more than just a Season Big Bad turned into THE Big Bad,
ala The First.
[> [> [> Links to essays -- s'kat, 15:37:23
05/30/04 Sun
I went to the www.teaatheford.com and found some essays that
might interest you.
1.http://www.teaattheford.net/conversation.php?id=975
Escherian staircases and spirals through windows and portals,
spinning around and around in a dizzying, never-ending loop. Alcibiades
discusses the visual and structural elements of AtS, with special
emphasis on S4 and S5.
(This is Alcibades and compares images from ATS S4 and S5 and
Escher illustrations.)
2. http://www.teaattheford.net/conversation.php?id=908
the storybook princess and the Master of Chaos:
reading the trionic pattern of always/not always passages by macha
This one is by the brilliant macha and shows how Fred's death
is foreshadowed visually.
3. http://www.teaattheford.net/conversation.php?id=382
windows as metaphor in the jverse
Mostly by alcibades, but others join in - how windows are
used as metaphors in Angel.
4. http://www.teaattheford.net/viewpost.php?id=15567
Resurrection Birds and Failsafe Chambers by alcibades
Here's the one that compares the bomb in Lineage to the failsafe
chamber device in Your Welcome - only two in this essay. Look
closely at each then look at screen-caps from Timebomb in later
essays, the Fred one above, - and the pattern on the floor of
the training room - note the circle has thorns or points in each
episode.
5. http://teaattheford.net/viewpost.php?id=20523
Destiny's bitch: Angel, the shanshu prophecy, and winning the
unwinnable
posted by ascian on Wed 2004.05.26 at 04:00 pm EST
This is a brilliant essay by ascian, which explains why not getting
the shanshue is vital to the series structure and theme. It also
shows how Angel is a hero. I hope it's public.
sk
[> [> [> [> Re: Links to essays -- Jane, 18:03:24
05/30/04 Sun
Thanks for these links, S'kat. I have been lurking over at Teaattheford.com
ever since I discovered it on a rec. from someone here (you, perhaps?).
Wonderful stuff, lots of very engrossing analysis and visuals.
Macha is brilliant. Now I have two great places to feed my Angel
and Buffy fixations. And yes, ATPO is one of the two!
[> [> [> [> Comment on the Thorne -- Rufus,
16:30:54 05/31/04 Mon
Here's the one that compares the bomb in Lineage to the failsafe
chamber device in Your Welcome - only two in this essay. Look
closely at each then look at screen-caps from Timebomb in later
essays, the Fred one above, - and the pattern on the floor of
the training room - note the circle has thorns or points in each
episode.
The chant of the Black Thorn mentioned being invisible and inviolate,
and they were right. The members of the Black Thorn were in front
of everyone right from the start. Angel knew that Sebassis was
dangerous but like the circle with the thorns/points he was invisible
by being accepted as simply a client. From "You're Welcome"
CORDELIA: I can't.
ANGEL: It's OK. (Cordelia sighs, steps off the elevator into the
lobby, and looks around skeptically)See? It's just an office.
Going about its day. Nothing scary popping out at you. Just regular
people-
Just out of the elevator, Cordy encounters Sebassis, Harmony (still
evil even after her trip to Mexico), Eve (born to serve the Senior
Partners).
CORDELIA: That's the kind of person you do business with now?
Angel, do you realize what's happening? You've made a deal
with the devil.
ANGEL: Oh, come on, Cordy. You're being a little overdramatic.
It's not that, uh-
A red-skinned demon with black hair, horns and a goatee walks
up to Angel wearing a suit and holding a briefcase.
DEVIL: I gotta go. Everything's in place. They'll draw up the
paperwork.
ANGEL: Good. Great.
DEVIL: Racquetball Thursday?
ANGEL: OK, then.
CORDELIA: Ohhhh.
ANGEL: What did I do?
One of my favorite comments from Cordy was this...
12 INT. HALLWAY AT WOLFRAM & HART - DAY
Cordelia is walking down the hallway.
CORDELIA: This place is like a rat maze. (scoffs as a lawyer passes
her in the hall)Complete with rats.
To heck with turning Angel into a real boy, Wolfram and Hart planned
to turn him into a rat, to go with their Escherian maze.
[> [> Thanks -- Tchaikovsky, 03:42:56 05/30/04
Sun
I shall hunt these down when I'm not in an internet cafe in London!
TCH
[> I think David "Acquired Taste" Fury did a great
job in this ep. -- cjl, 21:51:18 05/29/04 Sat
What's utterly remarkable and fun about "Power Play"
is that, from the very beginning, the long-time Angel audience
is probably going to be two steps ahead of Fury, and Fury knows
it. So he sets up the episode as a game with the veteran viewers,
the "has Angel turned eeeeevil" game--a game which he
has absolutely no interest in playing.
Even though Fury is playing with the Ministers of Grace (tm TWOP)
and sucking them into Angel's deception, it's worth noting that
Fury doesn't even try that hard to fool the audience. Once we're
past his opening dialogue with Nina, we're fairly convinced that
Angel is faking his conversion to the forces of darkness and the
MoG and the Circle are morons for buying this load of malarkey.
But then something interesting happens. As we uncover more and
more of Angel's plan (and his attempts to cover his tracks), we
see more and more of the moral compromises Angel had to make to
accomplish this near-miracle of setting up the take-down of the
Circle of the Black Thorn. And so, when we've circled back to
the opening teaser and the murder of Drogyn, we're revisiting
the initial question from an entirely new perspective: OK, he
was faking the whole "I've turned evil" bit. But how
much evil did he have to do to accomplish this greater good? We
didn't know Drogyn that well, so the idea of Angel killing a noble
warrior (granted, under extreme circumstances) doesn't completely
alienate Angel from the audience. But suppose Gunn had a point?
What if Angel had to kill more of the MoG in order to solidify
his place in the Circle? How far down the dark path would we be
willing to go along with Angel in his quest to strike that staggering
blow against the forces of evil?
[Oh, and that's not a rhetorical question. Because Masq's virtual
S6 fanfic? We are SO going there....]
"Power Play" is my favorite Fury ep since "Helpless."
In some ways, I think the philosophical and moral questions raised
here outstrips those in the final episode. But you're no doubt
discovering that for yourself. I'll discuss this more in my overall
S5 review some time next week.
[> [> Quotient group swirls -- Tchaikovsky, 03:54:43
06/01/04 Tue
You put that double twist really nicely- in the end, we are as
worried about Angel's motivations, as we felt we were being tricked
into being at the start of the episode.
Looking forward to your Season Five review, as ever.
TCH
[> Good stuff, as always, Tchaikovsky. Thanks. -- Jane,
18:05:49 05/30/04 Sun
[> Re: 20 Reasons To Rewatch...(Angel Odyssey 5.21)
-- Rob, 23:15:39 05/31/04 Mon
Cordelia was benevolent. Nah nah ne nah nah. Told you. Humm,
I mean, this completes the tidy legacy that Cordelia has left
to Angel during Season Five, and I was happy in a Well Told Story
way only, and not in a petty rightness way.
My thoughts exactly. ;-) I was so glad that Cordy's motives were
not left ambiguous.
