September 2003 posts
I
missed my chance... so I'm posting thoughts on "Prophecy
Girl" a little late... -- Q, 15:36:07 09/06/03 Sat
My computer was down for a few weeks, but I wanted to post some
light thoughts on Prophecy Girl
Prophecy Girl
Grade: A (almost +)
Hands down the best episode of season 1. The High School Horror
Metaphor ended up being a whole life horror metaphor-death. This
is the episode that showed us how dark this show could be. Cordelia
and Willow walking in on the dead boys, with the blood on the
TV as the 3 little pigs danced happily sent a shiver down my spine.
So did so many other scenes, Buffy hitting the ground and then
pulling out a stake at the first of the ep, "I'm 16, I don't
want to die (the whole scene), and the subsequent scene with Joyce
(Jonathan Brookes "Inconsolable" was perfect for this
scene!). So much emotion. This episode had me crying crocodile
tears sometimes, out of my chair in excitement in others.
Soooo much character development too!
We see what Buffy is made of, and her commitment to her birthright,
when she is willing to die for what she believes in.
Xanders takes the final move, is shot down, and a serious death
knell rings for the love triangle of season 1.
Angel is back, and it is obvious this relationship isn't as dead
as we thought.
Cordelia is a scooby.
Giles shows his true love for Buffy... and his knockout total
goes up to 4 because of it.
You know, I don't have as much to say as I thought I would. It
was just a great episode. The best musical score of the season,
great lighting, great story-everything was great.
And it sets up so much in season 2!
Kendra Jenny/Giles Angel/Buffy Cordy as Scooby etc.
[> Oh... AND "When
She was Bad" -- Q, 15:39:11 09/06/03 Sat
When She Was Bad
Grade: B-
While watching this episode, I had a very similar adverse reaction
as many fans had watching season 6-I understood what was going
on, I understood the need for that, but I still couldn't bring
myself to enjoy watching it! Getting killed could not be an easy
experience, and we see in this episode that it is not without
consequences. Joss has said it needs to be earned, so to forget
the major trauma Buffy went through in "Prophecy Girl"
would be too easy. So we watch as she struggles through her "issues",
unable to talk to anybody, bottling up the pain, and taking it
out on the ones she loves. Like I said, I get it-but I can not
stand watching Buffy act this way! The "sexy dance"
when she "mated with" Xander was especially painful.
Watching her hurt that many people was too much! Angel, who loves
her has to watch in heartbreaking pain as she throws herself at
another man, in as cold as manner as possible, knowing he is watching.
She is intentionally hurting Angel in as malicious a way as possible.
Willow, who loves Xander, has to watch him be seduced by the girl
who is supposed to be her best friend, the second heart broken.
And Xander, who loves Buffy, has to put up with somebody who is
supposed to be a friend being a total tease, when he knows she
is never going to act on it. 3 people smashed, and Cordelia cares
more than Buffy! This was very painful.
That being said, there was a lot to like here. The plot was scary
and exciting. The season is set up well-we know Xander will be
pining again for Buffy (oh, so close Willow!!!), Willow for Xander,
Angel and Buffy for each other, and Giles and Jenny for each other.
Snyder will continue being a pain in the ass, and the Annoying
one will continue to lead.
The library trap sets up at least two similar situations down
the road.
And Giles knockout total reaches 5.
A good episode, but not very entertaining or easy to watch.
com/14567/1/1420.html?e=1">Edit]
OT: Can anyone
recommend a mythology reference text? -- sdev, 16:05:26
09/06/03 Sat
[> Re: OT: Can anyone recommend
a mythology reference text? -- Ray, 10:28:25 09/07/03 Sun
www.behindthename.com
It's not mythology, exactly. But it has the origins of mythological
names etc. and it can give you an idea of it. Either way, it's
an interesting site.
[> [> Interesting site.
TY -- sdev, 15:16:53 09/07/03 Sun
[> What kind of reference
are we talking about here? -- leslie,
14:45:04 09/07/03 Sun
Do you want to know about the content of specific mythologies,
about comparative mythology, about interpretation? Do you want
a really basic text or something theoretically advanced?
Mythography by William Doty is a good overview of the approaches
that have been taken over time by academic mythologists. Sacred
Narrative edited by Alan Dundes is a good introductory compilation
of theoretical approaches, too.
The Larousse Encyclopedia of World Mythology is a good
quick overview of the content of the major world mythologies.
Mythologies edited by Yves Bonnefoy and Wendy Doniger is
a very advanced encyclopedia with a strongly French theoretical
underpinning, but it covers a lot of the more obscure nooks and
crannies of mythology that you won't find most other places--small
Central Asian tribes, Romantic European literature, modern fantasy,
pre-Roman Italy, etc.
Robert Graves's Greek Myths is idiosyncratic but very thorough
and provides many, many variants for each myth. Norse Mythology
by John Lindow is an encyclopedia-format book covering "deities,
themes, and concepts" as well as a good introduction. The
Dictionary of Celtic Myth and Legend by Miranda Green is good
for the Celts--covers both literature and archaeology. There is
a series called The Library of World Myths and Legends published
by Peter Bedrick that is a set of culture-specific volumes offering
a basic, quick overview of each mythology with a lot of good illustrations.
However, they are very erratically in print, so you have to search
for them.
If you have access to a good reference library, The Encyclopedia
of Religion edited by Mircea Eliade is quite good, and if
you're into old-fashioned Frazerian mythological collections,
James Hasting's Encyclopedia of Religion and Ethics just
can't be beat. It's about the size of the Encyclopedia Britannica.
Only place you can find essays on, say, shoes in religion and
mythology.
[> [> Thank you and another
question -- sdev, 15:14:26 09/07/03 Sun
I have an old Edith Hamilton. I was looking for something of wider
world scope (not just Greek/Roman)but theoretically basic.
Also while I have your attention, which Joseph Campbell would
you recommend to someone who has read none, you all have piqued
my interest.
[> [> [> Re: Thank
you and another question -- aliera, 06:15:47 09/08/03 Mon
Online you might try: http://www.mythinglinks.org/home.html
[> [> [> Re: Thank
you and another question -- Rendyl, 12:07:21 09/08/03 Mon
You could always start with 'The Power of Myth' but it seems more
like Campbell-lite to me.
(it is what I usually recommend to friends who don't read anything
on the subject)
Maybe 'The Hero With a Thousand Faces' would be a better starting
point?
Ren
[> [> [> Joseph Campbell
-- Miyu tVP, 12:19:04 09/08/03 Mon
I can't help much with the mythology - I'm all over the greco-roman
stuff, but not much help beyond that...
as for Campbell, I too am just gettting in to his works. An excellent
starting point is the PBS miniseries "The Power of Myth"
or the accompanying book. It covers a broad range of topics and
introduces you to his approach to myth. After that, I believe
his seminal work is "The Hero with a Thousand Faces."
For greater detail, I am moving into the Masks of God set.
Hope that helps.
Faith vs Riley
-- JBone,
20:09:40 09/07/03 Sun
Man, I would like to get my hands on her. Not in a sex
way.
http://www.geocities.com/road2apocalypse/showtime.html
It's another week of carnage at the Apocalypse. The Tiebreaker
Council this week are Masq, Diana and Rob. I put up a Sweet 16
page, but I haven't had time to link it up yet, but you can check
it out here.
Post comments here, at the voting site, or email me.
[> Re: Faith vs Riley
-- Apophis, 22:04:57 09/07/03 Sun
Please, ass-kicking is foreplay for Faith (as Riley knows by now...).
I don't care how many neat scars he has, Riley is still too whitebread
to accept the idea of Faith, let alone the reality. Not only would
she beat the snot out of him, she'd put him in an awkward marital
situation by dropping insulting comments about his bedroom prowess
in from of his wife, What's-her-name. By the end of this match,
Riley is sleeping on the couch in a body cast while Faith heads
off to a work off some steam with some lucky bastard.
[> Much as I like Riley--
-- HonorH, 22:19:36 09/07/03 Sun
Sorry, but Faith takes it here. Agent Finn couldn't take a Slayer
even while hopped up on the Initiative's finest. Good fight, but
he's out of the running. Faith triumphant.
[> [> Re: Much as I like
Riley-- -- MaeveRigan, 07:59:14 09/08/03 Mon
HonorH has it right this time (as she so often does)--Riley's
no match for a Slayer, good, bad, or reformed. South America,
here he comes.
[> Faithie-poo vs. Ri-Dogg
-- deeva, 22:50:14 09/07/03 Sun
She can get that man wrapped around her pinky (or other parts!
Heh, naughty, naughty.) in no time. He's never met anyone like
her. Well, unless you count her "sister", B. Ri-baby
won't know what hit 'im.
[> Re: Faith vs Riley
-- Anneth, 23:23:50 09/07/03 Sun
Mmm, I'm not even gonna pretend there's some sort of real contest
here. Physically, Faith would beat Riley to a pulp in 3.5 seconds.
Faith also wins just about every popularity contest one could
throw at her - she's hot, she's tortured, and she's got truck-loads
of personality. Poor cute, sweet, tortured-but-it-just-ain't-the-same
Riley is left playing 16" softball with no mit when Faith's
smacking homers into the next state in the big league. Faith victorious.
(And I don't feel that badly for Riley - he has a nice boobie-prize
to mope home to. By which I mean that his wife is a metaphorical
consolation-prize, you gutter-minded people, you! What the heck
did you think I meant? Sheesh.)
[> Sorry, I voted for Riley
-- KdS, 03:24:50 09/08/03 Mon
Poor bastard gets nothing but contempt, just for having a heartbeat
and no on-his-sleeve psychopathology. And to justify it, Faith
sees those puppy dog eyes and gets a flashback to the moment when
she discovered that sex wasn't necessarily just a de Sadean exercise
of power. Riley stun guns her while she's still in the moment...
[> Re: Faith vs Riley
-- Caira, 04:30:54 09/08/03 Mon
Ah, Riley; apparently his pulse was just too strong for the viewers
to like him, poor bastard. ;o) While he's virtually the poster
boy for fan underappreciation, there's no doubt, particularly
in his Initiative-fuelled phase, that there would be few human
beings (those with serious magical training excepted) on Earth
better qualified for taking on an experienced Slayer one-on-one.
Which means Faith'd take two whole minutes to mop the floor with
him. (I've got nothing against the guy, but let's be realistic
here...)
[> Re: Faith vs Riley
-- Celebaelin, 05:18:08 09/08/03 Mon
Gotta say that Riley is gonna get trounced in this one. Agent
Finn, always the realist, knows this as well as anyone but goes
through the motions in his fatalistic, dutiful way. All gadgetry
is off limits because that would be cheating and Faith's already
come round to the Dudly Do-right perspective. All in all it's
just as well Riley's got so much experience of camping as there's
a very good chance that he'll be spending the next two weeks in
an oxygen tent.
[> Poor Riley. -- cjl,
08:54:47 09/08/03 Mon
He's got the cool super-secret Army job with the kick-ass benefits
package. He travels around the world battling the forces of evil
with the latest military hardware. He's got the wife with the
heart of demon fighter and the body of a supermodel--but he's
never going to win our love. You know what? He doesn't need our
love. (I voted for Faith, but I still like Riley.)
[> Kudos JBone -- s'kat,
16:06:21 09/08/03 Mon
This combat challenge is actually starting to look interesting.
We have Cordelia vs. Fred
Buffy vs. Gunn
Spike vs. Lilah
Angel/Andrew vs. Dru/Darla?
Willow/Jenny vs ?/Tara
Xander/Kate possibly against Anya/Lorne?
Ripper vs. Dawn!
Faith/riley vs Mayor Wilkins/??
(now I really want to see some of these battles acted out)
Really cool matching ups of characters...good job!
(yeah I know the voters helped, but your arrangement made the
battles interesting. I don't know about any one else
but the battles I want to really see are Angel vs. Drusilla or
Darla, Drusilla vs. Darla, Willow vs. Tara and Xander vs. Anya
and Faith vs. the Mayor! Now that could be a fanfic worth writing
or filming!)
[> [> Your post raises
an interesting question... -- Apophis, 19:07:51 09/08/03
Mon
What if these were tag-team matches?
(Angel/Andrew vs. Dru/Darla?
Willow/Jenny vs ?/Tara
Xander/Kate possibly against Anya/Lorne?) etc.
quick, before
it's over! happy birthday, cjl! -- anom, 21:14:17 09/07/03
Sun
We had ourselves a fine party at Two Boots & then some of us went
to see American Splendor--highly recommended! Still couldn't
leave, though--we hung around the subway entrance discussing Buffy
& Angel for a while longer. Nice way to spend a Sunday
afternoon, even for those not having a birthday!
[> Did not realize it was
your BD-- Happy Belated! -- sdev, 21:55:46 09/07/03 Sun
[> Happy Birthday, cjl!!!
-- Rochefort, 22:01:25 09/07/03 Sun
[> Happy Birthday, cjl!
:-) -- OnM, 22:12:43 09/07/03 Sun
[> Birthday spankings to
cjl.......;) -- Rufus, 22:16:37 09/07/03 Sun
[> Wow, happy birthday!
-- KdS, 03:26:31 09/08/03 Mon
[> And a belated one fron
another Virgo! -- Marie, 04:00:51 09/08/03 Mon
[> Happy birthday cjl!
-- Masq, 06:18:07 09/08/03 Mon
[> Doing the happy belated
birthday dance!! -- ponygirl, 08:05:39 09/08/03 Mon
[> Thanks, everyone. And
to the upstate contingent of yesterday's meeting... -- cjl,
09:24:26 09/08/03 Mon
I have to apologize. It wasn't fair to subject you to six hours
of driving only to get two plus hours of lunch and conversation.
Fifteen people and conflicting schedules did us in. For the next
New York meeting, I'm going to let the Darbys do the planning
and I'll drive the Brooklyn contingent upstate. (Darb, Sara--it's
your ball.)
Still, it was wonderful seeing aliera again (and her son) and
I always enjoy the Darby clan, the first family of ATP. Shadowkat
gave me Pullman's Dark Materials trilogy for my birthday. Rob
proudly displayed autographed DragonCon photos of Andy Hallett
(with and w/out makeup), James Leary (with), Danny Strong, and
one of Rob and his new love, Iyari Limon. (No Marsters, though--which
disappointed shadowkat no end.) I finally got to meet sdev, and
we might have a mini-meet soon with me, anom, sdev, sarand and
s'kat getting together at lunch time in mid-Manhattan.
Again, great seeing everyone again. Next time (to reverse an Elvis
song title), a little more conversation, and a little less action.
[> [> Happy Birthday...and
one quick correction -- s'kat, 15:50:49 09/08/03 Mon
"we might have a mini-meet soon with me, anom, sdev, sarand
and s'kat getting together at lunch time in mid-Manhattan."
Dariel, not sarand (sarand couldn't make it - because she just
had a baby...).
Oh and Happy Birthday!!!
[> [> Happy Birthday!
We had a lovely time. -- Sara, reaching out and catching the
ball, 16:44:12 09/08/03 Mon
Happy Birthday cjl! Sorry we forgot the card, but sadly, it is
a very typical occurance in our family. I've actually developed
a stockpile of birthday cards that were purchased for someone
and then never managed to reach their destination. Hopefully,
yours will soon be wending it's way too you the old fashioned
way. (Since Darbs is in charge of that, the odds are favorable.)
We will be thrilled to have the next meet up here, lots of fun
places to choose from. Darbs and I may have to start some serious
research on local restaurants - oh the pain of it all... "Well
dear, I was going to make a meatloaf, but than I remembered that
we had to find a restaurant for the next mini-meet! Reservations
are at 6:00." Yeah, I think we can handle this.
Great seeing everyone, old and new! Hurrah for the mini meets!
And sophie - thanks for the anti-virus recommendation - so far
I really like avast!
[> [> lunch meet!
-- anom, 19:40:56 09/08/03 Mon
Turns out a few of us work in the midtown area, so far ranging
from ~30th & Park Av. to Madison Av. in the upper 40s. And we
thought it'd be cool to have lunch together, someplace central
so nobody has to walk too far. To avoid any concerns about dietary
& budgetary needs, howzabout we meet in Bryant Park, where you
can buy something at a food stall, bring restaurant takeout food,
or brown-bag it?
But we'd need a backup indoor location in case of bad weather,
& I'm not familiar w/what's in the area. Any suggestions? Actually,
I do have one: the café in the recently reopened (yay!)
Coliseum Books. I don't know how they are about bringing in outside
food, & I have no idea how their own food is--anyone else know?
or have a better idea?
And does anybody else work in the area? So far there's me, cjl,
Dariel, & sdev; I hope people w/open schedules due to student
or un-/self-employed status will also come (s'kat's in; how about
Rob? SugarTherapy?) As far as when, the best time for me is this
Thursday or Friday, when I'll be working in-house in the area--is
that too soon to make plans? I could come other times, depending
on work schedule, but I'd rather save the subway fare!
Speaking of ST, I'm sorry you didn't get to the meet on Sunday.
I hope you'll be able to come to another one soon! And sdev, nice
meeting you--chime in on this lunch meet idea, OK? Everybody,
what's your availability? What time would be best?
And hey, west coast--how was your meet? Sorry we didn't
get the e-link together, but the required equipment on our end
left early w/the upstaters. Well, I tried--I nudhzed as much on
the board as I dared w/out (I hope) getting annoying! Hope you
guys had a great time!
As for the upstate meet, if you're driving, cjl, could 1 or more
Manhattanites hitch a ride? And if that's gonna be the next
meet, it'll have to be before mid-November, 'cause I want a meet
for my birthday too!
[> [> [> Re: lunch
meet! I'm in -- sdev, 21:49:12 09/08/03 Mon
It was great meeting everyone (but too short!) and seeing pictures
of the Vancouver meet.
Thursday is often ok, Friday harder. This Thursday or next Thursday(9/18)are
open barring the unforseen work disaster.
And what's the date on that BD?
[> [> [> [> this
will probably be even shorter! -- anom, 22:07:47 09/08/03
Mon
A weekday lunch won't give us much time, but w/a smaller group,
at least we can all be in the same conversation!
I have no preference btwn. Thurs. & Fri., but this week is definitely
preferable, if possible.
My birthday is November 13. That's a Thursday, so I'm not expecting
a big bash on the day itself--probably that weekend. On the other
hand, if my midtown client has me working in-house again that
day.... @>)
[> [> [> [> [>
Would prefer mid-town meet for next Thursday (9/18) --
cjl, 10:21:29 09/09/03 Tue
[> [> [> [> [>
[> Agree-prefer 9/18 to 9/11 -- sdev, 13:27:31 09/09/03
Tue
[> You didn't mention that
to us! -- Isabel, 11:40:57 09/08/03 Mon
Happy Birthday! It was a lovely day, wasn't it?
Classic Movie
of the Week - September 7th 2003 -- Anneth & OnM, 21:48:18
09/07/03 Sun
********
Personal responsibility is a difficult thing to ask for in a nation
which has attempted to find a societal "root cause"
for all things.
............ Shapley R. Hunter
********
Universal education is the most corroding and disintegrating poison
that liberalism has ever invented for its own
destruction.
............ Adolf Hitler
********
Our schools have been scientifically designed to prevent over-education
from happening....The average American
[should be] content with their humble role in life, because they're
not tempted to think about any other role.
............ William Torrey Harris, (U.S. Commissioner of Education,
1889)
********
Power is not only what you have but what the enemy thinks you
have.
............ Saul Alinsky
********
To be, or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
............ William Shakespeare (from Hamlet, 1602)
********
Well, I was right again-- it's now officially September. I suppose
that there was always the very small chance that
the world would end (and thus prove me wrong) when I stated last
week that it would soon be this particular
month. Of course, there was also the chance that I might
have ended before the new month took form,
but then you would have to get into the philosophical debate about
the relevance of point of view to the
proceedings. You know, if I'm deceased, does the world go on?
To me, obviously not, but to ya'all, it's just
another day, right?
Point of view is such a slippery thing. What was Mayor Wilkins'
term-- a greased weasel? OK, he was talking
about souls, but I feel like I can fairly cop the phrase for the
sake of allusion. The trickiest thing about POV is that
it's often contagious. I mean, there you are, just truckin' down
the street, and you see someone standing on the
corner, head craned back, looking up into the sky, an astonished
look on his face, sheer amazement. How many
of you could resist doing the same? Is it a bird? Or a plane?
Or advertising?
So you look up, and you don't see anything out of the ordinary,
but as you come to stand next to the man with
the inclined cranium, he's still gazing heavenward. So you look
harder, but still-- nada. You look over at
him and ask what he's looking at, he momentarily lowers his gaze
and stares back at you, incredulity on his
countenance. "What?" he says, "you don't think
that's bizarre?" He raises an arm, points at a specific location
in
the air. "No normal aircraft moves like that."
You look again-- and this time the airplane you saw before, a
perfectly mundane looking but fast moving dot,
makes a sudden right angle turn and moves off at an even higher
velocity. All without any sound, or vapor trail.
You're taken aback. "Hey! That is weird," you tell the
man.
The man looks down again, shrugs, and walks off, without saying
another word. You keep scanning the sky,
looking to find the odd dot once again, and there it is, bouncing
and jogging around like-- like-- oh, crap. That's
not a plane, or even a UFO you suddenly realize, it's just one
of those pesky little eyeball floaters you've been
increasingly plagued with in recent years. The power of suggestion
put you in just the right position to accept the
highly questionable, and you fell right in. Ahh, you think,
continuing on your way... what a moron I am.
Then the other side of the mental coin flips, and you start wondering
but what was he looking at??
Keeping in tune with the general movie theme here, the adventures
in sycophancy we are visiting this week
around recalls a scene from Hardcore, a rather mediocre
film from years ago that starred George C.
Scott as a father who was trying to track down his runaway daughter,
who he had reason to believe was mixed
up in a porno movie scam of some nasty kind. Failing to get any
leads from the conventional sources-- police,
detectives, etc.-- he eventually teams up with a prostitute (Season
Hubley, if I recall the actress correctly) and at
one point during the search they start to talk about how human
behaviors that seem objectively outrageous to
most persons can become accepted as perfectly normal after a while.
"For example", the prostitute relates, "I had this
one customer once who almost talked me into [having sex with]
his German Shepherd."
Scott's character looks at her, aghast.
"Well, I didn't do it, but after he had talked about it enthusiastically
for several hours, he made it seem pretty
damn cool. I almost gave in."
This week's Classic Movie isn't about sex with German Shepherds,
but it does come pretty close to that at times,
since it's about cliques and hellbitches and high school, and
may very well be the finest, and most vicious satire
ever created about the subject. If not, it's right up there, and
as my co-columnist this week noted in an e-mail to
me, "It's amazing how much I had missed the last several
times that I saw this movie". I most heartily agree, and
we're hoping that you'll also revisit this flick if you have seen
it before, or check it out anew if you're still a
Heathers virgin.
That's right, this time around Anneth and I are closing in for
the kill (or is it the suicide attempt?) by
enthusiastically reviewing this brilliant and insightful deconstruction
of the evil that men (and women) do, and do
so while fashionably dressed at all times. This film is what the
original Buffy movie (or series) could have
been if Joss was about five times nastier than he really is. All
right, ten times, whatever. Evil is so very, you
know?
Released in 1989 and directed by one Michael Lehmann, Heathers
is a story about heroism, but not the
typical kind. In fact, while there is no question that the person
who is left standing (but slightly smudged) at the
movie's end is duly elevated to the status of bonified hero, the
means by which she gets to that point are the
subject for endless discussion. Just how much bad behavior can
you write off post-epiphany as part of the
'learning process'? Even Faith went to jail, you know.
At this point in time, I'm going to pass the keyboard and its
lovely decorative red scrunchy over to Anneth, who
(as you no doubt noticed from the post header) has graciously
agreed to join me in the reviewing riff this week.
Be advised that Anneth has chosen to do a fairly detailed plot
description and analysis, so in the event that you
have never seen Heathers and have interest in doing so
unspoiled, you may wish to exit now and come
back later post-viewage. If you have seen the film before... enjoy!
***
The Unlikely Hero
The premise of the movie Heathers doesn't seem to be all
that groundbreaking. A relatively nice
high-school girl named Veronica Sawyer (Winona Ryder) has fallen
in with the wrong crowd, a group of
uber-bitca popular girls known as 'the Heathers'. She meets a
rebellious but travel-weary young man, a 'dark
horse' with a Jack Nicholson drawl and the promising name Jason
'J.D.' Dean (Christian Slater), and the two
begin an affair.
"Yeah," you say, "I know how this one ends. He
shows her the error of her superficial ways and she teaches his
wounded soul how to love again. The two ride happily off into
the college-tinted sunset. Big deal."
Well, it's all fun and games till someone drinks a mug of Hull
Clean (tm) and crashes through a glass coffee-table.
Heathers is the ultimate unlikely movie about an unlikely
hero. The character whom one would initially
expect to play the hero, JD, turns out to be a homicidal psychopath.
Rather than learning saccharine lessons
about love and friendship, Veronica is forced to decide whether
to become a fully-realized individual in control of
her destiny or throw in the towel and let events do with her as
they will.
The Plot
The movie has four distinct acts. The first part, which takes
place essentially in the high school cafeteria,
introduces the movie's main players and sets up the initial tensions.
In the second part, JD and Veronica
accidentally kill a girl. As their relationship heats up, the
body-count climbs, but Veronica remains in denial about
what she's doing. In the third part, Veronica dumps JD and agonizes
about her complicity in the murders while
JD compels another girl to collect the signature of every student
at school. For the final act, Veronica foils JD's
plot and saves the school.
When I was young, we used to play croquet at family gatherings.
The way we played, one became a "killer ball"
after completing half the course and touching the opposite wicket
with his ball. The killer ball was aptly named;
with it a player could eliminate competition while racing for
the end-game wicket. My father was always the
black ball, and he was always the first to become a killer ball.
In fact, he usually won before the rest of us had so
much as gotten through to the far wicket, due mostly to his ruthless
inclination to take out all who dared approach
within about 15 feet of his ball. For being such an apparently
dignified, low-impact 'sport,' croquet does seem to
bring out the domineering, cold-blooded tendencies in those who
succeed at it.
The Beginning
It's fitting that Heathers, a movie at least in part about
cold-blooded, ruthless domination, should open
with a game of croquet. (Actually, Heathers opens with
a slow-mo shot of a woman pulling her teased
blonde hair through a bright red scrunchy; a kind of hair-tie
- but that scrunchy will also become imbued with
great symbolic meaning as the movie progresses.) We first see
three young women sitting in a garden. They
arise and walk over to a croquet-set, heedlessly crunching flowers
beneath their well-shod heels, and begin to
play. The blonde girl in the red scrunchy hits her red ball, which
smacks a fourth woman, buried in the turf but for
her head, in the face. The fourth girl begins to speak: "Dear
Diary..."
Turns out that the fourth girl, Veronica, is frantically writing
in her diary at school.
Veronica is one member of a clique of four girls, the rest of
whom are named Heather. Heather Chandler (Kim
Walker), who favors the color red and wears a distinctive red
scrunchy in her teased blonde hair, is Westerberg
High's Cordelia Chase (I believe the phrase "what's your
damage?" originated in Heathers) - despite the
fact that she's pretty much universally loathed, she's still the
girl everyone "wants as a friend or a f*ck." The
other two Heathers are sniggering sycophants to Red Heather. Heather
Duke (Shannen Doherty), distinctive in
her green wardrobe, is the shrinking violet that Red Heather seems
to particularly love heaping verbal abuse on.
Heather McNamara (Lisanne Falk), resplendent in yellow, is the
cheerleader.
Veronica Sawyer used to be best friends with a girl named Betty
Finn. (The names, according to the movie's
writer, were particularly chosen to signify that the two girls
had a 'true' friendship, and further allude to both
Archie Comics' Betty and Veronica, and Mark Twain's Huck Finn
and Tom Sawyer.) Betty Finn is now a
socially-inept nerd, and Veronica's in the heart of the in-crowd.
Although the Heather-esque Veronica of the
movie's beginning objects to the way the other Heathers treat
the less socially-fortunate, particularly overweight
Martha Dunstock, (aka 'Martha Dumptruck'), she capitulates to
their insistent demands and uses her notable skill
at forging handwriting to embarrass Martha in front of a couple
of jocks.
Bemusedly watching the action from an otherwise empty table in
a far corner of the cafeteria is a dark young man.
He catches Veronica's eye, and she heads over to introduce herself.
His name is Jason Dean, though he requests
that she call him 'JD'. He's new to the school; his father's a
famous developer, and he's gone to seven different
schools in seven different states. The two engage in some mild
flirtation before Red Heather drags Veronica
away, concerned that any interest in high-school-aged guys by
Veronica might reflect badly on herself. The two
jocks, threatened by JD's communication with Veronica and Red
Heather, neanderthal their way over to his table
and insult his sexuality. JD takes it in stride, pulls out a gun
and shoots them both with what turn out to be blanks.
The Second Act
Act Two opens with another croquet game. Red Heather coldly thumps
Green Heather's ball far off into some
distant shrubbery rather than taking the two shots she'd otherwise
be entitled to. Green Heather then fortuitously
hits her 'lost' ball back onto the green in a single shot, much
to the amazement of the three others. You might
think this clever (or lucky) feat would bring some kind of praise
or credit, but Red Heather only grins and hits
Green Heather's ball again. When Green asks why, Red simply replies
"Why not?" The three Heathers
then take off, and Veronica explains to her parents that she and
Red are going to a college party that night.
On the way to the party, the two stop at a convenience store,
where Veronica finds JD hanging around. She flirts
a little more seriously with him, but Red Heather gets angry and
impatient and keeps harassing Veronica that they
need to get moving. "I don't think I like my friends very
much," Veronica confides to him. "I don't
like your friends much either," he responds. At the party,
Veronica embarrasses Heather by first refusing to
have sex with a frat boy and then vomiting. Veronica leaves, and
RH follows her out, screaming that Veronica is
now out of the clique. Veronica stomps off. At home that evening,
she is scribbling furiously in her diary that she
"want[s] to kill Heather Chandler..." when JD appears
and crawls in through her open window. The two head
outside for a game of croquet, and end up sleeping together.