Also was very nice to see her back again in a "cameo"
of sorts. Hey, even though it was a flashback shot, it was slightly
modified what with the electricity passing between their lips,
and we were given substantial, new information. It was a great
way to pay tribute to her again, without pesky real life contracts
for Charisma or textual re-resurrections on the show, not to mention
how Power Play solidified You're Welcome's position
in the season-long story arc, not to mention finally explaining
Lindsey's actions in that episode and throughout the season.
Rob
[> [> Ignore the two "not to mentions" in a
row. Me sleepy. ;-) -- Rob, 23:16:51 05/31/04 Mon
[> Angel Agonistes? Why Angel is a hollow and inferior Samson
-- Rahael, 08:39:25 06/01/04 Tue
(at least in this episode!)
I think, the more I thought about it, the more Power Play disappointed
me. Last night,my thougths leapt to "Samson" too. Which
should please me, because I've been going on about Angel as Samson
(especially in the Miltonic version) for years.
But the reason why I love Milton's Samson Agonistes is because
it is forced to have a really complex treatment of power, force
and intellectual strength. It's because of the context of Milton's
Samson, and the beautiful words that Milton gives him, that the
poem transcends really, the very disturbing undertones of the
poem. Milton's Samson derives his power from the portrait of the
utter sense of powerlessness that Milton feels. The estrangement
from God. It's that fine line (yes, I'll have to concede that
to Marti!) that Darla says: "God doesn't want you, but I
still do!". How very Dalilah of her.
But the trend of the season is not about that sense of total despair
and lostness. That was so last season! (and very good it was too).
Season 4 showed that epic is truly epic when it is based on those
tiny little moments, those earth shattering one: a father confronts
his son in a shopping mall.
This season's major crisis feels tacked on, a crisis for the sake
of crisis. I got very annoyed when Angel 'sends' Nina away. Yeah,
cuz rejecting earthly love is clearly the right choice when Angel
makes it, not when Cordy does! It should be wrong when either
character makes it.
At the end of the day I thought Power Play was pompous and self
important: it declares itsefl a deep and significant ep, while
Angel talks about how "Power will endure" but he's going
to stop the clogs and sacrifice his team for one tiny little moment
of glory for good. Now, while I find apocalypse type plots fairly
entertaining, it's no surprise to me I enjoyed the season where
the apocalypse was clearly a metaphor, and where Gunn self consciously
proclaimed it a turgid supernatural melodrama. S4 was not all
about the fireworks, but the absences, and the silences that they
hid.
I feel that Power Play is employing fireworks without that awareness.
That somehow apocalyptic suicidal missions can make up for not
having any real moral truths.
And this is why I loved The Girl In Question. Irreverant, mocking
of such pomposity and self importance, The Girl In Question challenges
our idea of heroism. I LOVED Angel's speech as he tries to knock
down the locked door: "I'm a champion! I don't need a higher
purpose!"
Samson of course prided himself on being Champion. Of possessing
"Heaven gifted strength". But his pride and self-involvement
lead to his blinding and weakening, a metaphor for his isolation
from all, his true weakness lay in that brute strength he congratulated
himself on. Imagining himself abandoned by God, he learns that
he can be blind, but truly see God's truth, truly see the 'light'.
For God is reason, and God is truth, and only the "morally"
blind, the unreasoning, the deceitful are truly cast into the
darkness.
It is very important that none of Milton's poem actually dwells
in any way on Samson's final and violent act (an act which has
even more disturbing implications to our heightened sensitivities
to those who crash down the pillars on the "philistines"
with their God-sanctioned strength).
Milton isn't writing in our time. He's writing when the Restoration
has overturned the achievements of the Rump parliament. Where
such principled revolutionaries are executed. Samson isn't a rallying
cry against the new regime - it is too powerful. Nor is it a prescription
on how the defeated should behave - Samson refuses his ransom
and chooses "strenuous liberty" but Milton pays his.
I think of the poem not as an exercise in a repudiation of outdated
militaristic values, as John Carey would have it (mostly because
I don't think Milton does condemn Samson's violence, and I don't
think Milton makes Samson Oliver Cromwell). I think Milton writes
the poem as a meditation on how God's Champion can be brought
down by the unworthy, can be blinded, imprisoned, weakened, mocked,
- and still be free. Still be a champion, even when he abandons,
outwardly, that prize, that crown.
While the "Godly" are winning, Milton is awed at how
God is at work in England. How providence favours the good. How
he favours them as the mighty institutions tumble down, like Charles'
head. And then those seismic faultlines open in England's body.
Samson exists within the faultline. He's the incoherent text made
flesh. In his triumph, his deadly, destructive, triumph, he spells
out the impotence of the former revolutionaries. In his writing,
Milton triumphantly claims his status as Seer. Even blinded, mocked,
weakened and imprisoned, this poet for the new England can say
to himself: God is still with us. And Milton pushes down those
pillars of mockery on his critics. Like that anonymous critic,
who wrote on a copy of Milton's Eikonoclastes:
"That thou Escapd'st that Veangence which o'ertook,
Milton, thy Regicides, and thy Own Book,
Was Clemency in Charles beyond compare
And yet thy Doom doth prove more Grevious farre.
Old, Sickly, Poor, Stark Blind, thou Writ'st for Bread"
Milton seems to retort that indeed, he writes for God.
Now, Angel could be the modern Samson - a champion, who doesn't
need the higher powers any more. And Cordy in "You're Welcome"
could be the Miltonic personification of "Or if Vertue feeble
were/Heaven itself would stoop to her".
But what does Angel's mission mean? It's not exactly as if he's
learnt not to abandon the more difficult real issues like getting
close to other human beings (and tbh, I always thought that was
his real mission!) - nope, he dons the armour and decides to go
for the Senior Partners. And here I was thinking that the fight
against evil, the fight against the Senior Partners is only ever
meaningful when it happens down here on earth!
That wonderful moment when Holland Manners decides to take Angel
on that lift ride to hell. And the doors open to earth. Manners
tells Angel that this is where hell is, this is where the Senior
Partners reign. Angel should have retorted that this is where
heaven is too. That this is where the "Powers that be"
dwell. And this Angel should have strode off into his world, and
been with the people who inhabited it.
I wanted Angel the father again. Not Angel the abandoning father,
but Angel, learning responsibility for this trust that has been
placed in him. I didn't want the grand sounding heroics. I wanted
the real, quiet heroism that we all practice everyday, that we
all have to.
Ultimately, it feels to me as if Angel at the end becomes an utter
irrelevance, some outmoded hero who can only hit people, who can't
face the harder task of loving and being with his family. His
final speech in Power Play seems to be pointing back to Home:
"I am going to sacrifice you all on the altar of my heroism!,
now who is with me?"
But in Home, Angel knew he was wrong. Angel knew he was making
a deal with the devil. He put the knife to his own son's throat.
For Angel, there is no Solomon to declare: "you love your
child more, you should keep him." There is no God to stay
his hand and say "you have proved your obedience to me".
This time round, Angel is convinced he's doing the right thing.
Feh.
So yeah. The Girl In Question is about moving on. About learning
new things. About being playful, not being on the hero trip, not
being melodramatic, not being convinced that the world is going
to end in apocalypse all the time. On the other hand, ME should
do what it likes cuz I think I may be a lone opinion on this!