The next morning, they slip into Red Heather's house, with Veronica
intent upon concocting a hangover cure that
will make Red vomit. She's considering a mixture of milk and orange
juice, perhaps with a 'phlegm loogie' spit in
for good measure. JD rummages around in a cabinet, and holds out
a blue plastic bottle labeled "Hull Clean",
which Veronica laughs off, noting correctly that drinking that
would kill Heather. On her way up to Red's room,
however, she picks up the wrong mug, a covered container that
JD has poured the cleaner into while Veronica
wasn't watching. Red drinks and--no surprise-- Red dies. JD convinces
the shocked and frightened Veronica to
forge a compelling suicide note for Red, thus covering up their
actions. After all, everyone hated Red Heather,
who's going to miss her enough to ask questions?
Naturally, the unexpected happens, but not in the expected way.
The ensuing scenes show Veronica's rising
disgust at the way Red's memory quickly becomes sanctified with
her death 'at her own hand'. Students who
loathed Red feed intense sound-bites of love and grief into the
hovering media's eager microphones, and even the
chain-smoking teachers feel forced to reevaluate their assements
of Red's character. Veronica's faked suicide
note has imparted a kind of depth to Heather Chandler in death
that she never so much as pretended to in life.
At the funeral, Heather McNamara ('Yellow Heather') talks Veronica
into going on a double-date with her, Kurt
and Ram, the two homophobic jocks from the earlier cafeteria/gunfight
scene. After an exciting night of drunken
cow-tipping and attempted date-rape (apparently successful in
Yellow Heather's case, sadly), JD wanders in to
Veronica's rescue and the two high-tail it off for a Slushie.
The next morning, however, the entire school's aflame with rumors
of Veronica's supposedly pernicious sexual
appetites. Disgusted with the two boys, Veronica takes her frustration
to JD, who cooks up an 'innocent' plot to
humiliate them. She calls both guys on the phone and asks them
to meet her behind the school at dawn the next
morning for a ménage a trois, intending to ambush them
with tranquilizer darts and leave their bodies to be found
in a nude, and suspiciously affectionate, embrace. JD has other
plans, however, and using his so-called 'ich
luge' bullets ('ich luge' being German for 'I lie') instead
of tranq darts, intends to kill the two guys. Alas,
Veronica doesn't understand German, falls for JD's ruse, and forges
a note indicating a double-suicide. They
execute the plan, and of course the two young men end up dead,
but this time around Veronica is starting to
understand what's actually going on with JD.
Though she initially feels wretched for having been involved in
their deaths, JD sweet-talks Veronica through her
moral quandary ("They had nothing to offer this school
but date-rape and AIDS-jokes"), and the two
snigger their way through the jocks' hypocritical funeral service.
When one of the fathers, in tears, turns to the
assembled mourners and loundly proclaims "I love my dead
gay son!" JD wonders aloud if the father
would have been so affectionate to 'a limp wrist and a lisp' in
life. Veronica giggles, but looks up in time to see
the little sister of one of the jocks turn around and stare emptily
at her, tears of genuine sorrow running down her
face. The little girl's pathetic look hits Veronica hard, and
jolts her back to reality.
The Third Act
The Third Act opens with the high school's resident 'touchy-feely'
teacher organizing a post-suicide 'love-in,' for
which there are a suspicious number of network reporters and cameras
present. Veronica notes with loathing that
the various 'suicides' have "given Heather depth, Kurt
a soul, [and] Ram a brain. Am I going to the prom or
to hell?" Later that afternoon, at JD's house, she watches
in disgust as his father, a developer, gloats
obsessively about having blown up a building. Then, when JD shoots
the radio, she dumps him. He grabs her
and forces her to kiss him, but she fights him off and disappears.
(Interestingly, JD's outfit in this scene is
strikingly reminiscent of Spike's most famous ensemble - a black
overcoat, a red dress-shirt, unbuttoned, and a
black teeshirt tucked into black jeans.)
The scene then switches to find JD confabulating with Heather
Duke (Green Heather). He blackmails her with
some childhood photos of herself with (a much thinner, younger)
Martha 'Dumptruck' and offers her Red
Heather Chandler's famous red scrunchy if she'll collect the signatures
of every student at the high-school for him.
She accepts. Later, Veronica runs into the New Heather #1 wearing
the scrunchy and storms off in revulsion.
Heather's third croquet game finds Veronica playing with
Betty Finn. Veronica doesn't want to knock
Betty's ball out of the game, but she has to in order to win.
"Go ahead, knock me out," Betty enjoins.
"It's not my style," Veronica demurs. "Nice
guys always finish last," Betty responds ruefully, "I
oughta know." Veronica knocks Betty's ball away as the
NewRed and Yellow Heathers descend into the
backyard. Heather Duke is no longer wearing her trademark green;
rather, she's clad in Chandler red, and
claims the red croquet ball. It seems Westerberg High has a new
Queen Bee-- or Queen H in this case.
Meanwhile, the sad and desperate Martha Dunnstock has genuinely
attempted to commit suicide, information
which NewRed Heather gleefully imparts to Veronica. Veronica reacts
badly. The two then listen to a popular
call-in talk-show, "Hot Probs," and realize that one
of the callers is Yellow Heather, who is terribly upset that
both her best friend and the last boy she had sex with are dead.
NewRed is thrilled and the next day the school is
buzzing with the word about Yellow's trauma. Yellow Heather runs
out of class and Veronica follows to find her
in a lavatory, trying to down a bottle of sleeping pills. Veronica
talks Yellow McNamara out of suicide, while
realizing that "I've cut off Heather Chandler's head and
Heather Duke's has sprouted back in its place."
Veronica confronts NewRed that afternoon. "Why are you
such a mega-bitch?" Veronica yells.
"Because I can be," is NewRed's smug reply. The
formerly downtrodden Heather of the beginning of the
movie has 'moved up in the world'. In this take on humanity's
weaknesses, Heather isn't a person so much as an
idea - Red or Green or whatever are only place-holders for the
part. There will always be a Heather, someone to
exploit the fears and petty insecurities of teenagers.
Veronica comes home that evening to find her parents concerned
that she's suicidal. It seems that JD has been
by, and told them he's worried about her. She goes up to her room
to find a Barbie Doll hanging in a tiny noose
from the ceiling, wearing a teeshirt with the name of the band
who's radio hit is the song "Teenage Suicide -
Don't Do It." Veronica falls asleep, and dreams that
she and JD kill Heather Duke. She wakes with a start.
The Ending
The final act of the movie opens that very same evening. JD loads
a revolver and crawls through Veronica's
bedroom window, only to find that she's apparently hanged herself.
Like any good villain (clearly, he didn't read
the Evil Overlord Handbook), JD decries her act while admitting
that he was planning to kill her, then spills the
beans about his ultimate plan. He has had NewRed collect the signatures
of the entire Westerberg student body
in order to attach them to a mass-suicide note - he intends to
blow up the school the next day. He leaves after
hearing Veronica's mother approaching the bedroom door, and she
enters, understandably shocked to see what
appears to be her 'suicidal' daughter hanging from the ceiling.
Veronica suddenly opens her eyes, and then
nonchalantly lets herself down by cutting the concealed cloth
wrapped around her waist. Needless to say, mom
isn't too pleased with the deception, but Veronica seems to be
walking some razor-fine line between compassion
and obsession. She acknowledges her mother's distress, and then
heads downstairs to eat dinner.
The next morning, Veronica follows JD to school and realizes that
he's planted the bombs in the boiler room
beneath the gym. There's to be a pep-rally that afternoon. She
confronts him in the boiler room with a gun,
which he easily knocks from her hands. He hits her head against
a wall and continues with his preparations. She
picks herself back up, arms herself with a fire-extinguisher,
and goes after him again. They scuffle, he drops the
gun and pins her against a wall. She knees him in the family jewels
and claims possession. He has already armed
the bomb, and threatens her with a knife. She demands to know
how to disarm the bomb; he flips her the bird
and yells "F*ck you!" She promptly shoots his
middle finger off.
He lunges for her, after ranting about the fact that "The
only place different social types can get along is in
heaven. People are going to look at the ashes of Westerberg High
School and say, 'now there's a school that
self-destructed, not because society didn't care, but because
the school was society!'" Veronica
demands once again about the way to disarm the bomb, and he finally
tells her how, adding "If that's what
you really want."
"You know what I really want?" she cries, as
he lunges at her. She shoots him in the abdomen and
replies to her own query with "cool guys like you outta
my life." Falling down, JD stabs his knife into the
bomb, shutting it off (at T-minus four seconds.) Veronica staggers
out of the boiler room and smiles fondly, if
somewhat ruefully, at her innocent peers.
The final scene finds Veronica wobbling out the front steps of
the high school, with JD a little behind her, badly
wounded. She stops half-way down the steps and he moves to stand
before her, revealing a the bomb, now
strapped around his stomach. "Well color me impressed,"
he mumbles, "you really f*cked me
up."
"You've got power; power I didn't know you had. Now the slate
is clean." He re-arms the bomb as she
regards him calmly. "Pretend I did blow up the school
- all the schools," he tells her, "Now that
you're dead, what're you gonna do with your life?"
She pulls a cigarette out of her breast-pocket and sticks it between
her lips. The two share a wry grin when the
bomb malfunctions at 15 seconds. He gets it going again, then
slowly spreads his arms, crucifixion style, beneath
the Westerberg High School sign. The camera switches to the pep-ralley,
to catch the surprise of the students at
the sound of the bomb going off. In the ensuing panic, students
pour down the smoking front steps as a calm,
disheveled Veronica lounges against the hand-rail, taking a drag
on her cig, apparently lit by the fire of JD's
explosive demise. (This is a very clever counterpoint to a scene
after the two jocks are killed, where JD lights his
cigarette from a self-inflicted burn on Veronica's hand. Yeah,
I know, but it works, unrealistic or not.)
Finally she turns and walks slowly into the school, pausing only
to kiss NewRed Heather on the cheek while
pulling the Red Scrunchy of Office from NewRed's hair. At the
ex-#1's confusion, Veronica smiles,
"Heather, my love, there's a new sheriff in town"
and walks off.
The final moments of the movie find Veronica telling a wheelchair-riding
Martha Dunnstock that her prom date
flaked on her; and asking if would she like to get together and
watch movies. The two head off into the dust-filled
but bright light of the afternoon, with Martha making cheerful
little circles around Veronica's limp. The strains of
the song "Que Sera, Sera" play wistfully in the background,
then pick up in speed and energy as the end credits
begin to roll.
***
The Real Scrunchy
Heathers is, at its heart, a movie about a woman finding strength
in herself. Veronica is clearly an average
high school girl, insecure enough in herself to be discontent
with her popularity when friends with Betty but
intelligent enough to find the Heathers' calculating ways off-putting.
It's important to note that, despite the fact
that Veronica Sawyer's name is supposed to indicate that she had
a 'true' friendship with Betty Finn, it also
indicates that she had no identity separate from the friendship.
Betty and Veronica, and Tom and Huck, are
famous couples, though Tom and Huck fare a little better in the
quest for individuality than Betty and Veronica.
When associated with the Heathers, Veronica is the odd-woman out
by virtue of her name, but is equally
complicit in their cruel activities. The director, in the DVD
commentary, notes that the character of Veronica is
made to wear a monocle when writing in her diary to symbolize
that she's the "Albert Speers of the Heathers."
Despite her intelligence and reticence, she's easily bullied into
acts of puerile cruelty.
Hooking up with a loner like JD doesn't serve to make Veronica
any more of an individual than disliking the
Heathers' behavior does, or trying to re-befriend Betty. He bullies
or charms her into complying with his ideas;
he convinces her to forge suicide notes despite her better judgment;
he easily manipulates her into complying with
his paper-thin plan to "frame" the two jocks. Towards
the end of the third act, Veronica realizes that she has no
self-control around JD; in the final confrontation, she realizes
that he's not an individual either. "You think
you're a rebel?" she screams at him. "You're
not a rebel; you're an asshole!" And, as JD mentioned
earlier on, the world is filled with assholes.
Veronica only becomes an individual after she has dumped JD and
pretended to hang herself. From his
perspective, she's Judas and he's Christ, a man who's been martyred
to "seven schools in seven states - and
they're all the same" and a mother who committed suicide
by walking into a building his father was about to blow.
Her hanging is symbolic for her for different reasons. Coming
at the end of the third act, it stands for her death as
a follower and her rebirth as a powerful individual. She takes
the task of defeating him unto herself and asks for
no help from anyone - not even Yellow Heather, with whom she had
recently shared an intimate bonding
moment. JD is her problem, she realizes, and she's got to deal
with him herself. JD's final revelation, of
Veronica's great power, and her insouciant stance as he attempts
to blow his megalomaniacal self to bits, all
serve to high-light her new-found power and strength-of-character.
And with that strength comes individuality.
JD's problems with high school ("they're all the same")
is Veronica's problem with the Heathers writ large. How
can an ordinary person deal with the terrifying truth that the
world is filled with nominal carbon-copies; that for
every one Heather who leaves her place of power, another will
soon step in to fill it? That no high school is any
different from any other high school? Veronica deals with her
forays into manslaughter and murder with a
believeable kind of confusion - she's never been presented as
anything more than a smart but insecure groupie.
Each 'suicide' is met with hypocrisy by the community, which adds
to her feelings of unreality. It's only after she
sees the little girl crying at the second funeral, and hears of
Martha's attempted suicide, that the gravity of the
situation hits home.
Both Veronica and JD want the same thing - for there to be "fewer
assholes in the world." JD's way of
procuring this, however, is akin to a violent government overthrow.
He appears to find the idea of killing
everyone it takes to make the world 'a better place' an acceptable,
even laudable, means to achieving this end.
He never experiences a revelation akin to Veronica's - that there
are certain people (and, by extension,
institutions), that will always exist. It doesn't matter how many
Heathers JD murders; another will always be
ready to step up to the plate. Veronica's final act, of taking
the red scrunchy for herself and declaring herself
sheriff, symbolize her stab (no pun intended- well, not really...
well, maybe sorta...) at regime-change - a quiet,
internal coup. Veronica will step up to the Heather-plate herself,
but she probably won't be batting like any of her
predecessors.
In the final analysis, Veronica is an ordinary person faced with
circumstances that escalate to the extraordinary.
She becomes a hero, and a fully-realized individual, by first
realizing her own complicity in those circumstances
(her pawn-like nature) and then acting to change that. She can't
change what has come before, but she can
change the future. Veronica begins as the unlikeliest of heroes
- she's a follower, and JD's clearly the more
'stereotypical' teen-movie hero/rebel - but she ends the movie
as both a hero and a fully-realized individual.
E. Pluribus Cinema, Unum,
Anneth & OnM
********
Technically very:
Heathers is available on DVD, which was also the format
of the review copy. The film was released in
1989 and the run time is 1 hour and 42 minutes. The original cinematic
aspect ratio was 1.85:1, which was
preserved on the DVD edition.
Screenwriting credit goes to Daniel Waters. The film was produced
by Denise Di Novi, Iya Labunka and
Christopher Webster. Cinematography was by Francis Kenny with
film editing by Norman Hollyn. Production
design was by Jon Hutman with art direction by Kara Lindstrom
and costume design by Rudy Dillon. Original
music was by David Newman. The original theatrical sound mix was
in mono.
Cast overview:
Winona Ryder .... Veronica Sawyer
Christian Slater .... Jason 'J.D.' Dean
Shannen Doherty .... Heather Duke
Lisanne Falk .... Heather McNamara
Kim Walker .... Heather Chandler
Penelope Milford .... Pauline Fleming
Glenn Shadix .... Father Ripper
Lance Fenton .... Kurt Kelly
Patrick Labyorteaux .... Ram Sweeney
Jeremy Applegate .... Peter Dawson
Jon Shear .... Rodney
Carrie Lynn .... Martha 'Dumptruck' Dunnstock
Phill Lewis .... Dennis (the Westerburg Year Book Editor)
Renée Estevez .... Betty Finn
John Zarchen .... Country Club Keith
********
Miscellaneous Dept:
There are four kinds of Homicide: felonious, excusable, justifiable,
and praiseworthy.
............ Ambrose Bierce
OK, a real short Misc Dept this time around, because it's like
really late, ya know? Anneth mentioned the exerpt
from the DVD commentary track where the screenwriter refers to
Veronica as having a few characteristics in
common with Albert Speer, commonly known as 'Hitler's Architect'.
Here's a little tiny portion of the historical
record on the man:
After September 1944 he became convinced that Germany must
try to lose the war (...) with the least
possible long-term damage to her economy and, when he became aware
of Hitler's nihilistic intentions, did what
he could to thwart them - towards the end with decreasing care
for secrecy. Hitler probably became aware of
Speer's disloyalty but allowed his long-standing affection for
his only 'artisitic' subordinate to get the better of his
(by then almost instinctive) vindictiveness. Speer's conversion
came, however, too late for the Allies who insisted
on noticing that he used slave-labour on some of his schemes and
arraigned him at Nuremberg. (...) The story of
the life of the man himself, well-born, brilliant, charming and
handsome, is itself the stuff of Faustian drama.
Hitler, you see, wanted to massively destroy Germany's industrial
base to keep it from Allied hands when it
became apparent that Germany was going to lose the conflict. Speer,
as noted above, tried and mostly
succeeded in preventing this. Did he thus become a reformed evildoer?
Different historians have differing
opinions. This leads us to: (ooo, big surprise!)
********
The Question(s) of the Week:
Heathers predates BtVS by several years, and I think that
Anneth and I aren't the only ones to see some
common Buffyverse-isms that appear to be derived from this film.
Feel free to answer either/or of the following:
Question 1: Do you think Joss was influenced in any way by
Heathers? Do you know of any
concrete proof of such influence, such as statements made in interviews,
etc?
Question 2: Do you see any similarities between the characters
of Veronica in Heathers and Faith in BtVS?
Whew! All for now, dear friends. Do post 'em if you've got 'em,
and I'll see you next week, possibly with
another guest co-writer or maybe all by my lonesome, but rest
assured, it'll be very very.
Take care.
********
[> Re: Classic Movie of
the Week - September 7th 2003 -- Brian, 07:30:49 09/08/03
Mon
Can't answer your questions, but Heathers is one of my favorite
movies for its "take no prisoners" attitude. I like
movies that don't cope out on the ending. I would place Dr Strangelove
and Natural Born Killers in the same catagory. All three movies
are a wild ride to chaos, and out of the chaos comes a new order.
[> Re: Classic Movie of
the Week - September 7th 2003 -- Rob, 12:24:08 09/08/03
Mon
Veronica: I've just killed my best friend!
J.D.: And your worst enemy.
Veronica: Same difference.
Heathers happens to be one of my very favorite movies;
it is, strangely, a film that makes me both laugh uproariously
and cringe, sometimes simultaneously. Heathers is the ultimate
anti-teen-movie teen movie, a film that redefines the meaning
of the term black comedy, an absolutely brilliant piece
of cinema that manages to do the unthinkable-function as, on its
most surface level, a comedy about teen suicide of all things,
and yet at the same time never make light of the subject matter.
Suicide itself is not parodied; the institution and societal structure
of high school, which, through the combined pressure put on students
by both their peers (the torturous gauntlets kids must go through
in order to be perceived as popular) and teachers (the constant
homework, papers, tests, etc) can lead a teenager to such a drastic
measure, and then, after the action, romanticize and mythologize
the deceased student to the point that the promise of securing
similar depth post-mortem could seem awfully tempting to other
angst-ridden teens, is the target of the film's humor. And one
rarely finds humor on film that derives from such an angry, sad
place. The fact is, Daniel Waters, the screenwriter of Heathers,
understands the darker side of high school in a way that other
filmmakers of the time, like John Hughes, only hinted at.
When I first saw Heathers in seventh grade, I hated it.
I didn't understand the humor; I found it disturbing and frightening.
I rewatched it at the end of ninth grade, when I had been in high
school for a full year, and I finally got it, or, rather, perhaps
the film finally got me. If you haven't survived life in a public
high school, it's impossible to truly understand Heathers.
And although it makes fun of the popular kids in high school,
I would submit that even most popular kids would understand Heathers,
because it speaks to the low and sometimes degrading measures
people take to become popular, so even though many wouldn't care
to admit it, just about any "caste" of students in high
school can relate-both the students, or former students, who were
tortured by the popular students, or those popular students who
know deep down how awful and empty high school popularity is.
In many ways, the film reminds me of Cordelia's speech to Buffy
in Out of Mind, Out of Sight, the first time we really
delved into her psyche.
To add to anneth's discussion, I thought it would be interesting
to note that on the DVD of Heathers, the shooting script
of the original ending of the film is included, the ending which
was considered too dark even for this film. At the end, J.D. is
successful. The school is blown up. Cut to a prom, where all of
the deceased students of the different social sects are dancing.
We learn that this is heaven. Daniel Waters, Winona Ryder, and
Christian Slater have all said that they were upset that this
was not preserved in the final product. I disagree, though, because
it would just be too depressing, too dark. One of the strengths
of the film, I think, is as anneth so shrewdly points out, Veronica's
journey and her empowerment in the end, because after all the
darkness and despair, we are given a small glimmer of hope, albeit
in a warped way. To have everybody die would, despite the clever
premise of the prom as heaven or afterlife, be just too morbid.
Another one of the major successes of the film is that it is not
dated, because Daniel Waters was clever enough to not have the
film be bogged down by 80s trappings, styles, and dialogue. Instead,
he did something which Joss Whedon would later do himself: create
a new form of language for the characters of the film. Examples
include "so very," and "what's your damage?"
(which Joss would himself use later). Therefore, the slang of
the film was never used in the real world, at least before the
film came out. Whedon's characters similarly use their own form
of speech that keeps it from being too closely identified by the
slang of the time.
Thanks to anneth and OnM for giving me the opportunity to revisit
this great film.
Rob
P.S. Other great moments of dialogue in the film:
"If you want to f*** with the eagles, you're gonna have to
learn how to fly."
"I love my dead gay son!"
"My teen angst bulls*** has a body count."
"I must say I was impressed to see that she made proper use
of the word 'myriad' in her suicide note."
"Sorry to hear about your friend. Thought she was your usual
airhead bitch. Guess I was wrong. We all were."
[> Great review! --
ponygirl, 12:53:31 09/08/03 Mon
Ah Heathers. I forgave Winona Ryder much of her later career choices
based on her performance in that movie. It's been years since
I've seen it but the BtVS similarities really struck me reading
Anneth's review. The tone of Heathers and the series is incredibly
similar, and the larger metaphor of high school as hell is something
they both share. Personally I've always wondered if Willow's appearance
in Inca Mummy Girl as an Eskimo was a reference to the Green Heather's
obsession with Moby Dick and JD's plan to use the word "Eskimo"
to symbolize her isolation in her faux-suicide note.
I actually don't see connections between Faith and Veronica but
rather Veronica and Buffy. If Buffy had had a weaker sense of
morality and a stronger longing to be popular one could see her
choosing Cordelia over Willow in WttH and finding herself in a
very Heathers-like situation.
[> [> Re: Loved the film.
Loved the review. -- sdev, 23:02:33 09/09/03 Tue
Agree on Veronica and Buffy. There are moments such as Buffy's
puns before the final stab that are Veronicaesque. A certain nonchalant
insouciance in the face of grave circumstances that they both
have in common.
[> Veronica? -- KdS,
02:25:28 09/09/03 Tue
Looking at it, I see JD as far more similar to Faith in S3. The
cool, sexy, leather-clad rebel whose rebelliousness isn't constructive
but hides a truly dangerous nihilism.
Response -- Claudia, 12:57:40 09/08/03
Mon
[What right have we to smash a perfectly fine reflection?]
I think we have every right, since this "perfectly fine reflection"
seems to reflect nothing but hypocricy.
[> Ummm... -- Random,
13:59:21 09/08/03 Mon
To what are you responding? I only ask because we had another
poster (Rina, I think) who did this exact same thing a lot because
she was unfamiliar with the board operating procedures. If you
post from the main page, it will start a new thread. In order
to reply to a post, you have to post from the page the original
post was on.
In any event, a mirror only reflects the things that are placed
before it...
[> Again, not sure what
you're responing to but... -- Celebaelin, 16:58:16 09/08/03
Mon
how about some Rush.
Natuaral Science
Pt. I Tide Pools
Permanent Waves (1980)
When the ebbing tide retreats
Along the rocky shore line
It leaves a trail of tidal pools
In a short-lived galaxy
Each microcosmic planet
A complete society
A simple kind of mirror
To reflect upon our own
All the busy little creatures
Chasing out their destinies
Living in their pools
They soon forget about the sea
Wheels within wheels
In a spiral array
A pattern so grand
And complex
Time after time
We lose sight of the way
Our causes can't see
Their effects
[> [> Howabout a poem
from Matthew Arnold. One of my favorites -- Random, 17:13:38
09/08/03 Mon
Dover Beach
The sea is calm to-night.
The tide is full, the moon lies fair
Upon the straits; -on the French coast the light
Gleams and is gone; the cliffs of England stand,
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night air!
Only, from the long line of spray
Where the sea meets the moon-blanch'd land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.
Sophocles long ago
Heard it on the Aegean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.
The Sea of Faith
Was once, too, at the full, and round earth's shore
Lay like the folds of a bright girdle furl'd.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.
Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.
Matthew Arnold
[> [> [> Re: ooooo..poems!
How's about one by John Masefield... -- LittleBit, 17:27:30
09/08/03 Mon
Sea-Fever
I must down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's
shaking,
And a grey mist on the sea's face and a grey dawn breaking.
I must down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls crying.
I must down to the seas again to the vagrant gypsy life.
To the gull's way and the whale's way where the wind's like a
whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.
Thanks, fresne, for reminding me of this.
[> [> [> [> Re:
ooooo..poems! How's about one by John Masefield... -- fresne,
13:22:06 09/09/03 Tue
Hmmm, this does rather leave me without a poem to hand.
Since all that comes to mind is Sam I Am.
And thus, a medley
I will not eat green eggs and ham.
I will not eat them on wine dark seas,
I will not eat them on whale roads pleasing,
I will eat no green eggs and ham.
For now we look into a glass, but darkly
And then we will see face to face, but darkly
And turn westward to face the undiscover'd country
Lest Hades a revolving door make for hero-ery.
There is a tide to the affairs of men
Which wine dark seas do wash.
No man is an island, entire of itself;
every man is a piece of the continent itself.
Of his bones are coral made;
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
I must go down to the sea again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
What merchant's ships have my sighs drown'd?
Who says my tears have overflow'd his ground?
So, come live with me, and be my love,
And we will some new pleasures prove
Of golden sands, and crystal brooks,
With silken lines, and silver hooks.
I will eat green eggs and ham.
I will t eat them on wine dark seas,
I will not eat them on whale roads pleasing,
I will green eggs and ham, Sam I Am.
[> [> [> [> [>
Or Katherine Mansfield -- Celebaelin, 13:57:58 09/09/03
Tue
"How idiotic civilisation is! Why be given a body if you
have to keep it shut up in a case like a rare, rare fiddle?"
Katherine Mansfield (1888-1923)
'Bliss and Other Short Stories', Bliss
[> [> [> Have you
read 'Dover Bitch'? -- Nino,
18:09:11 09/08/03 Mon
It's a humorous (feminist??) take on the Arnold classic, by Anthony
Hecht.
It makes the Arnold poem's narrator sound like a whining boy who
can't perform, and the girl (who is all but invisible in Arnold's
poem) waiting not so patiently for him to...err....get the job
done....
its really funny, I just don't want to type it, so google it fools!
The best part is the line about a "mournful cosmic last resort"...
[> [> [> [> Heh...that's
just sacreligious...but cute. I like Hetch -- Random, 18:20:24
09/08/03 Mon
[> [> [> [> [>
Re: Heh...that's just sacreligious...but cute. I like Hetch
-- LittleBit, 18:26:15 09/08/03 Mon
You can find it here.
[> [> [> [> Something
about the sea... -- Celebaelin, 19:53:09 09/08/03 Mon
always leads people towards sexual melancholy. What is it about
that Arnold verse (let alone the Hecht, which I hadn't read before)
which put me in mind of the following. I can't say I know but
before I read Dover Bitch I was already humming the tune, well,
mentally.
Seal Driver
Jethro Tull
Broadsword and the Beast (1983)
Take you away for my magic ship
I have two hundred diesel horses thundering load
Sea birds call your name and the mountain's on fire
As the Summer lightning cuts the sky like a hot wire
And you ride on the swell
And your heart is alive
Think I'll make you my seal driver
I'm no great looker, I'm no fast shakes
I'll give you a steady push
On a six knot simmering high tide
I can hold us down
Keep our heads to the wind
Or let us roll on the broadside
Cold spray flying in
And we'll ride on the swell
And our hearts are alive
Let me make you my seal driver
I could captain you if you'd crew for me
Follow white flecked spindrift - float on a moon kissed sea
Could you fancy me as a pirate bold
Or a longship Viking warrior
With the old gods on his side
Well, I'm an inshore man and I'm nobody's hero
But I'll make you tight for a windy night and a dark ride
Let me take you in hand
And bring you alive
Like to make you my seal driver
All the morose energy of the sea in that one (and the guitar's
pretty wicked as well, you should hear it on WaveLab Lite).
Got away from mirrors a bit but what the hell.
[> [> [> [> [>
Re: And here's something by Emma Willard -- Brian, 04:44:27
09/09/03 Tue
Rocked in the Cradle of the Deep
ROCKED in the cradle of the deep
I lay me down in peace to sleep;
Secure I rest upon the wave,
For Thou, O Lord! hast power to save.
I know Thou wilt not slight my call,
For Thou dost mark the sparrow's fall;
And calm and peaceful shall I sleep,
Rocked in the cradle of the deep.
When in the dead of night I lie
And gaze upon the trackless sky,
The star-bespangled heavenly scroll,
The boundless waters as they roll,-
I feel Thy wondrous power to save
From perils of the stormy wave:
Rocked in the cradle of the deep,
I calmly rest and soundly sleep.
And such the trust that still were mine,
Though stormy winds swept o'er the brine,
Or though the tempest's fiery breath
Roused me from sleep to wreck and death.
In ocean cave, still safe with Thee
The germ of immortality!
And calm and peaceful shall I sleep,
Rocked in the cradle of the deep.