[> [> Re: Angel Agonistes? Why Angel is a hollow and
inferior Samson -- Tymen,
15:51:31 06/01/04 Tue
The Angel as Samson analogy is apt here, but when Angel arrives
at Wolfram and Hart he is the blind and head-shaven Samson. It
is the end of the story when he has placed his hands against the
pillars and is ready to drop the temple on those who took his
sight and strength.
Angel is doing the only thing he feels he can do, he is taking
Wolfram and Hart with him. It is an act of defiance, against despair
and evil. With this last act he is showing the world what it can
be, by fighting to the last gasp against Evil. He knows Evil can't
be defeated, but it can be beaten back and Angel is willing to
start the War to end all wars. No secondary line of defense this
time, Angel is leading the charge into battle. And when the dust
settles, who knows how it will turn out, but the world will never
be the same again.
[> [> [> And yet (spoilers 5.21) -- Pony, 11:16:36
06/02/04 Wed
when Angel arrives at Wolfram and Hart he is the blind and
head-shaven Samson. It is the end of the story when he has placed
his hands against the pillars and is ready to drop the temple
on those who took his sight and strength.
Angel willingly walks into a room in a position of strength
and power to confront the hooded, shorn and bound Drogyn. And
he kills him. So what's tumbling down here? Is it Angel's morality?
Similarly Angel alone of all of his friends entered into the Wolfram
& Hart deal with his eyes open. If his strength and sight were
gone it was because Angel had given them away. In Power Play he
sets a plan in motion that is dependent upon deceiving the rest
of his team. He does inform them in the end - after they confront
him - but it can be argued that they weren't allowed to make a
true choice in consenting to Angel's plan. The guy's never been
a great planner at the best of time, personally I'd have wanted
more than six minutes to hash it out.
[> [> What Can I Say? When She's Right, She's Right.
-- cjl, 12:00:04 06/02/04 Wed
Rah says:
"That wonderful moment when Holland Manners decides to take
Angel on that lift ride to hell. And the doors open to earth.
Manners tells Angel that this is where hell is, this is where
the Senior Partners reign. Angel should have retorted that this
is where heaven is too. That this is where the "Powers that
Be" dwell. And this Angel should have strode off into his
world, and been with the people who inhabited it.
"I wanted Angel the father again. Not Angel the abandoning
father, but Angel, learning responsibility for this trust that
has been placed in him. I didn't want the grand sounding heroics.
I wanted the real, quiet heroism that we all practice everyday,
that we all have to.
"Ultimately, it feels to me as if Angel at the end becomes
an utter irrelevance, some outmoded hero who can only hit people,
who can't face the harder task of loving and being with his family.
His final speech in Power Play seems to be pointing back to Home:
"I am going to sacrifice you all on the altar of my heroism!
Now, who is with me?"
*********************
I agree with almost everything Rah says here, but I'm still satisfied
with the ending. I feel that Joss and his team took Angel the
character to a certain point in S5, and--once the axe fell--had
to wrap up the series with certain aspects of Angel's growth left
unfinished.
Angel's discussion with Harmony about lost humanity in "Not
Fade Away" shows how far he had to go to truly come to terms
with himself. He is not only giving up the shanshu, but he is
also giving up any hope of coming to terms with the human being
still inside of him, or completely sorting out the tangled threads
of his personality. He made some headway in reconciling Angel
and Angelus, but "Not Fade Away" was the start of his
journey in this direction, not the end. We would've had Seasons
Six and Seven to take us the rest of the way. The end wouldn't
be Angel or Angelus, but Liam.
But I can't fault Joss and company for how they wrapped things
up. If you take the admittedly frustrating factor of Angel's truncated
journey out of the equation, is the message of PP/NFA significantly
different from previous years? There is no final victory in the
fight against evil in the Buffyverse, because the demons and higher
powers are metaphors for Us and evil is part of What We Are. For
Angel and the Fang Gang, it was a choice between fighting the
good fight on a smaller scale for the next upteenth thousand years,
or taking a once-in-an-eon opportunity to strike an earth-shattering
blow against the darkness.
I see it as the flip side of Angel's epiphany in Epiphany. Angel
wiped out the Circle of the Black Thorn knowing he probably wouldn't
survive the Senior Partners' retribution. But he did it (and his
teammates went along) because they wanted to show the world that
no matter how entrenched the forces of darkness seem to be, they
can be fought. You don't have to give in to despair and inaction
and shut yourself away in your split-level home while the apocalypse
works its way onward underneath.
Am I dissatsified that this is where they were forced to stop?
Yes. As I said, Angel still had a long way to go. But this is
why Masq and I and many others are writing our own Season 6. Join
us!)
[> [> [> Um, spoilers for 5.22 in cjl's Post.
-- Doug, 13:10:21 06/02/04 Wed
[> [> [> I can agree with that -- Rahael, 14:44:21
06/02/04 Wed
It's more the lost potential, but I can live with what the writers
give me, on this occasion.
[> [> Re: Angel Agonistes? Why Angel is a hollow and
inferior Samson -- Rufus, 17:04:12 06/02/04 Wed
So yeah. The Girl In Question is about moving on. About learning
new things. About being playful, not being on the hero trip, not
being melodramatic, not being convinced that the world is going
to end in apocalypse all the time. On the other hand, ME should
do what it likes cuz I think I may be a lone opinion on this!
I just loved The Girl in Question. With all the emphasis on any
possible ships with Buffy I enjoyed seeing that tension used to
create the comedy before the tragedy.
Spoilery question for Angel
finale -- rsfayez, 17:35:22 05/29/04 Sat
Date Posted: 17:15:00 05/29/04 Sat
Subject: wes' death
my apologies if this has been discussed before. if it has been,
please post the link to the specific post.
one of the things i've learned about the jossverse is that everything
happens for a reason.
spike and anya's death was made poignant by the fact that they
died for the same species they sought to harm years ago. what
of wesley's?
wes has been shot by a cop, cut by justine, tortured by faith,
hurt by his relationship w/ lilah and the subsequent decapitation,
driven to shoot his "father", devastated by fred's death
and then fatally shot. i can see wess "lone wolf" persona
throughout the show, which could even mirror angel's own.
yet our fave head boy was not after something in particular, i.e.
redemption or whatever.
how does this fit into the big picture?
Replies:
[> oops -- rsfayez, 17:52:24 05/29/04 Sat
i thought a spoiler was something that was not aired in the US
yet.
hope i didn't screw it up for anyone =(. thank you post-editing
person
[> [> England is only a few weeks behind us -- Masq,
18:05:38 05/29/04 Sat
Then we'll loosen up on the spoilers a bit.
[> Re: Spoilery question for Angel finale -- Wizard,
17:53:33 05/29/04 Sat
As others have pointed out, his story was over. He had nothing
to live for, not even a round or two with Mistress Spanks-a-lot.
He was not suicidal, but he had nothing to live for.
[> Re: Spoilery question for Angel finale -- luvthistle1, 14:14:37
05/30/04 Sun
Wesley always wanted approvel from his father. he's father made
him feel like he was a screw up, basically because he always screwed
up. most of the time Wesley tried to play the hero, he always
wound up haveing to be saved. ( in earlier episode ob Btvs and
Angel, as well as in "why we fight" ( remember what
happen when he tried to save Connor, by taking him away from Angel?)
things like that always happen to Wes. But this time, he got it
right. as a watcher it important to separate truth and illusion.