OT: Warren
Zevon dies of cancer at age 56 -- cjl, 09:51:28 09/08/03
Mon
From Inside Entertainment:
LOS ANGELES -- Warren Zevon, who wrote and sang the rock hit Werewolves
of London and was among the wittiest and most original of a broad
circle of singer-songwriters to emerge from Los Angeles in the
1970s, died at his home after a 12-month battle with cancer. He
was 56.
A lifelong smoker until quitting several years ago, Zevon announced
in September 2002 that he had been diagnosed with terminal lung
cancer and had been given only three months to live.
He died Sunday afternoon at his Los Angeles area home, his manager,
Irving Azoff told the Los Angeles Times. Azoff and Zevon's publicist
did not immediately return calls from The Associated Press.
During his last months, Zevon had faced death with the same dark
sense of humour found in much of his music, including songs like
I'll Sleep When I'm Dead, Life'll Kill Ya and Things to Do in
Denver When You're Dead.
"Really, the thing I want is to last through the winter so
I don't miss the new James Bond movie," he said when his
illness was diagnosed last year.
He also resumed smoking, jovially asking an interviewer for a
recent VH1 documentary what he would do if he only had a month
to live.
After his diagnosis, he spent much of his time visiting with his
two grown children and working on a final album, The Wind, which
was released to critical acclaim just last month. His son said
recently that he thought the support from family and friends,
which included an all-star cast of musicians who worked on that
final album, helped prolong his father's life.
Zevon released his first album, Wanted - Dead or Alive, to little
notice in 1969, but gained attention in the '70s by writing a
string of popular songs for Linda Ronstadt, including Poor, Poor
Pitiful Me, Carmelita, and Hasten Down the Wind.
The songs, a lyrically lighthearted, upbeat rocker about a spurned
lover driven to the brink of suicide; a romantic ballad about
a destitute heroin addict; and a ballad about rejection and hypocrisy,
quickly fuelled his reputation as one of rock music's most cynical
voices.
His next two albums, 1976's Warren Zevon and 1978's Excitable
Boy, followed those songs with darkly humorous tales of prom-date
rapists; headless, gun-toting soldiers of fortune; and werewolves
who drank pina coladas at singles bars and were particular about
their hair.
They would cement the musician's reputation as one of rock music's
most politically incorrect lyricists, giving him a lifelong cult
following that included gonzo journalist Hunter S. Thompson, former
Minnesota Gov. Jesse Ventura (who had Zevon perform at his inauguration)
and Late Show host David Letterman, who provided backing vocals
on Hit Somebody, Zevon's 2001 elegy to a professional hockey goon
who longs to be a goal-scoring hero.
"I always like to have violent lyrics and violent music,"
Zevon told The Associated Press in 1990. "The knowledge of
death and fear of death informs my existence. It's a safe, kind
of cheerful way of dealing with that issue."
A classically trained musician and accomplished guitarist and
pianist, Zevon also substituted from time to time for Letterman's
Late Night band leader, Paul Shaffer.
Other admirers included Bob Dylan, whom Zevon cited as one of
his principal songwriting influences and who performed on his
1987 album Sentimental Hygiene. Still another was Bruce Springsteen,
who co-wrote Jeannie Needs a Shooter, Zevon's tale of a lover
shot to death by a woman's jealous father.
Despite such respect, Zevon's career nearly ended soon after it
began when he developed a reputation as one of rock music's rowdiest
drinkers, sometimes showing up on stage raving drunk and berating
audiences.
It was a period reviewed in music like The French Inhaler, a song
that he once noted gave him a reputation as the "foremost
chronicler" of the excesses of the 1970s L.A. music scene.
"He is among the wildest people I've ever met," fellow
L.A. singer-songwriter Jackson Browne, who produced several of
Zevon's early albums, once said. "I always remember him just
tearing off into the night in Morocco one time, drunk, by himself.
For him, it was all about trials by fire."
When he gave up alcohol in the mid-'80s, Zevon said he did so
to avoid drinking himself to death, something he characterized
as a coward's way out.
His compositional style, meanwhile, reflected a number of genres,
from hard-driving rock to folk, as well as classical, polka and
other influences.
Born in Chicago on Jan. 24, 1947, to Russian immigrant parents,
Zevon moved to Los Angeles in the 1960s, making a living writing
jingles for television commercials.
During his last months, he told various interviewers he had no
regrets, expressing particular gratitude that he had quit drinking
in time to watch his daughter, Ariel, and son, Jordan, grow up.
He became a grandfather in June when Ariel gave birth to twins.
He also boasted that he had lived a life as wild as legendary
Doors frontman Jim Morrison, with one exception: He survived nearly
30 years longer than Morrison, who died at age 27 in 1971.
"I got to be the most (expletive-deleted) rock star on the
block, at least on my block," he said. "And then I got
to be a sober dad for 18 years. I've had two very full lives."
******************
Not much to add here. For all of his fans on the board, let the
man himself sum it up. From his last song, "Keep Me in Your
Heart":
"Shadows are falling and I'm running out of breath
Keep in your heart for awhile
If I leave you it doesn't mean I love you any less
Keep me in your heart for awhile."
[> Re: RIP - Wolf howls
across the world -- Brian, 14:32:02 09/08/03 Mon
[> [> And their hair
was... perfect. -- OnM, 19:45:48 09/08/03 Mon
[> [> [> OK...now
I am choked up -- Sara, 14:35:00 09/09/03 Tue
[> [> Speaking of which
-- d'Herblay, 22:20:55 09/08/03 Mon
Michael
Swanwick.
[> [> [> heard the
news yesterday morning...damn -- anom, 14:03:08 09/09/03
Tue
But he lasted longer than anyone expected & managed to finish
that last album...I'm glad he was able to accomplish something
that meant so much to him. That's more than a lot of people do.
d'H, thanks for posting that link. I'll have to shake Swanwick's
hand next time I see him at an sf con.
My picture
with Iyari Limon... -- Rob, 10:30:07 09/08/03 Mon
Anyone curious to see the answer to the following mathematical
problem, click on the question mark:
Iyari Limon + Rob = ?
Rob
[> God, is she a babe or
what? -- Masq, 13:05:00 09/08/03 Mon
Nyuhh hhuhhh huhhhh.........
Jealous now.
[> [> Oh, yeah! I've
spent the past few days rewatching choice S7 episodes... --
Rob, 13:28:54 09/08/03 Mon
...smacking myself in the head, saying "How did you not like
her before, you fool?!?" Consider me a reformed Iyari fan.
Mmmmm, Kennedy!
Speaking of which, she revealed at the full-cast panel discussion
that she will be appearing on the first episode of "Drew
Carey" this year...as a prostitute. Meow! Set your VCR to
tape...My new Tivo's raring to go!
Rob, who had two copies of his picture with Iyari printed...one
to hang on the wall, the other to put beside his pillow
[> [> [> Rob has seen
the Kennedy light -- Masq, 14:09:20 09/08/03 Mon
There is nothing "Buffy" he doesn't like.
All is right in Rob's world!
[> [> [> [> I saw
the Kennedy light and keep it under my sheet. -- VampRiley,
18:18:21 09/08/03 Mon
[> [> I still hate Kennedy,
but Iyari can invoke the Jessica Rabbit Alibi anytime: --
cjl, 14:21:46 09/08/03 Mon
"I'm not a whiny, spoiled brat of an SIT--I'm just written
that way."
[> [> Re: Rob, you, lucky
dog, you -- Brian, 14:24:26 09/08/03 Mon
[> Rob, great, so you've
moved on? Dumping poor Kerry? Player. -- Rochefort, 14:24:57
09/08/03 Mon
Ah well. Now she's mine.
Rochefort
[> An Iyari sighting
-- Darby, 07:07:05 09/10/03 Wed
Not the best circumstances - an ad for a feminine product not
unlike the one advertised every 37 seconds on FX. Saw it last
night.
Look for the young woman with the group of kids in...a museum,
maybe? I'm afraid I was barely alert enough to see that it was
her. She is very obvious right from the first shot, though.
And if you're looking for validation, Rob, after the commercial
was over, Graffiti pronounced, "She is hot!"
Xander vs
Kate -- JBone,
20:09:08 09/08/03 Mon
Damn it! You know what? I'm sick of this crap. I'm sick of being
the guy who eats insects and gets the funny syphilis. As of this
moment, it's over. I'm finished being everybody's butt
monkey!
http://www.geocities.com/road2apocalypse/showtime.html
I'll try to get the results up tonight. Post comments here, at
the voting site, or email me.
[> Re: Xander vs Kate
-- MaeveRigan, 20:31:36 09/08/03 Mon
At 2 votes to nothing, Xander's currently running away with this
one.
But here's why I think he really should win: it's not about
violence, which as we all know has never been Xander's strong
suit. Kate's been waiting for a guy like Xander all her life.
You know I'm right. I say the venue for this match is a bar in
LA; Xander gives Kate his "fish" spiel over a hot cocoa
(the cocoa-factor simply can't be over-emphasized), gazing at
her with his sad, puppy-dog eyes. Kate melts, it's all over but
the part where she moves in with him and they live happily ever
after (until the next apocalypse).
It was sad about Anya, wasn't it? I really miss her. But Xander
deserves someone, finally, who is emphatically not a demon.
The Zeppo is a lover, not a fighter. I'm just saying.
[> [> Jinx, 'twas I first
(again), oh the joys of 04:30 posting! -- Celebaelin, 21:03:33
09/08/03 Mon
[> Re: Xander vs Kate
-- Celebaelin, 20:52:02 09/08/03 Mon
You can't win Darth. It's the eye - in his ill considered attempt
to harm the Xand-man physically Caleb has inadvertantly made Xander
the avatar of at least three major deities to my certain knowledge.
Under the protection of Odin, Horus and Balor Xander's power flourishes
in the areas of wisdom, justice and retribution. He also discovers
a deep psychological need to start keeping snakes, and I don't
mean the one-eyed trouser variety, OK that was way too loud wasn't
it? Anyway, Kate's awed by Xander's new incarnation as a one-man
judicial system and seeks a position under him. After a moments
hesitation caused by the non-demonyness of it all the Xand-man
accepts and starts his new career as the elusive and charismatic
head of Harris Associates ('Wierdness squished fast' [daylight
hours only]).
[> Re: Xander vs Kate
-- Anneth, 21:15:43 09/08/03 Mon
Xander Xander Xander! He's our man! If he can't do it, well -
that's not too terribly surprising, but I love him to bits anyway.
Xander victorious, because he'd happily be trounced by her, after
which she'd lose her heart to his sparkling personality and he'd
come out the winner in many, many ways.
[> Xander vs Kate take the
contest to a local bar.... -- cjl, 22:42:16 09/08/03 Mon
...where they start off the competition (loser pays the bar tab)
with their second-favorite activity--complaining about Angel.
How "he's probably a decent guy, and he's heroic and all,
but I hate him anyway." Kate tries to impress upon Xander
the dangers of vigilante justice and how Angel represents a threat
to the system; Xander tells Kate the story of Buffy Season 2 and
ends the preliminaries right there. They proceed to the main event--How
My Dad Screwed Up My Life. The battle is fast, furious and depressing.
Christmas at the Harris home. Beating up her first boyfriend.
Drinking binges. Dead Mom and emotional distance. Kate knows she's
got the winner, though: Trevor's sad, post-retirement downhill
slide from proud cop to flunky for demonic overlords, and his
painful, vampiric death (while Angel watched, yet!). Xander is
more than ready to concede and reaches out for the bar tab when
Kate asks him--just for kicks--about the worst thing his father
ever did. Xander is barely two-thirds through describing the wedding
when Kate slides the bar tab over to her side of the table and
calls for the waiter.
[> [> Hmmm...did Voy
chop that message into bits? Let me try again... -- cjl, 22:48:07
09/08/03 Mon
Xander and Kate take the contest to a local bar, where they start
off the competition (loser pays the bar tab) with their second-favorite
activity--complaining about Angel. How "he's probably a decent
guy, and he's heroic and all, but I hate him anyway." Kate
tries to impress upon Xander the dangers of vigilante justice
and how Angel represents a threat to the system; Xander tells
Kate the story of Buffy Season 2 and ends the preliminaries right
there. They proceed to the main event--How My Dad Screwed Up My
Life. The battle is fast, furious and depressing. Christmas at
the Harris home. Beating up her first boyfriend. Drinking binges.
Dead Mom and emotional distance. Kate knows she's got the winner,
though: Trevor's sad, post-retirement downhill slide from proud
cop to flunky for demonic overlords, and his painful, vampiric
death (while Angel watched, yet!). Xander is more than ready to
concede and reaches out for the bar tab when Kate asks him--just
for kicks--about the worst thing his father ever did. Xander is
barely two-thirds through describing the wedding when Kate slides
the bar tab over to her side of the table and calls for the waiter.
[> Re: Xander vs Kate
-- Apophis, 23:28:41 09/08/03 Mon
I'd really like to write something long and witty and enlightening,
but I'm tired and I still have 2 papers to write. Let's just say
Xander blinds Kate with his Babylon 5 collector's plates and pushes
her down a flight of stairs. Or they get to talking, Kate falls
asleep on Xander's couch, and Xander's the only one who remembers
they were supposed to fight and wins by countout. Or whatever.
Why do I have to think of things for you, JBone? Why don't you
ever cut me some frigging slack, you slavedriving monster?!?!
Why won't you let me die?
[> One thing I don't get...
-- Caira, 06:13:10 09/09/03 Tue
... is why whenever one of these contests is identified as making
a better 'ship (or one-night-stand, at any rate) than a fight,
it's taken to be a victory for the male involved (unless it's
Oz)? Call me naïve, but wouldn't that make it a tie, for
all the obvious diabetes-inducing reasons? On that note, put me
down for romance, sweet romance, or whatever Xander and Kate come
up with together, and therefore a vote to Kate to narrow the margin...
and someone bring in the fic writers.
[> [> Awwwwww, poor Xander
- where lieth victyory -- Celebaelin, 13:39:01 09/09/03
Tue
[> [> [> Or even victory
for that matter -- Celebaelin, 13:44:00 09/09/03 Tue
[> [> Re: One thing I
don't get... -- MaeveRigan, 15:02:59 09/09/03 Tue
Good point. And my only answer is that I just wanted to see Xander
win for a change. That boy gets no respect. This way, I figured
everyone came out ahead. Kate has enough self-respect already.
You know, I'm going to have to stop doing this, or like you said,
I'll start writing fanfic, and that would be...well, let's just
say it would take up too much time.
[> [> I think you missed
the point -- Majin Gojira, 15:13:36 09/09/03 Tue
It's a huge fanvote. Nothing more.
It's like the WWWF:
People get to tout their opinions as facts and think of hackneyed
reasons to support their claim even though no real 'rules' have
ever been established, and even then--some people ignore them
completely. This is basically a "Who do you like more"
poll. Nothing more.
Sorry, I'm a little more accustomed to vs. debates...though I
do enjoy WWWF :)
[> [> [> Don't take
this to heart or anything -- Celebaelin, 17:56:32 09/09/03
Tue
But how come the time when it being a popularity contest becomes
an issue is when Xander wins? Originally I was entirely up for
it being a who would beat up who kind of deal, still am to a certain
extent, pointless admittedly and yet oh so amusing.
Again, I hope I don't sound too aggressive in saying this but
voters make no secret of voting with their sympathies, their libido,
their prejudices or indeed their heads. The bouts, at least the
first round bouts and by inference all others to some degree,
are, in a very real sense, contrived. I'm as sure as I can be
that JBone would agree on this point, so where's the problem.
There is a rule in the DC universe that no-one beats Superman
ie no super-hero has any power of greater effect than Superman's.
This contest is similar, only fan opinions and sympathies will
prevent a Buffy vs Faith final with Buffy being victorious. But
Angel and Spike are in with a shout and everybody has their favourites.
Personally I'd love to see the contest go contrary to canon in
any number of ways, partially because of unsupported personal
perspectives on character strengths and partly because I really
enjoy reading other posters convoluted explanations of why supposedly
'weaker' characters would triumph. Can we be so sure that one
or, heresy of heresies more than one, Slayer will not be defeated
even before the final? Probably, but there is that element of
doubt that makes it interesting. If I knew what the undercurrent
of voter opinion was I wouldn't be wrong so often, but then again
under that circumstance I wouldn't bother voting.
[> [> [> I think you
missed the point -- Caira, 06:58:52 09/10/03 Wed
Nothing personal, but *duh*. ;o) What I meant was, among all those
hackneyed reasons, why would romance blossoming between the two
characters be considered victory for one but not the other?
[> [> [> [> All
that maters then is 'who is on top' ;-) -- Majin Gojira, 06:51:49
09/12/03 Fri
I am in heaven!
-- Rob, 22:22:24 09/08/03 Mon
I just began taking a night class tonight called "Modernism,
Media, and the Middle Class: From the Forsytes to the Sopranos,"
the goal of which (according to the syllabus) is "to (a)
investigate the meaning of the term 'middle class; (b) apply historical,
sociological, psychological and art historical analyses of the
middle class to novels, plays, films, television programs, commercials,
and printed advertisements; and (c) discover our own sense of
identity within a culture driven by middle class values, ideals,
'imperatives,' and pressures to conform." As if a class that
primarily analyzes television and other forms of pop culture,
in the context of both the Modernist and Postmodernist movements,
weren't enough to get me excited, the bulk of the class will be
devoted towards each student doing a project and paper, the topic
of which will be a study of any book, movie,
or television show "as it reflects Modernist or Post-Modernist
thinking filtered through middle class morality, consumerism,
etc."
Hmmm, so let's get this straight...I'm going to be getting college
credit for a semester-long project on analyzing Buffy.
And even cooler, I'll have to make a presentation at the end of
the semester with clips from the television show/movie I chose
(or selections from the book, if I chose a novel).
Sweet!!
I'm thinking of possibly doing a joint analysis of how death is
handled on Buffy, using Six Feet Under as a counterpoint.
Or I might extend my focus to an analysis of all three of Joss'
shows, but that will come later. For now...excited!! This may
be the first time that I was told by a professor that I have a
huge project/paper to do, and I was excited--no, make that giddy--about
the idea of doing it! I, of course, will post the paper here once
it's done (and once I get it back from the professor, so it doesn't
look like I plagurized my own paper off the 'net!).
Rob
[> Can't wait to read it!
But how difficult to choose which clips to show!! -- Marie,
01:33:56 09/09/03 Tue
With so much that's good from which to choose, you need to warn
your class to bring thermos flasks and sleeping bags to your presentation!
Marie
[> Hmmm -- KdS, 02:34:51
09/09/03 Tue
Not sure this is a good idea, because of the terms of the question
as it reflects Modernist or Post-Modernist thinking filtered
through middle class morality, consumerism, etc.
I suspect that you're expected to produce something talking about
how TV promotes bourgeois laziness and false consciousness, which
would probably mean that you're expected to pick a show you don't
like and explain how it reinforces capitalist hegemony. The obvious
credit-winning approach with Buffy would be to present that whole
claim about how vampires are a metaphor for the lower classes
in BtVS that appears so often (mostly among people who never watched
past S1) but that would probably not sit well with your personal
integrity.
[> [> Re: Hmmm --
CW, 06:36:42 09/09/03 Tue
I think KdS maybe right. I'd be a little gunshy that the course
is supposed to be about "the middle class." That usually
happens in artsy courses when the prof/instructer hates the idea
of the middle class and wants the students to get a taste of that
same hatred. It isn't necessarily the case here. But Rob, if you
find the class going into detail on movies like "The Lost
Weekend" and "American Beauty;" if "Death
of a Salesman" is on the reading list; if the class starts
beating up featherweight TV shows like "The Partridge Family"
"Seventh Heaven" and "Charmed" not on general
content but on class identification; then your Buffy idea isn't
going to fly and it could be a long term.
[> [> I don't know
-- ponygirl, 07:06:38 09/09/03 Tue
I think there's a case to be made for the show critiquing middle
class desire for stability and complacency as represented by the
Mayor in s3, and Sunnydale's ongoing policy of ignoring its darker
elements. There's also the distrust of the upper classes as seen
in Reptile Boy and William's adoption of his Spike persona, and
the horror of downward mobility that Xander experiences in s4
and Buffy in s6, both of which are very middle class issues.
Lots of chewy goodness, I think Rob's going to have a great time!
[> [> [> I was also
thinking of using Glory... -- Rob, 09:35:55 09/09/03 Tue
...as symbolically the "Goddess of capitalism consumerism,
beauty, greed, etc." and show how the characters of Buffy
negatively react to how the media tells them should act,
think, etc. I don't plan on going into the theory that the show
is about middle class fears of minorities and other "problems"
taking over and destroying their world, because I personally consider
the idea to be a gross misinterpretation of the text which occurs
from taking the metaphors completely out of context (just talking
Buffy here--I know at times the situation can get a bit
cloudy on Angel). Well, I might address it briefly only
to attempt to disprove it.
Actually, I was surprised, but the professor does not want us
to rip apart the programs we choose, unless we happen to dislike
them. I actually spoke to her for about 8 minutes after class
about my ideas, and she was very interested.
And, btw, ponygirl, thanks for the great ideas...Hope you don't
mind if I pilfer some of them! I had already thought of the frat
in Reptile Boy, and Xander and Buffy's downward social
mobility fears, but I hadn't thought of using William's adoption
of the Spike persona, or the Mayor, that way...but those could
really work. Also a nice twist with showing that the "fault"
lies with the people of Sunnydale for attempting to hide/ignore
the darker elements of the world, and thus focus on middle class
ignorance and/or hypocrisy rather than the argument that they
are mere, innocent victims of the "Other." Nice fuel
for my Buffy-as-PostModernism fire. ;o)
I also thought of using Willow and Tara's relationship as an example
of the show's commitment to going against middle class "norms,"
as well as showing that the middle class desire for always trying
to make their lives easier, through, for example, new gadgets,
quick weight loss shakes, etc, can have a negative effect as demonstrated
by Willow's misuse of magic in the early portion of the sixth
season, particularly in All the Way. Also the fact that
Anya's captilistic spirit is always played for laughs. Um, Xander's
final words in Chosen poke fun at the middle class values
that would value the well-being of the mall and food court over
that of the entire world. The Council's attempts to get Faith
to conform end up driving her completely over the edge. Even just
the simple fact that the characters took so long to get cell phones,
and when they finally did, barely used them. Wow, I'm on a roll
here.
Rob
[> [> [> [> Re:
I was also thinking of using Glory... -- Arethusa, 09:52:28
09/09/03 Tue
...showing that the middle class desire for always trying to
make their lives easier, through, for example, new gadgets, quick
weight loss shakes, etc, can have a negative effect as demonstrated
by Willow's misuse of magic in the early portion of the sixth
season, particularly in All the Way
Also, how the middle class turns a blind eye on how they get their
cheap consumer goods-exploitive labor practices abroad (and here),
for example. Like Jonathan using magic to make his life easier
and more pleasant in Superstar, but as a by-product creating a
monster that threatens to destroy him and others. He willfully
ignores the consequences of his actions so he can continue his
wonderful life.
[> [> [> [> [>
Oooooh, cool, thanks! -- Rob, 10:16:02 09/09/03 Tue
And the fact that the masses are encouraged to ignore the possibly
dark or unlikable things that might have lead to their favorite
celebrities gaining and securing their fame.
Rob
[> [> [> [> [>
[> And d'oh just thought of a really obvious one...
-- Rob, 10:25:38 09/09/03 Tue
The almost complete lack of parents in the Buffyverse. The few
we see are either flawed, ineffectual, and/or evil. Joyce is the
only really good mother we see on the show, and even she had times
where she made huge mistakes.
Rob
[> [> [> [> [>
[> [> Another thought . . . -- Finn Mac Cool, 14:26:48
09/09/03 Tue
Buffy does seem to go against the "go to college, get a nice
business career" trend. After high school, none of them graduate
from college. Xander never gets accepted, Cordelia can't afford
it, Anya has no interest in it, Oz and Buffy drop out, and the
town and college are destroyed before Willow can finish. And it's
Xander, who never got into college in the first place, who ends
up with the successful career (as a construction worker, a trade
usually seen as unsuitable in comparison to middle management
office work).
Oh, and Oz would work as an example, too; he goes against many
middle class values. He got held back a year, is in a band, and
is the most sexually experienced of the Scooby's during high school,
yet, instead of being a dumb, trouble causing punk, he's a stoic-yet-gentle
genius.
[> Re: I am in heaven!
-- Celebaelin, 05:29:18 09/09/03 Tue
the topic of which will be a study of any book, movie, or television
show "as it reflects Modernist or Post-Modernist thinking
filtered through middle class morality, consumerism, etc."
Perhaps you should check whether this is meant solely in terms
of program content or whether public, commercial and network responses
to the work are a permissable approach. Or maybe you could explore
your Jungian shadow and dispel all those unconscious doubts about
ME 'subversively' slipping in bits of middle class value here
and there. Your familiarity with and enthusiasm for the subject
matter, and to be fair there is a lot of material to work with,
might well outweigh the fact that for the most part neither the
characters nor the audience reflect comfortable middle class stereotypes,
not in a very positive way anyway.
You could of course try shopping around for another series but
I'll lay odds you come back to Buffy simply because you'll enjoy
doing it more. What better reason is there? Oops, my values are
showing.
Angel Spoofs
-- Claudia, 10:20:37 09/09/03 Tue
While watching "Tabula Rasa", I noticed that after Spike
(aka "Randy Giles") went on about being a vampire with
a soul, Buffy (aka "Joan") rolled her eyes and commented,
"How lame is that?" Was ME spoofing or making fun of
Angel's character? And were they making fun of Angel in the episode,
"Intervention", when BuffyBot made insulting comments
about the brooding vampire?
If so, I cannot help but wonder, sometimes, how Whedon really
feels about Angel.
[> That's just ME's sense
of humor -- Ray, 13:10:39 09/09/03 Tue
James Marsters said in an interview that when ME makes a character
look foolish, it just means that they care about the character.
Besides, Joss created and nurtured the Angel character. If anythng,
Angel is proof that Whedon isn't a one hit wonder. And the Buffybot
comment was to illustrate Spike's jealousy.
[> Dunno... -- Random,
13:38:45 09/09/03 Tue
Yes, they were spoofing Angel and his persona. Just as they mocked
the Buffy/Angel angst in The Zeppo. It is part of why I
love the show. It's not evidence of secret Jossian antipathy.
No conspiracy theory here. I mean, how does Joss really
feel about "Captain Peroxide" and the pathetic Spike
that graced our screens in S4? How does he really feel about the
parody of Spike that we were treated to when he's actin' all manly
and then watching Passions? Or wearing Xander's clothes? Or his
inability to "perform" with Willow. Or, as in Restless,
where they mock Spike's posturing? Joss doesn't spare Xander the
barbs, most of them self-inflicted. Poor Xander's manly poses
get mocked a lot, especially when he is revealed to be the lovable
boob we all have come to, well, love. Or Willow, who geeks out
quite a bit in the early going. "Squeal of geeker joy"
anyone? Or Buffy, whose generalissimo pose gets mocked later in
S7. Or Faith mocking Buffy's attitude: "Because it's wrong."
Or Giles and his constant blackouts...he even mocks himself..."Oh,
good show, Giles. Uhh... at least you didn't get knocked out for
a change" Or even dear, pathetic EarlyWesley(TM) screaming
like a woman.
One of the best elements of the show was its ability to consistently
undercut the characters. I don't believe any of this is evidence
of how Joss or the writers feel about the characters. It's just
an element of a well-written show that is secure enough to be
self-mocking.
[> [> I agree! --
DickBD, 11:05:02 09/11/03 Thu
The strength of the shows is in the way that they can mock the
characters and even themselves as the writers. I think a bit of
that was done in "Normal Again." And the mocking of
a vampire with a soul as "lame" is really the writers
laughing at themselves.
What 22 episodes
of BTVS tell the Essential Story of Buffy? -- s'kat, 17:16:28
09/09/03 Tue
Here's the question - if you were to issue a DVD of the Essential
Story of Buffy on BTVS but had to limit it to 22 episodes and
it had to appeal to people new to the show or unfamilar with it
- what 22 episodes would you pick?
(not as easy as it looks, I fiddled with it for a while and this
is what I came up with)
Season 1
1. Welcome to The Hellmouth (Introduces principal characters and
Buffy struggles with new school)
2. Harvest (second part)
3. Angel (introduces who Angel is, and the vampire/slayer thing
first time)
4. Prophecy Girl (Buffy chooses her calling)
Season 2
5. Surprise (Buffy and Angel consummate their romance, other relationships
come to a head)
6. Innocence (Angel loses his soul)
7. Becoming I (angel's back story and Buffy's back story)
8. Becoming II (everyone's roles change)
Season 3
9. Lover's Walk (Everyone breaks up)
10. Graduation Day Part I (Buffy/Faith/Angel/The Mayor comes to
a head )
11. Graduation Day Part II (Angel leaves, Buffy graduates)
Season 4
12. The Freshman (Buffy deals with College)
13. Who Are You (Buffy and Faith - deals with the dark side)
14. Restless (Characters interior emotional lives examined and
we get info on the First Slayer)
Season 5
15. Fool For Love (Spike's back story and more mythology on slayer/vampire
relationship)
16. The Body (Joyce dies)
17. The Gift (Buffy sacrifices herself for the world)
Season 6
18. Once More With Feeling (The entire season summarized in song)
19. Grave (Buffy emerges from the grave finally, and characters
deal with their issues)
Season 7
20. Conversations with Dead People (buffy, willow and dawn deal
with their issues in different ways)
21. Get it Done (The slayer's and watcher's orgins are revealed)
22. Chosen (Buffy spreads the power)
*Note - I did not pick my favorite episodes, just the ones that
would tell the story the best to a new viewer or the broadest
group of viewers possible.
Agree? Disagree? Your own list?
sk
[> Re: I'd add Season 2:
School Hard (intro of Spike) -- Brian, 21:11:35 09/09/03
Tue
[> [> I'd choose Lie
To Me instead -- ponygirl, 07:08:16 09/10/03 Wed
It serves as a good intro to Spike and Dru, plus explains Angel's
connection. It also introduces the theme of moral ambiguity that
marks the rest of the series.