Wes had been fooled by illusion many times. the illusion that
he was weak, the illusion the sahjhan had him believe, that Angel
would kill his son, the illusion that was his father in "Lineage"...so
Wes fighting Vail, was in a way him defeating all those that had
fooled him and cause him to be deem as weak. Vail was a representation
of those illusion. Wesley always wanted to be the Hero. and this
time he was able to die as one.
[> [> I agree -- Seven, 23:47:51 05/30/04 Sun
The best part though, was not that he defeated Vail himself. He
couldn't. However, because of his passion to do what he feels
is right and for the greater good (teaching Illyria), Vail was
defeated. Not by Wes himself, but by the true humanity that he
inspired in a former God.
[> [> [> Re: I agree -- Re: Spoilery question
& I Agree, 11:52:10 05/31/04 Mon
luvthistle1,
i see what you're saying, that was truly a beautiful interpretation.
thanks a lot.
it didn't register with me why wes was assigned that fight until
you mentioned the illusion thing, and i recalled Vail being the
"lord of illusion" from Origin.
Seven,
i was also thinking of the insipring a former god function. but
it was one of those ideas in the back of my head that your post
sprung foreward. thanks.
[> [> [> [> excuse my dyslexia *grr* -- rsfayez,
11:53:41 05/31/04 Mon
Angel finale ratings
-- Cheryl, 21:45:16 05/29/04 Sat
http://www.thefutoncritic.com/cgi/gofuton.cgi?action=newswire&id=6607
ANGEL (WB) - The "Buffy" spin-off closed its five-year
run last week with all-time high viewership in men 12-34 (3.8/12)
and men 18-34 (4.0/12) not to mention finished second in its time
period in all male demographics and third in persons 12-34, females
12-34, adults 18-34, women 18-34, and female teens, according
to a network press release. In addition, the broadcast hit season
highs in persons 12-34 (3.5/10), adults 18-34 (3.8/10), women
18-34 (3.5/8), adults 18-49 (2.9/7), women 18-49 (2.9/6), and
men 18-49 (2.9/8), despite airing against a one-hour episode of
"American Idol" on FOX. Overall, said episode was also
the most-watched installment of the series in persons 12-34, adults
18-34, and adults 18-49 since November 2000 and women 18-34 since
May 2001.
Angel DVD Content Index now
online -- Ames, 12:43:24 05/30/04 Sun
As per Nino's request, I have indexed the Angel Seasons 1 - 3
DVD contents in the same format as BtVS Seasons 1-6 at http://tinyurl.com/3hy5b.
Click on "Angel DVD Contents here". This is for Region
1. I have added some information on Region 2 differences to the
BtVS table, but I don't have the information yet for Angel.
The stats for Angel:
In general the Angel DVD sets are sparse compared to BtVS - Season
4 alone of BtVS has 7 commentaries, compared to 6 in all of Angel
Seasons 1 - 3. BtVS Season 7 alone has more total footage of video
extras than all of Angel Seasons 1 - 3.
Season 1:
- 22 eps, Average episode length 42:50
- 2 Commentaries
- 29:14 of video extras
- large Art gallery with photos, sketches, blueprints
- 2 scripts + biography
Season 2:
- 22 eps, Average episode length 42:35
- 2 Commentaries
- 51:04 of video extras
- large Art gallery with photos and blueprints
- 2 scripts
Season 3:
- 22 eps, Average episode length 42:49
- 2 Commentaries
- 1:18:32 of video extras (includes a couple of deleted scenes
and screentests, not found on BtVS DVDs so far)
- Photo gallery
The longest episode so far is City of in Season 1, at 44:27. The
shortest episode is The Prodigal in Season 1, at 40:22. Angel
episodes didn't get shorter on average like BtVS did, but that's
because it started out short.
The longest extra feature so far is the Season 3 Overview on Season
3 Disc 6, at 33:43.
The DVD set with the most extra content so far is Season 3, with
2 commentaries and just over 1 hour and 18 minutes of video extras.
Disc 3 and disc 6 in each set have only 3 episodes instead of
4, and have most of the extras. One disc in each season set has
no extra content.
Region 1 is 4:3 aspect ration in Season 1, 16:9 thereafter.
Replies:
[> Woo-hoo! Thanks :-) -- Nino, 16:57:46 05/30/04
Sun
[> [> Favorite DVD extras -- Ames, 19:26:27 05/30/04
Sun
Just offhand, I would say that my favorite extras on the DVDs
released so far (Region 1 BtVS S1-S6, AtS S1-S3) are:
Best Commentaries:
Joss Whedon on WTTH and also OMWF
Jane Espenson on Earshot
Other features:
David Fury's OMWF behind the scenes (this is great!)
The deleted scene from Waiting in the Wings with Fred and Wesley's
ballet (also great!)
In general the season overviews are very good too, well worth
having.
In general I could do without most of the commentaries by directors
(and actors) - they aren't nearly as good at it as the writers.
Anyone else got other favorites?
[> Minor Correct -- amber, 22:29:57 05/30/04 Sun
Actually doesn't the R1 copy of Angel Season 3 have 3 commentiaries?
Commentary by Tim Minear and Jeffrey Bell on "Billy"
Commentary by Tim Minear and Mere Smith on "Lullaby"
Commentary by Joss Whedon on "Waiting in the Wings"
[> [> Re: Minor Correct -- Ames, 11:07:16 05/31/04
Mon
Thanks, you're right - the table correctly shows the 3 commentaries.
I've corrected the summary that said there were only 2 commentaries.
A cookie for all (longish)
-- Ann, 13:51:40 05/31/04 Mon
A Cookie recipe from the kitchen of Joss Whedon.
In Buffy the Vampire Slayer, there are many references to cookies.
A domestic metaphor that has meaning beyond its deceptively simple
recipe. It is a metaphor that offers a cookbook guide to pleasure
and joy, which is not something allowed in the ME-verse very often.
Given the power of this "joy", its twin is the contrasting
guilt, is used as a punishment for misdeeds. Baking "cookies"
is hard work as are spiritual journeys. Like a good cookies, too
many make you sick, so this metaphor is placed sparingly but effectively
all through the seven seasons of this wonderful show. Common metaphors
are used often in BtVS: shoes, shells, haircuts, glass and t-shirt
mottos. The use of these I think shows the writers intention of
showing the value of simplicity yet revealing the depth and heights
to which this show strives. She isn't "just a girl".
Cookie imagery is yet another use of a common metaphor that reveals
much about the characters depicted. These simple messages and
themes often can be the most powerful (See Anne's story and final
hurrah, S5.22 ATS for proof of ME's commitment to these kinds
of statements ;-). Buffy's journey comes to its final baked, and
some would assert, overdone (I disagree as you shall see) conclusion
in Chosen. Buffy chooses the cookie and it is SHE.
Well you're the real tough cookie with the long history
of staking little hearts, like the one in me*
Each reference to cookies involves one of the characters either
feeling pleasure, wanting a reward for a good deed or alleviating
guilt often associated with some kind of "locking up"
image whether a cookie jar, zip-locked bag, a closet, a memory.