[> Really, quite a good
list...I would go for 'Choices' over 'Lover's Walk' and 'TYF'
over 'Freshman' -- Nino,
21:12:20 09/09/03 Tue
[> Re: What 22 episodes
of BTVS tell the Essential Story of Buffy? -- Artemis, 00:09:32
09/10/03 Wed
Great list! s'kat. Great idea. And boy is it hard. I keep coming
up with 24 episodes but I guess that's not fair.
Totally agree with your season one and season two selections.Those
episodes convey the heart of Buffys' struggles during those seasons.
So that gives me the same first eight as you have chosen.
For season 3
I choice:
9. Faith Hope and Trick, because of its introduction of Faith
which I think is so important to Buffys story.
10. Bad Girls because we get to see Buffys potential Dark side
and Faith cross over.
10. Enemies. Continues the season struggle but also sets the insecurities
Buffy has regarding Angel and Faith
11. I agree with your choice of Graduation Pt one
12 Graduation part two.
It's getting hard now
Season four.
13. The Freshman is a good choice.It does set up her transition
into college life.
14. Doomed. I know this is a strange choice but it does seem to
set up her attempt and fear of dealing with a normal guy which
I think is important to her journey . It also deals with Spike
and his chip. And we see how he stays connected to the scoobies.Since
he can fight demons.
15. Restless. For reasons you mentioned, First Slayer ,internal
struggles.
Season Five
16. "No place like Home." Anyone tuning into Buffy with
only these episodes has to have the episode that has Buffy learning
that Dawn is the Key.It also explains one of the overwhelming
loads that Buffy must bear through out the rest of her journey.
17. The Body. another burden to bear.
18. The Gift. The temendous sacrifice.
. I don't think I'm going to make it. I'm taking out The Freshman.
The audience is just going to have to figure out that she went
to college and that the first days were hard.... Anyway who cares
if she went to college.
So now I'm really on number 18. And Season Six
Season Six
18. Afterlife. (But we must include all of the previously on Buffy
clips, from this point on.) This episode really sets up Buffys
emotional devastation and isolation
19. Once more with Feeling . For the reasons you mentioned.
20. Dead Things. I think you have to see how low Buffy is sinking.
to appreciate her coming out of the Grave.
Ok so now I have to take out another one. Oh why must there be
only 22 episodes per season.Ok breathe..think... Alright.. Enemies
from Season 3 has to go. The audience doesn't need to know that
Buffy is insecure about Angel and Faiths relationship. Whew!!
So I'm still on number 20. Yeah!!
20.Grave (We are still using Previously on Buffy clips, so I guess
I can live with jumping to this episode.)
Season Seven:
I agree with all of your choices
21 Conversation with Dead People
22. Get it done (For slayer watch origin revelation which you
mentioned)
23.And Chosen
But that means I have to take out another episode to make this
22. Damn..Damn..Damn..!!!
Okay I'm taking out Afterlife. Only because we're getting the
previously on Buffy clips.
Boy this was hard.And like you this doesn't necessarily represent
my favorite episodes, but I think they tell the story.
Thanks for starting this.
[> [> LOL! Nearly impossible
ain't it? -- s'kat, 12:43:26 09/10/03 Wed
I tried to focus on the slayer mythos when I did it, but it was
hard. The first round I put in Hush and School Hard, but I realized
The Freshman and Get it Done were more important.
But it's still much easier than Angel. You want hard?
Try doing the essential Angel story in 22 episodes?
[> [> ok, take it easy...let's
just redefine the rules a little... -- anom, 19:56:08 09/10/03
Wed
...isn't that what Buffy would do? @>)
OK, not in such a dramatic way as Buffy would do it: just define
"episode" so that 2-parters count as a single episode.
Voilà! Becoming & Graduation Day are 1 ep each, leaving
you space for Enemies & Afterlife. Or substitute Bargaining for
1 of those.
Good point about the "previously on's"--they do give
you a little more flexibility, although they can be short on context.
[> [> [> Nice idea
but doesn't work, here's why -- s'kat, 19:43:45 09/11/03
Thu
OK, not in such a dramatic way as Buffy would do it: just define
"episode" so that 2-parters count as a single episode.
Voilà! Becoming & Graduation Day are 1 ep each, leaving
you space for Enemies & Afterlife. Or substitute Bargaining for
1 of those.
Sorry - it's not how many episodes - it's length. You can only
fit 22 - 43 minute segments on 6 DVD's Disc pack. However if we
go with OnM's assessment, we could get 24 maybe. Or do 12 pack.
Which would give you 25-30 episodes, I think.
The trick or point of the game is to get it done to 22, 43 minute
episodes. So sorry, can't make the two-parters one episode. Nice
try ;-).
[> [> [> [> hey,
no fair! you let onm do it... @>n -- anom, 21:23:53
09/11/03 Thu
OK, still gotta work on that sulky/pouty emoticon. But you said
"episodes," not "hours":
"Here's the question - if you were to issue a DVD of the
Essential Story of Buffy on BTVS but had to limit it to 22 episodes
and it had to appeal to people new to the show or unfamilar with
it - what 22 episodes would you pick?"
See? "Episodes." So who's changing the rules here, you
or me, huh? And besides, OnM's approach gives us the same total
hours, & w/my little tweak could still keep it to your 22 episodes.
So there!
(OK, hope it's clear now that my suggestion was at least semi-facetious...I
could hardly decide whether to put it under Artemis', Valheru's,
or OnM's post!)
[> [> [> [> [>
Yes and the point still holds! -- s'kat, 22:33:45 09/11/03
Thu
See? "Episodes." So who's changing the rules here,
you or me, huh? And besides, OnM's approach gives us the same
total hours, & w/my little tweak could still keep it to your 22
episodes. So there!
Well - as long as it just comes to 24 episodes then it doesn't
matter, does it? ;-)
From what I remember Bargaining I and Bargaining II are two "separate"
episodes, not one. Just as Innocence and Surprise are two separate
episodes - heck they even aired them on two separate nights and
named them two separate names. So, unless you can find a way of
proving to me that the TV show treated these as one episode? Doesn't
fit. ;-)
Seriously though this is really about logistics - OnM proved that
you could logically fit 24 episodes on 6 DVD's, which I didn't
know (woefully stupid on the tech end). The rule was that it had
to be limited to one DVD package. It's based on a poll of the
22-24 favorite Buffy episodes which Fox wants to put on a DVD
- see Celebalin's post below.
So unless you can show me a way that we can count the two parters
as one episode and logically fit them all on DVD's along with
the single episodes? (Course if you stay within the 24 episode
rule? No biggie, but if you try to combine the two-parters in
order to cram more than 24 episodes in there - or more than 24
- 43 minute shows? IT just won't fit on the DVD's...so no can
do.) Not a matter of fairness, matter of space. (It's a mathematical
problem unfortunately.)
(OK, hope it's clear now that my suggestion was at least semi-facetious...I
could hardly decide whether to put it under Artemis', Valheru's,
or OnM's post!)
LOL! Yep...the attempt to break the rules in order to fit in all
the episodes people think are needed proves my point that it is
IMPOSSIBLE to have a perfect "essential story of Buffy"
on a 22 episode DVD set which includes commentary and featurettes.
Probably why Fox and ME haven't attempted it. We can barely agree
on one after all.
[> And I thought the Angel/Spike
wars were mindboggling... -- Valheru, 00:13:11 09/10/03
Wed
To be honest, I don't think this can be done and still do justice
to the series. I mean, I really really like your list,
but look at what's left out:
Season 1 - Since it's only a half season and most of the eps are
standalone, nothing significant is missing.
Season 2 - The introduction of Spike'n'Dru; introduction of the
Slayer-line divergence with Kendra; the romantic part of Giles/Jenny
and Xander/Cordy; Oz's lycanthropy; Jenny's murder; the Angelus/Dru
affair and the Angelus/Spike rivalry.
Season 3 - The resolution to runaway Buffy; the return of Angel;
the First's first appearance; pre-evil Faith and her crossover
into city politics; Anya's demon days; Giles's firing from the
Council.
Season 4 - The Initiative arc; the Buffy/Riley romance; the Willow/Oz
breakup; the start of Willow/Tara and Xander/Anya; Spike's return
and chipping; Hush (yeah, I know why you left it out, but
still).
Season 5 - Dawn's introduction and explanation; Glory's quest;
the Buffy/Riley breakup; the importance of Ben; the introduction
of the Buffybot and Warren.
Season 6 - Buffy's resurrection; Doublemeat; the failed Xander/Anya
wedding; Spuffy sex; the Willow/Tara breakup; MagiCrack; Nympho!Dawn;
the Trio; the AR; Tara's murder; Warren's murder.
Season 7 - Actually, you could just watch Chosen and get
the gist of it.
See? Even if you just bare-boned it down to a beginning-middle-end
for each season--i.e., Episode 1 (exposition), Episode 13, 14,
or 15 (usually the action/turning-point episode of each season),
and Episode 22 (resolution)--you'd have 21 episodes.
So what would I do? Focus only on Buffy's story. Hit the high
points for her, ditch plot-heavy episodes that don't affect her
character very much.
Season 1
1. WTTH
2. The Harvest
3. Prophecy Girl
Season 2
4. Surprise
5. Innocence
6. Becoming I
7. Becoming II
Season 3
8. Anne
10. Graduation Day I
11. Graduation Day II
Season 4
12. The Freshman
13. Doomed
Season 5
14. Real Me
15. The Body
16. The Gift
Season 6
17. Bargaining I
18. Bargaining II
19. OMWF
20. Seeing Red
Season 7
21. CWDP
22. Chosen
Hard! I chose Anne because it's sort of a necessary resolution
to Becoming. Doomed gives us a tidy summary of Buffy's
relationship problems post-Angel, while Seeing Red sets
up her problems post-Spuffy. I picked Real Me because Buffy's
relationship to Dawn is central to her choices in The Gift
and Season 6. And I chose Bargaining because the resurrection
sets up the next two seasons' angst.
My biggest problem was with the two-parters. 5 stories, but they
took up nearly half of the list. Kind of a shame that I had to
leave off Restless, Amends, FFL, Hush,
and Passion because Joss wanted to fit all those pesky
Scooby moments in and bloat episodes into two parts.
Or maybe I should just scrap my Buffy-centric view and pick the
episodes Buffy herself would like to see: Angel and Spike X-posed!
[> [> yep. Actually doing
the essential Angel story is harder. -- s'kat, 13:02:56
09/10/03 Wed
When I did it the first round I struggled, I wanted to put in
School Hard and Passion. I also wanted to nix Prophecy Girl and
put in Hush. Realized I needed Get it Done.
So what did I do? Focused on Buffy as the Slayer story as opposed
to her journey as the girl.
I nixed Anne, since you don't really need it to wrap up Becoming.
(Although on the fence there.) Of all the seasons I found Season
3 the hardest to figure out. Hmm, actually I think you might be
right Anne over Lover's Walk.
So for the slayer do we go with Doomed or Who Are You? Who Are
You - talks about what being the slayer means to both Faith and
Buffy. Doomed really isn't as important. Restless?
It covers who the slayer is as well - with intro of the First
Slayer. Same with Get it Done. Don't need Bargaining - since same
themes are covered in OMWF. The first time I did it - I put Seeing
Red before Grave, but another poster convinced me to put Grave
instead...since this is more about Buffy and her getting out of
the grave. On the fence there too. Get it Done is unfortunately
essential to understanding the origin of the slayer. CWDP sets
up Chosen
and also explains Buffy's issues.
Tough.
But not nearly as tough as doing essential Angel story.
I tried that and almost went nuts. Here's what I came up with:
Season 1
2.Parting Gifts (introducing the characters)
2. The Prodigal (Angel's back story)
3. To shanshue in LA (the prophecy)
Season 2
4. Darla (Darla's back story)
5. The Trial (fight for Darla's humanity)
6. Reunion (Darla's Turning)
7. Reprise (sleeping with Darla)
8. Epithany (rejoins with team Angel)
Season 3
9. Lullaby (Darla has Connor and dies)
10. Sleep Tight (Wes betrays Angel, Holtz kidnaps Connor)
11. A New World (Connor returns)
12. Tomorrow (Cordy ascends, while Angel descends after Connor
puts him in a box)
Season 4
13. Deep Down (Angel ressurrected)
14. Apocalypse Nowish (Connor/Cordy Sleep Together)
15. Long Day's Journey (Day becomes Night, Wes decides to ressurect
Angelus)
16. Awakenings (Angel loses his soul)
17. Cavalry (Cordelia kills Lilah)
18. Release (Angel almost kills Faith)
19. Orpheus (Angel gets his soul back)
20. Inside Out (explains what happened)
21. Peace Out (Angel gets rid of JAsmine)
22. Home
ugh. hard. Since most of S4 is so serialized that it doesn't make
sense without all the episodes. Hence the reason we don't see
reruns.
[> [> Re: And I thought
the Angel/Spike wars were mindboggling... -- Sheri, 13:43:55
09/10/03 Wed
Season 6 - Buffy's resurrection; Doublemeat; the failed Xander/Anya
wedding; Spuffy sex; the Willow/Tara breakup; MagiCrack; Nympho!Dawn;
the Trio; the AR; Tara's murder; Warren's murder.
Um... Nympho!Dawn? Did ME make a version of the show specially
for the SPICE network? ;o)
[> [> [> Shows where
my head is these days -- Valheru, 19:31:42 09/10/03 Wed
Uh, KLEPTO!Dawn. Not Nympho. I guess it's the pesky Freudian part
of my brain that keeps insisting that the reason why Dawn's story
was so bad in S6 was because she was spending too much time stealing
and not enough time having lots of orgasms. Yeah, that's it! S6
was backwards! The wrong people were having sex! It would have
been SO much better had Spike and Buffy gone on a crime spree
while Dawn and Clem got spurty. And then there's the real
reason why they were called the "Trio"...
[> Good list - but why necessarily
limit yourself to 22 eps? -- OnM, 07:53:12 09/10/03 Wed
Consider the following:
1. If you delete the extras, you can fit four eps per disc on
a 6-disc DVD set. This means you could have 24 eps.
2. If you wanted what I think would be the lowest number
of eps that could tell the story to a newbie, then my vote would
be for 25. (Which you could still fit on a 6-disc set with just
a little more compression or use of a dual layer disc, which I
suspect they do anyway. The first year was shot on 16mm, I believe,
so that would be the disc with 5 eps on it.).
My choices, based on your list:
Season 1
1. Welcome to The Hellmouth (Introduces principal characters and
Buffy struggles with new school)
2. Harvest (second part)
3. Angel (introduces who Angel is, and the vampire/slayer thing
first time)
4. Prophecy Girl (Buffy chooses her calling)
Season 2
5. Surprise (Buffy and Angel consummate their romance, other relationships
come to a head)
6. Becoming I (Angel's back story and Buffy's back story)
7. Becoming II (everyone's roles change)
Season 3
8. Lover's Walk (Everyone breaks up)
9. Graduation Day Part I (Buffy/Faith/Angel/The Mayor comes to
a head )
10. Graduation Day Part II (Angel leaves, Buffy graduates)
Season 4
11. The Freshman (Buffy deals with College)
12. Who Are You (Buffy and Faith - deals with the dark side)
13. Restless (Characters interior emotional lives examined and
we get info on the First Slayer)
Season 5
14. Fool For Love (Spike's back story and more mythology on slayer/vampire
relationship)
15. The Body (Joyce dies)
16. Forever (I see this ep and *The Body* as bookends--
I wouldn't seperate them.