It is even manifested in two biscuits filled with yummy goodness
like the goodness in the center of Oreos. We all have a sweet
center, we just need to find and unlock it with our own personal
journey. Cookies are intimately tied to and literally placed next
to this kind of "sealed" imagery.
Who took the cookie in the cookie jar?
Who me?
Yes you!
Couldn't be!
Then who?
Or
Who stole the cookie from the cookie jar?
Number 1 stole the cookie from the cookie jar
Who me?
Yes you!
Couldn't be!
Then who?
Regional variations aside, the questions remain the same? Where
the heck is the cookie? It is inside. Could this little ditty
parallel the shadow men's story, they who took power and used
a young girl as the cookie jar, a vassal if you will? They harnessed
a power, the cookie and locked it in this first slayer girl. They
formed a hierarchy of Watchers to control the cookie. Cookies
are little messages in our computers to link us to others for
ease of use. The shadow men linked this young girl to future slayers
and to powers beyond her and their comprehension and then needed
to control the cookie for their use. Tying into Shakespeare perhaps
as Whedon appropriately captures and placing the baking metaphor
in a more historical literary context: "My cake is dough"
from The Taming of the Shrew or perhaps the taming of a young
girl to be a slayer.
In the seven seasons of BtVS, this metaphor highlights the very
opposite ends of the continuum of emotion from joy to guilt, the
two sides of an Oreo cookie. I think this "locking up"
continues and expands the metaphor for the ever complex mix of
demon within, slayer within and book marking "I'm just a"
girl within that wants to be released. Buffy so wants to be normal
early in the series and the cookie metaphor begins very simply
exemplifying simple wants.
The first reference in BtVS is from Oz: What's my line part 2
(S2)
OZ: The monkey's the only cookie animal that gets to wear clothes,
you know that? You have the sweetest smile I've ever seen. So,
I'm wondering, do the other cookie animals feel sorta ripped?
Like, is the hippo going, 'Hey, man, where are *my* pants? I have
my hippo dignity!' And you know the monkey's just, (with a French
accent) 'I mock you with my monkey pants!' And there's a big coup
in the zoo."
Oz loves Willow and because their relationship is so young and
new at this point, a children's cookie is used to begin this metaphor.
The young innocence of new love is explored. Nevertheless, sexuality
is subtly and innocently acknowledged because Oz notes the animals
don't wear clothes except for the monkey. He is revealing his
inner desires with cookies. The joy he takes in Willow and her
sweet smile. Sweetness is important in a cookie. No bitter unsavory
flavors, just sugary sweetness. Moreover, these animal cookies
come packaged and sealed in a small box, usually in a circus boxcar
design, with jail type bars. Not unlike Oz's issues later on.
[Aside: Other children characters of note that don't wear pants
include Winnie the Pooh and Donald Duck. In "What was I Scared
of" by Dr. Seuss, there is something that steals children's
pants. Another reference to this phenomenon is in the Arthur series
with the "Scare your pants off stories" but it is finally
put to rest, submerged down into the ocean beneath and fully dressed
with Sponge Bob Square Pants.]
This metaphor, like Buffy, grows up quickly and suddenly. In Ted,
there were several cookie references: Ted S2
XANDER: If Buffy has to go to jail because of that creep I'm gonna
lose it. He's gotta be in there, Will. Uh, history of domestic
violence, a criminal record? (finds a zip-lock bag) Ooo! Cookies!
The potential pleasure contained in the zip-locked bag was locked
away from the Zander much the same way that Ted's former wives
were locked away. Willow and Zander do their Scooby job, research
Ted's life, and finds he has used special ingredients in his cookies.
He has marriages dating back many decades and dead wives in the
closet. The only method that Ted could control woman was with
drugged cookies. These zip-locked laced cookies Zander finds,
were just like his dead wives, drugged, dead and locked away.
No pleasurable cookies here. The dead wives were not allowed to
feel the joy and pleasure with cookies, which should be a metaphor
for the potential for marital bliss and joy. This metaphor, reflected
in Buffy's circumstance with the image of the ideal family in
this episode, allows her to look to adulthood I think, the dreams
of a family and how she fears it may not be in the recipe for
her because of her slayer calling.
In Go Fish S2
BUFFY: So something ripped him open and ate out his insides?
WILLOW: Like an Oreo Cookie. Well, except for, you know, without
the chocolaty *cookie* goodness.
The joy within cannot be experienced if your insides are ripped
out. This unnamed something that destroys is the angst Buffy feels
for her slayerness and perhaps for her concerns about Angel. The
Oreo cookie image is again used to show this layering theme of
demon within. It is almost a purgatory of sorts, this in-between
imaging of cookies, demon within girl, demon within the boy. Metaphor
for finding the sweetness within, the spiritual journey within.
It cannot be complete if torn apart. Cookies are literally placed
near these destructive happenings.
In S3, cookies are referred to with pleasure and reward but with
a backdrop of authority:
Bad Girls S3
WESLEY: Are you not used to being given orders?
BUFFY: Whenever Giles sends me on a mission, he always says 'please'.
And after wards I get a cookie.
The cookie re/ward is after "ward"s, as rewards of any
kind are not something the Watchers council is used to. Their
hierarchy precludes any "reward". No cookies for slayers
as "the long history of breaking little hearts" of slayers
on their 18th birthday is more their style.
Choices S3
MAYOR: That's my girl. (chuckles) Another cookie? Now. A package
is arriving tomorrow night from Central America. Something, and
I can't stress this enough, something crucially important to my
Ascension. Without it ... Well! What would Toll House cookies
be without the chocolate chips? A pretty darn big disappointment,
I can tell you. (giggles) Open your present. (she does) There.
That look on your face is my reward.
Both Faith and Buffy get cookies as rewards for doing good and
evil respectively from their authority figures, the Watcher and
the Mayor. In this sense, I think the Mayor becomes Faith's watcher
for all intents and purposes. The Mayor takes the reward from
her. He takes control and interestingly, the package he receives
is from "Central" America, reminding us of the center
of the cookie. He knows one has to go to the center. He, wanting
his ascension to make him special, uses a description of a tollhouse
cookie. The added-in ingredients, like the creatures he ingests,
are his chocolate chips. It is what will make him special. Once
again with there is packaging associated with cookies. This also
may represent the unfinished girl, the special-ness within, within
Buffy and Faith too, that can't be released yet, as they are the
slayers and are still gathering their ingredients. It is the baked
cookie waiting to be released. These add-in chips add another
dimension to Spike's chip. His add-in ingredient. His goodness.
It is what makes him "good".
Buffy acknowledges the cookie as reward in Wild at Heart S4"
BUFFY: And she wants me to lead a discussion group next class.
That means more work, right? Shouldn't she have a better reward
system? You know, like a cookie or a toy surprise like at the
dentist?
Here is a great contrast between reward and joy and pain. Too
many cookies will send you to the dentist. It is all related,
cause and effect. There is pain associated with growth, the drilling
away of the false system of learning. Buffy is still looking for
the path, the recipe. The journey continues.
In Something Blue S4 the tone for cookies changes:
(Willow bakes)
ANYA: How long are you going to keep making these?
WILLOW: Oh, until I don't feel so horribly guilty. I figure about
a million chips from now. Also, I have to detail Giles' car.
XANDER: Time.
GILES: A-ha.. Five past two. Thursday.
WILLOW: (To Giles) Look, cookies. A very not-evil thing I did.
Oatmeal?
GILES: Yes, very funny, they're chocolate chip. I can see them.
I still need my glasses, though. You could be more specific and
give me 20/20.
(Willow smiles and walks over to Buffy and Spike. Spike is tied
up once more)
WILLOW: Eat a cookie; ease my pain?
BUFFY: Mm. Better?
WILLOW: Well, baking lifts about 30% of my guilt, but only 7%
of my inner turmoil. Guess that'll just take awhile.
BUFFY: It'll happen.
Willow needs "cookies" to make her feel better. In fact,
the cookies she bakes look a little over done. Perhaps her soul
is already burned out with magic and her attempts to "feel
better", a very early foreshadowing of her misuse of magic.
Willow, as thinker, something she has always taken pride in, wants
to quantify everything and does so here. This negation of her
guilt is only partly successful. No Orlon window here, used for
changing memories and feelings but there is glass in this scene
with Giles glasses. Giles is not happy allowing this reward and
doesn't think Willow should not feel guilty. His use of his glasses
is so evocative to how he is feeling. (Glass generally plays a
huge role as metaphor in these two series: glasses, mirrors, windows,
Orlon, but that is discussed in another thread). Willow also has
to detail Giles car. She will clean out the inside, scouring the
guilt, and attending to the small details. It is also scheduled.
Can this kind of inner cleansing be scheduled? Willow thinks so.
Willow doesn't get the point here and this guilt stuff will eventually
lead her to other seasons full of chaos. She attempts to quantify
her guilt. She thinks that if she can alleviate her guilt with
this surprisingly religious attempt at salvation. Counting cookies
to relieve guilt is much like the Catholic practice of saying
prayers to get the dead out of purgatory quicker. She thinks it
is her get out of jail free card!
Spike acknowledges the power of the cookie here. However, he doesn't
know how to handle and contain this power, he is only able to
misuse it. Spike puts is so bluntly:
SPIKE: Don't I get a cookie?
BUFFY: No.
SPIKE: Well, I gotta have something. I still have Buffy taste
in my mouth.
BUFFY: You're a pig, Spike.
SPIKE: Yeah.. well I'm not the one who wanted, "Wind Beneath
My Wings" for the first dance.
Lyrics from this song reveals:
It must have been cold there in my shadow
to never have sunlight on your face
Spike wants a reward. He thinks he deserves it for being in Buffy's
shadow. He isn't sure what the reward should be; hence, he says
"a" reward. It is still generic to him. Perhaps this
is foreshadowing the receiving of his soul. It wasn't what he
was specifically asking for, but it is what he received. He wasn't
asking for his chip either, but it was what he received.
Part two next
Replies:
[> Part two (character and thematic spoiler for 5.22 in
above btw, sorry) -- Ann, 13:54:18 05/31/04 Mon
In Spiral S5 Spike again has a negative implication associated
with cookies:
XANDER: Would you give it a rest or...
SPIKE: Or what? You gonna toss your cookies on my shoes?
Maybe this is foreshadowing the realization for Spike about who
gets Buffy's "cookies" even this early in the series
with future knowledge of her sharing the power within. Right now,
it is a gross premature foreshadowing. Still has some baking to
do. Spike is not with the cookies. Zander has cookies that Spike
doesn't. He wants to misuse the cookies to clean out his mouth
in the first quote and worries that the cookie metaphor will literally
be inverted and will come out of Zander's stomach, his guts. Again,
with the inner/outer split. The purging of the inner that Spike
fears. Possibly even fears of the inner William being revealed.
He is concerned that the inner will be revealed. Personally, I
am thrilled to see the tie-in of the shoe metaphor with cookies.
My two favorite metaphors in this series are seen in one sentence
;-)
In Buffy vs. Dracula S5, Giles uses cookies as a reward and a
way to soften the blow to tell Buffy he might be leaving. Cookies
become a treatment. A method. A quantifiable way to reward he
thinks, very similar here to Willow counting chocolate chips to
rid herself of guilt. The treatment. But alas, it is a "little"
cookie Buffy is offered. Not a big chewy truly award winning cookie,
but a "little cookie". To bad for Buffy. Giles is just
beginning to realize that being Watcher isn't enough for him or
for Buffy. In fact, he wants to leave his path as Watcher and
that may be why he can only offer "little" cookies.
BUFFY VO: You wanted to see me?
GILES: Yes. Thanks for coming. Can I offer you some tea?
BUFFY: Oh ... no, thanks. Ooh, cookies. How come I rate the little
cookie treatment?
GILES: Well, actually, I have something to tell you.
BUFFY: Actually, I have something that I'd like to talk to you
about, too.
Later in the season, while babysitting Dawn, he gets to eat cookie
dough, a "youth"ful and fear filled experience for him.
He felt trapped having to baby-sit Dawn and never wants to do
it again. Him ingesting the uncooked cookie dough is revealing.
He has always had issues with the young. He is Watcher not youth
lover. He holds in disdain much about common youth culture and
barbs Buffy about it often. I think it has to do with his misspent
youth as Ripper. He says in I Was Made to Love You S5:
GILES: Oh, well, you go first, by all means.
BUFFY: What'd she make you do?
GILES: Um, well, we listened to aggressively cheerful music sung
by people chosen for their ability to dance ... then we ate cookie
dough and talked about boys.
Ripper never had this sort of innocent youth, and is bothered
by the purity of this. Boys that could dance, cheerful people,
and singers, these are not qualities for which a Watcher is chosen.
His listening to this, not watching in fact, with Dawn is painful
for him and I am sure it makes him aware of all that he is not.
All that he missed in his lost misspent youth. Then he got to
talk about boys. Being a Watcher, I think, would make for more
accurate conversation about girls, not boys. He was not able to
add any concrete contribution to Dawn's sitting and this is not
in his nature. He is a librarian after all.
In Smashed S6 Amy looks to cookies for comfort after having been
trapped (locked away imagery again) for sometime as a rat.
BUFFY: Well, I should ... let you guys catch up, I can-
AMY: No no no, stay. (twitchy) Do you have any cookies?
BUFFY: Uh, yeah, w-what kind?
AMY: Any kind. Not cheese.
BUFFY: Um, sure, in the, the kitchen, I'll just get 'em-
AMY: Oh no, I'll grab 'em.
and
BUFFY: Hey. How you doin'? Need anything?
AMY: No, thanks. Good cookies. (beat) Sorry about your mom.
BUFFY: Thanks.
Interesting that the first thing this girl Amy wants after have
been released from her rat-ness, is cookies. She can see the truth
about cookies, and wants her cookies. She wants a reward for her
time locked away as a rat. Cheese won't cut it after all. The
rat doesn't get the cheese and doesn't want it. She wants a cookie.
It is only after having a cookie that she is able to be kind to
Buffy, giving condolences about her mom. The power of cookies.
As S7 happens, Buffy's use of cookies changes. The baking is almost
done:
Empty Places S7
BUFFY: No. You don't get to vote until I've had my chance to pal
around, you know, get everybody drunk. See, I didn't get this
was a popularity contest. I should have equal time to bake them
cookies, braid their hair-
FAITH: Learn their names?
In S7, the image of the cookie becomes a chore; it reflects what
needs to be accomplished. It is not something that is enjoyed.
There is work to be done baking cookies, getting ready to battle
the First Evil. Buffy can't take time to do these domestic things
like braiding hair and baking cookies. She thinks she needs to
leave these decidedly traditional female occupations behind while
she takes on the general-style leadership roll. That decidedly
male occupation too will be discarded before she can share her
"cookies" in Chosen. She has to toss off both of these
standards to find her true calling.
And in End of Days S7
ANDREW: We need supplies and not just bandages and junk. These
girls need stitches and painkillers.
ANYA: Yeah, well, I could use a cookie but I'm not making reckless
wishes.
Anya more than any character understands the power of wishes.
The power of cookies. She can't choose them. However, Buffy can
and will. This was a nice foreshadowing placement of cookies I
think.
There is then the speech to end all cookie speeches:
Chosen S7
BUFFY: He's not. But... he is in my heart.
ANGEL: That'll end well.
BUFFY: What was the highlight of our relationship- when you broke
up with me or when I killed you? I'm well aware of my stellar
history with guys and no, I don't see fat grandchildren in the
offing with Spike. But I don't think that really matters right
now. You know, in the midst of all this insanity, a couple of
things are actually starting to make sense. And the guy thing...
(sighs) I always feared there was something wrong with me. You
know, because I couldn't make it work. But maybe I'm not supposed
to.
ANGEL: Because you're the Slayer.
BUFFY: Because... okay. I'm cookie dough. I'm not done baking.
I'm not finished becoming whoever the hell it is I'm going to
turn out to be. I make it through this and the next thing and
the next thing and maybe one day I turn around and realize I'm
ready. I'm cookies. And then, you know, if I want someone to eat
m- (covers) or enjoy warm, delicious cookie-me, then that's fine.
That'll be then. When I'm done.
ANGEL: Any thoughts on who might enjoy... do I have to go with
the cookie analogy?
BUFFY: I'm not really thinking that far ahead. That's kinda the
point.
ANGEL: I'll go start working on the second front. Make sure I
don't have to use it.
Angel fears the cookie analogy. It has a long history with him
too. He as Angelus admits in S2 ATS that he loves cookies in the
form of nuns: Dear Boy
ANGELUS: Convents! They're just a great big cookie jar.
Again with the locked up "cookies". Nuns trapped in
a nunnery by Angelus would be a wonderful source of death and
cookies for him to enjoy as he admits he has a thing for convents.
Here his need for cookies is explored. Therefore, Angel would
prefer not to go with the cookie analogy. This just shows how
much more baking Angel needs to do.
I don't want to leave this essay without discussing a little bit
about the sexual component to this metaphor. I don't think it
is the strongest interpretation of this metaphor. It undercuts
the power of this metaphor to only focus on "cookies"
in that way. Cute jokes, yes, of course. Yes, Angel and Spike
and other's want Buffy's "cookies", they can see the
power of the cookie and its pleasures, but I think this can be
construed as just another outlet for the baking that has to be
done by the characters. It represents the energy that is held
within that needs expressing. It needs to be released just as
the Slayer power is released in Chosen. This energy, the baking
process, is bound like the cookies in the bag, in the cookie jar,
in the center of the Oreo. This center is what Buffy finds in
Chosen and accepts it for herself. Buffy takes back the
cookies from the cookie jar for herself. She doesn't need Angel
and Spike or anyone else trying to contain her. Like Ted, Spike
and Angel need to realize that Buffy cookies are not to be hidden
away for them, but allowed to be finished before being "eaten".
This cookie dough speech becomes the voice of Buffy rewarding
herself with herself. She is her own reward. She should be able
to enjoy her own recipe whatever that recipe turns out to be and
not feel guilty for its ingredients or the method in which these
cookies are made. The two sides of this cookie metaphor reward
/ pleasure and guilt, so well represented occasionally by an Oreo,
shown with several characters are finally baked and completed
with this speech. Only when Buffy can share her power, does she
realize she is still unbaked. Her journey will continue as she
continues baking, continues on her journey. The power of the cookie
has been unleashed and shared. No more cookie jar for Buffy. This
wasn't some "tossed in for the final episode metaphor"
because the writers couldn't think of anything else. There was
a pattern of its use all the way through seven seasons. Some think
it a lame speech, as domesticity is often denigrated, but it does
finish a metaphor that exults in a very domestic way (irony indeed
as Buffy had few traditionally domestic talents), Buffy's growth
and "baking". This final speech is not a stand-alone
metaphor, it has been used throughout the series for joy and guilt
and much of what Buffy was feeling in Chosen. Buffy found the
ingredients for her cookies, got to gather and mix the ingredients
for her cookies, and began to start the process of baking her
cookies. The joy of giving away your cookies, her slayer power
freely, while choosing to keep baking herself is so wonderfully
expressed in Buffy's final smile. She got her cookie. It wasn't
chocolate, it was HER.
Thanks for reading.
Ann
----------------------
Quotes from Buffy Dialog Database at http://vrya.net/bdb/
*Apologies Pat Benetar: Hit me with your best shot
History of Cookies: http://www.joyofbaking.com/cookies.html
Everything you ever wanted to know about cookies: http://www.websters-online-dictionary.org/definition/english/co/cookie.html
They even quote BtVS.
[> [> An oddly interesting piece of research. Nice work!
-- CW, 16:36:12 05/31/04 Mon
I guess you were mostly interested in BtVS. But, If I didn't miss
it in your essay, there is a big cookie reference with Buffy on
AtS as well. When Angel starts living and breathing in "I
Will Rembember You," one of the first things he eats is cookie-dough
ice cream with Buffy beside him.
[> [> [> Re: An oddly interesting piece of research.
Nice work! -- Ann, 04:42:03 06/01/04 Tue
Perhaps that will be the next essay after I watch all the series.
Still catching up on Angel's earlier seasons. Interesting that
Angel, while finally able to be with her in that episode, also
gets the cookie dough. He gets the girl and the dough. I wonder
how that works with any other cookie references in AtS. I only
know of the one I cite in the essay about convents.
[> [> Great read! Thanks for posting this. -- Katrina,
09:55:39 06/02/04 Wed
[> Re: A cookie for all (longish) -- StarryNightShade,
18:15:23 05/31/04 Mon
Ann,
Thanks for the wonderful, tasty analysis.
I might add that cookies are baked in the kitchen, which in Jungian
analysis is a symbol for alchemical transformation (i.e. of an
individual in their spiritual journey). Pretty consistent with
what you've written.
SNS
[> [> Re: A cookie for all (longish) -- Jane, 18:34:16
05/31/04 Mon
Ann, this is delicious work! I really like the way you have followed
the cookie crumb trail from start to finish of BtVS. I agree,
this gives the setup to the cookie dough speech, shows it wasn't
just pulled out of the oven half-baked by the writers. :) Also
liked the point made by CW that newly human Angel in IWRY got
to enjoy some cookie dough goodness with Buffy ;) but since neither
Angel nor Buffy was done baking, the dough spoiled.
[> [> [> Addition, Gingerbread -- Ann, 04:35:01
06/01/04 Tue
Thanks Jane. Didn't do a title search so I miss Gingerbread completely.
No cookie references there other than the title. May be telling
though.
Buffy: And Mr. Sanderson from the bank had it coming? (sighs)
My mom...
said some things to me about being the Slayer. That it's fruitless.
(shakes her head) No fruit for Buffy.
Uusally it is a cookie for Buffy. But none here. The phrase has
been changed to fruit. I am thinking this may tie into the children,
as they are the "fruit" of their parents.
There is cake reference though in the Black Forest.
Xander: Wait. Hansel and Gretel? Breadcrumbs, ovens, gingerbread
house
This might be what happens when cookies go wrong. Maybe what happens
when one is not on the right path? The gingerbread house is her
mistaken view of a fantasy life that may be highly decorated and
sweet but it is false. She needs to find her own path, not one
made by someone else. Perhaps Buffy is being reminded that no
one can take her off her correct path, not her mother, not a local
political group. Angel reminds her of the reasons she is doing
this. He helps gets her on the right path like she did for him
in Amends.
Angel: We never will. That's not why we fight. We do it 'cause
there's
things worth fighting for. Those kids. Their parents.
Buffy: (has an epiphany) Their parents.
Angel: Look, I know it's not much.
Buffy: No. No, it's a lot.
No snow here but maybe some dusted confectioners/icing sugar.
[> [> Re: A cookie for all (longish)(small spoiler TGIQ)
-- Ann, 04:59:34 06/01/04 Tue
Location is important I think. The kitchen is often referred to
as the heart of the home, the center of the home. It is only here
that spiritual journeys can happen, in the center. The Oreo cookie
comes in handy to signify that. Your description of alchemical
transformation makes me think of wizards and potions, taking control
of the elements. I think Buffy, while still baking, is still finding
her elements, her ingredients. Maybe she is a biscotti, twice
baked for ease of use in the proper way. Made harder, more invincible.
But she isn't ready for dunking yet. (The Immortal doesn't have
a say here even if they are in Italy together.) I could go with
the baptism dunking metaphor here too. The paths she takes. Back
to the cookie crumbs on the paths of life.
[> Joss Whedon and Cookie Dough -- StarryNightShade,
08:08:15 06/01/04 Tue
Ann,
Darn...you've gone and done it. Last night I woke up thinking
about cookie dough.
While it's interesting to discuss the characters in relation to
cookie dough, the real connection is between Joss and cookie dough
since these characters are the children of his creativity. I like
the way you've laid out how this theme occurs again and again
throughout both series. Clearly, it's an important symbol for
Joss....or why else would it come up so often. So my mind started
to wonder....or is that wander :-) .... at 3:00 AM.
When Angel refers to the convent as one big cookie jar, is Joss
not equating "drinking of blood" with "eating a
cookie"; and blood is symbolic the essence of life. If that's
the case there might be a parallel theme to "eating cookie
dough" when a pregnant Darla says, "Oh, I love childrem.
I could just - eat them up." Later in the same episode (Offspring),
Angel says, "Our child. Ourchild. Our child. That's why you've
been craving purer and purer blood. That's why it's been driving
you out of your mind. It has a soul." If there is a parallel
between eating cookie dough and drinking blood, what does this
say about the purity of cookie dough versus baked cookies. One
thing that comes to mind is that in baking your own cookies you
have to integrate some of your dark side. One theme for both Bvts
and Ats. There's another interesting connection to cookies / baking
with the pregnant Darla. On the Ats Season 3 DVD a writer talks
about Darla and refers to the infant "in the oven" being
just about done at 8 1/2 months. It's not just the infant that's
just about done, so is Darla. Joss is done with her character
at the "Lullaby". She die-dies, which means that she
dies and it's unlikely Joss will bring her back except in flashbacks
or dream sequences.
With respect to "I will Remember You" and cookie dough
references there, I agree that both Buffy and Angel are cookie
dough, but I don't see it as muc that the cookie dough spoiling.
Rather, Angel (and Buffy to some extent) realises that IF it were
to continue then there'd be a big belly ache. Actually, I prefer
to think of this episode as a treat to the fans....that little
bit of cookie dough that mom / dad /or who ever made the cookies
when you were a child would offer you...at least my mom did. It
was a special treat, but just a little as too much would indeed
mean a belly ache.
So Angel actually gets Buffy's cookie dough three times...once
in "Surpris" when they have sex for the first time,
one in "Graduation, Part II" when he drinks her blood,
and, of course, in "I will Remember You." [As an aside,
some people have said that Buffy didn't like the "drinking
blood" thing and tries to push Angel off her...yet she's
still able to smash a coffee table and squish a metal jug....perhaps
she's more conflicted than people thought...and the act is a not
so subliminal substitute for sex.] Given all that, it's quite
right that after all that both Buffy and Angel need to do some
baking of their own cookies.
However, when are one's cookies baked in real life, if ever? So,
I feel that Buffy's (Joss's?) reference to cookie dough in "Chosen"
is a statement that Joss isn't done with these characters yet.
There's still more to be learned from their trials and tribulations.
So, there'll be no baked cookies and "happily ever after"
for Buffy and whomever. Not that I'd think that Joss would ever
have a "happily ever after" ending for a character,
simply because there is no such event in real life. The best we
can hope for is when we come to the moment of our deaths to say,
"it was a good life"...."the half-baked cookies
weren't too bad". As the Buffy/Angel-verse purpose is to
tell stories with relevance to our lives, there is no purpose
in "happily ever after" or in fully "baked cookies",
except when the character die-dies.
This may not be a rigorous analysis, but as I get older and older
I realise that I can't extricate my subjective self inorder to
do so....so, it's mostly stream of consciousness stuff...which
could very likely change next week. Perhaps it's my character
with a little help from the shock in my Physics education in discovering
that objective observation is somewhat of an illusion. (Read the
Tao of Physics if you want more on that.)
Thanks for reading this far.
SNS
[> [> Spoilers above for Ats Season 3 if you're playing
catch up like me -- SNS, 08:21:13 06/01/04 Tue
[> Chewy goodness, Ann! I had to save this for later review.
-- Briar Rose, 16:26:16 06/02/04 Wed
[> Connor, cookies and Benediction -- Ann, 10:40:37
06/05/04 Sat
In my first time watching Benediction this morning, Connor was
eating Oreo cookies. It is just after he and Angel have a playful
moment when Connor goes back to talk to Holtz. He and Holtz are
sitting at a table and talking. Connor has wrappers strewn on
his side of the table while he is eating, licking, scraping the
center from an Oreo cookie. He gets his "cookies" after
discovering his real dad is not the creature Holtz described.
He is able to get his cookies after having a real moment with
his real dad. I really love this metaphor. I will keep looking
for more!!
[> [> Re: Connor, cookies and Benediction -- Masq,
16:07:16 06/06/04 Sun
That's such a cute and genuine moment--both of them, Connor discovering
the chocolatey-goodness of Earth and the play-fight with Angel.
Of course, I have my play-fight icon for getting happy warm fuzzies
on LJ, but Connor eating cookies is my mood icon for "hungry"
and "stressed out". ; )
Hope you're enjoying the end of season 3!
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