17. The Gift (Buffy sacrifices herself for the world)
Season 6
18. Bargaining Part I (Buffy's resurrection)
19. Bargaining Part II (Buffy decides to live even though
she has been called back from heaven. You have to have this and
Part I to set up the *OMwF* & *Grave*, so you understand why someone
like Buffy would consider suicide.)
20. Once More With Feeling (The entire season summarized in song,
and Buffy reveals that she was 'in heaven')
21. Grave (Buffy emerges 'from the grave' finally, and characters
deal with their issues)
Season 7
22. Conversations with Dead People (Buffy, Willow and Dawn deal
with their issues in different ways)
23. Get it Done (The slayer's and watcher's orgins are revealed)
24. Chosen (Buffy spreads the power)
Now, if I had 25 eps, I would add Primeval back into Season
4. This ep really is the 'end' of the season, not *Restless*.
*Restless* is a bridge piece between the end of Buffy's 'youth'
and the beginning of her 'adulthood'. As such it kind of stands
'outside' the normal series to a certain degree. (And explaining
any better than that would take waayyy more time than I'm
gonna spend right now! ;-)
Personally, I think a 12-DVD set would be a better choice, with
6 discs before *Restless* and 6 after!
:-)
[> [> Re: Heck, I'd go
for '50's prime time and have 39 episodes -- Brian, 08:20:13
09/10/03 Wed
[> [> Okay I agree with
most of this except for two things. -- s'kat, 13:19:29
09/10/03 Wed
Thanks for the info on DVD's, wasn't sure how many episodes it
would take to fill up one six disc set. Although 12 disc makes
more sense.
(Oh this whole poll idea came about from someone's post on Buffy
Cross and Stake about Fox considering doing a 22 episode DVD filled
with the favorite Buffy episodes. There was a site where people
were voting - I think on TeenHollywood, not sure. The ranking
for top five was:
1. Once More With Feeling 2. The Gift. 3. Innocence. 4. Becoming.
5. Chosen. I think. It was a couple of weeks ago).
Personally I think 24 works better.
The only picks I disagree with: the lack of Innocence.
You need Innocence to explain Becoming. Angel doesn't lose his
soul until Innocence. And it's where we learn about the curse.
It's the lynchpin of the entire season. In my first round I left
off Surprise and went with Innocence, since in some ways it's
more important.
While I love Forever - you can live without it easier than Innocence.
You may be right on Bargaining - sort of necessary for when she
decides to live or why she wants to die. But you could do the
same thing with Afterlife which only takes up one hour instead
of two. And if you put Afterlife in - instead of Bargaining, you
can keep Forever.
Primeval may be more vital than Forever - but unlike Who Are You,
The Freshman and Restless - if requires explanation on the whole
plot arc of S4 which isn't necessarily vital to Buffy's story.
So I'd exchange Bargaining with Afterlife. Put in Innocence.
And keep Forever.
[> [> [> Re: Okay
I agree with most of this except for two things. -- ponygirl,
13:53:32 09/10/03 Wed
I think you'd need Blood Ties in s5 as well. Not my fave episode
but Dawn's presence requires some explanation, and it also
gives us the Ben/Glory connection (wait - there's a connection?),
both of which are needed to understand the events of The Gift.
[> [> [> [> Re:
Okay I agree with most of this except for two things. -- s'kat,
14:16:05 09/10/03 Wed
Actually I think you can ignore Dawn to some extent, she really
isn't that vital to Buffy's story outside of S5.
I'd either pick No Place Like Home or Blood Ties. Nix
Forever. Nix Bargaining Part I & II.
So just have No Place Like Home - introduces Joyce's illness and
what Dawn is and Glory - all three you need to understand the
Gift.
So it's
No Place Like Home
Fool For Love
The Body
The Gift
Afterlife
OMWF
Grave
CWDP
Get it Done
Chosen
[> [> [> [> [>
Re: Just curious. Why 'Fool for Love' -- Artemis, 18:06:58
09/10/03 Wed
Though I love this episode, in regards to Buffys story why do
you or others feel it is essential if given only 22 episodes?
I'm assuming it's because you believe Spike is telling the truth
that Buffy has a "Death Wish" Or is it something else?
[> [> [> [> [>
[> It's about what a slayer's job is and how dangerous
-- s'kat, 19:42:57 09/10/03 Wed
Fool For Love is the first time that we really see what slayers
are from the vampire pov. It also describes in detail how dangerous
Buffy's job really is.
Doug Petrie mentions in his commentary on the episode that the
importance was to reveal that any vamp at any time could kill
Buffy. Over the years Buffy and the audience assume she will win
- she's the hero after all. In this episode the creators are preparing
us for the fact that she could die, and in fact it's a miracle
she hasn't.
We also get an inside view on what vampires are. How they are
created. That monsters don't just appear, they evolve.
If you don't see Fool For Love - it's hard to really contemplate
what Buffy goes through in Get it Done, Conversations With Dead
People, Chosen, or even The Gift.
Also Fool For Love shows us the cracks in the Riley/Buffy relationship.
The cracks between her and Giles, the fact that Giles really can't
teach her anything else, that she's moved past him. The toll her
mother's illness is taking on her. All of this shown clearly in
one episode.
Fool for Love is the counterpoint to S1 Angel. It is in some ways
far more important to Buffy's story than even Angel is, not b/c
it features Spike, but because it gets to the heart of what Buffy
does each night and how isolating that job is. How alone she feels.
How there's more vamps than her.
Fool for Love explains why Buffy does what she does in Chosen.
Why Chosen is inevitable if Buffy wishes to survive and not give
in. She is getting close to Spike's prophetic death wish - b/c
like Spike in Fool For Love, in S7 Buffy has begun to isolate
herself. Compare her discussion with Spike in Fool for Love with
her conversation with Holden Webster in CWDP - in both - the vampires
tell her she has a death wish but in different ways.
Spike - he tells her the only reason she hasn't finally given
up is her mom, the SG, her kid sis - they connect her.
But sooner or later she gets tired of the vast numbers she has
to fight...all alone. One slayer in all the world and her doom
to die alone.
Holden - tells her that she is alone, everyone is until they die.
Unconnected.
Both as vampires are connected to the FE (Buffy's own dark side
if you want to examine it pyschologically) - the
FE tells Buffy in Chosen she will die alone. This links all the
way back to WttH and Prophecy Girl and Becoming and even Restless.
It is a steady and important theme throughout the series.
I think to get the full picture? You have to have Fool for Love.
I wouldn't buy the essential 24/22 episode DVD on BTVS without
it.
[> [> [> [> [>
[> [> Thanks. You sold me. -- Artemis, 20:04:09
09/10/03 Wed
[> [> [> [> [>
Dawn -- Claudia, 11:15:36 09/11/03 Thu
[Actually I think you can ignore Dawn to some extent, she really
isn't that vital to Buffy's story outside of S5.]
I disagree. I think that Dawn continued to be vital to Buffy's
story, following S5. Especially from when she first became Dawn's
guardian, following Joyce's death ("The Body"/"Forever"),
to that proud look she gave the younger girl before the final
battle in "Chosen".
[> An ATP list of REALLY
essential Buffy episodes -- Just George, 14:55:39 09/10/03
Wed
I am too lazy to make a decision. So, I combined everyone's lists
(and added When She Was Bad because I think it's important) and
came up with an ATP list of REALLY essential Buffy episodes:
Season 1 (4)
Welcome to The Hellmouth
Harvest
Angel
Prophecy Girl
Season 2 (7)
When She Was Bad
School Hard
Lie To Me
Surprise
Innocence
Becoming I
Becoming II
Season 3 (8)
Anne
Faith Hope and Trick
Lover's Walk
Bad Girls
Enemies
Choices
Graduation Day Part I
Graduation Day Part II
Season 4 (5)
The Freshman
Doomed
Who Are You
Primeval
Restless
Season 5 (7)
Real Me
Blood Ties
No place like Home
Fool For Love
The Body
Forever
The Gift
Season 6 (7)
Bargaining Part I
Bargaining Part II
Afterlife
Once More With Feeling
Dead Things
Seeing Red
Grave
Season 7 (3)
Conversations with Dead People
Get it Done
Chosen
A total of 41 episodes.
Note that Seasons 2, 3, 5, & 6 have seven or eight essential episodes,
while 1, 4, & 7 have five or fewer. This may be one reason why
these seasons are the ones that generate the most interest and
discussion. These were he seasons when the story progressed the
most.
-Just George
[> [> Interesting note
about the number of episodes per season . Thanks -- Artemis,
18:10:23 09/10/03 Wed
[> Slayer Buffy or Buffy
Buffy? -- Valheru, 23:44:08 09/10/03 Wed
I guess that the list depends on how you view Buffy's story. For
instance, Get it Done has a huge impact on the mythology
of the Slayer, but it doesn't matter much to Buffy's personal
story, whereas an episode like Lie to Me or Doublemeat
Palace is the reverse. And in cases like Who Are You?,
certain themes (in this case, the study of the dark side) come
at odd times in relation to Buffy's personal story, yet don't
alter the Slayer story at all.
And while I tried to include Dawn and Riley in my list, I notice
that yours pretty much leaves them out at their most crucial periods
(Riley in S4, Dawn in S5). I'm curious as to why, especially since
you included so many pivotal Connor episodes in your AtS
list. While I wouldn't consider either character to be as pivotal
to the overall series arc as Connor, Dawn and Riley are extremely
important. In fact, I'd even consider dumping The Body
in favor of a more Dawn-centric episode pre-The Gift like
Real Me, No Place Like Home, or Blood Ties.
Joyce's death was important, yes, but it's easier to let The
Gift summarize her passing than to let Buffy sacrifice herself
to save Dawn without giving the audience an emotional connection
to the person Buffy dies to save. Or maybe drop something else
and use The Weight of the World. As for Riley, I would
have at least one episode where he features prominently as Joe
Regular, otherwise it just looks like Buffy went for the first
semi-substitute for Angel she came across, then dumped him for
the next best Angel substitute, Spike; even though it doesn't
seem like it, her relationship to Riley was pivotal to Buffy's
whole character.
Oh, and I'm just curious: why did you pick Who Are You?
instead of Consequences? IMO, WAY is more important
to Faith, where Consequences is more important to Buffy
(and thematically, I think the "dark mirror" story works
best in S3 anyway).
One thing this list has made me realize is how truly interconnected
all 144 episodes are (and throw some of the AtS crossovers
in there, too). Maybe rather than 22 episodes, just pick significant
parts of each episode and make one big 22 hour movie out of it.
Or do the "Previously on Buffy the Vampire Slayer..."
from The Gift in slo-mo, then have Joss and Marti (as Numfar
and Parking Ticket Lady, of course) re-enact the UPN years in
dance and song. "Numfar! Do the Dance of Season Six!"
[> [> I'm obviously not
'kat, but here's a brief defense of choosing *Who Are You?*
-- OnM, 05:36:55 09/11/03 Thu
*** One thing this list has made me realize is how truly interconnected
all 144 episodes are. ***
Amen to that, brothers and sisters! One of the points that I think
'kat was trying to make in the first post is just how hard it
is to summarize the series in a small number of episodes.
Anyway, this could easily be a whole essay, but since I have to
get ready for work in about 15 minutes, I'll just summarize the
main points about Who Are You?:
1. You're right about the "dark mirror" arc in S3. That's
the setup, but This Year's Girl and WAY are it's
first main payoff. If we're cutting things down to a minimum,
I prefer to see the payoff in detail rather than the setup.
2. Much depends on to what degree you see Faith as Buffy under
different circumstances. Faith doesn't understand who Buffy really
is, and conversely Buffy doesn't really understand who Faith really
is. The body switch brings about a critical increased understanding
on the part of both women as to what the other's life is like,
although in typical ME fashion, it takes literally years for a
resolution to be obtained in the endgame of Season 7.
3. You mentioned the importance of Riley, and I agree. In one
of the single greatest ironies of the entire show, Riley saves
Faith's soul by proving to her that love really isn't just sex
misspelled. Other characters later act to help the process to
completion, but Riley started it.
4. If Buffy had any remaining doubts as to the trustworthiness
of the Watcher's Council, she had none after this episode.
5. Willow and Tara do their first 'serious' magic in this episode,
and Tara is effectively brought into the Scooby Gang.
6. The difficulties in the Riley/Buffy 'ship begin here, since
Buffy can't seem to get past Riley having slept with Faith, even
though Faith was in Buffy's body at the time. This says a great
deal about Buffy's ongoing personal insecurites and general difficulties
with relationships, a constant theme throughout all seven seasons.
It also reinforces the idea that Buffy and Faith are (disturbingly,
to Buffy) much alike in a lot of ways, otherwise how could Faith
have 'faked it' so well that Riley couldn't tell it wasn't Buffy?
Something like that!
Off to the electronics mines...
;-)
[> [> [> Very well
done! OnM! Oh and ...why I nixed certain episodes -- s'kat,
18:23:58 09/11/03 Thu
*** One thing this list has made me realize is how truly interconnected
all 144 episodes are. ***
Amen to that, brothers and sisters! One of the points that I think
'kat was trying to make in the first post is just how hard it
is to summarize the series in a small number of episodes.
Very much so. Thanks! I guess the point I was making is how impossible
it really is to just watch 22 episodes and get the whole story.
The show is way too serialized for it to work. The best you can
do is pick episodes that cover most of the themes and give you
a general idea or summary.
If you look at my list above - I tried to pick the episodes that
either were self-contained in one or two parts and cut across
as many of the Buffy Slayer themes, so you didn't need the set
up. Actually that may be the common denominator between all those
episodes. You can watch Surprise/Innocence apart from the others,
same with Becoming and Graduation Day - they are more or less
self-contained. I excluded Choices, The Wish, Selfless because
they did not focus on Buffy's story - they focused on another
character or supporting characters. Choices is really more about
Willow than Buffy, Buffy is making choices too - but we see these
choices delinated for Buffy better in Graduation Day, Lover's
Walk, Freshman, Anne, and Becoming. The focus is really more on
Willow here. The exceptions to that other character rule are:
Fool For Love, Angel, and Becoming = b/c the vampires are used
to reflect the slayer mythology, they are used to enhance or reflect
something new on Buffy. We learn a great deal about Buffy through
them. Angel - we learn she does not kill indiscriminately, she
has rules, Becoming? how she became a slayer and how Angel's state
affects her calling, Fool for Love - see my explanation above.
The only episode that centers on a vampire character which we
don't learn much about Buffy is Amends - which is more Angel centric
and easily discarded. Amends isn't about Buffy so much as Angel
and it covers the same ground as Angel, Becoming, Innocence, Graduation
Day and Lover's Walk. So not as necessary. Lie to Me? I nixed
b/c again it covers the same ground as Becoming, Angel, Innocence,
Fool For Love and CWDP.
OnM's summary shows how Who Are You really covers the whole Faith/Buffy
relationship, Willow being gay, Tara's introduction to the SG,
Spike's attraction to Buffy, Riley and Buffy's relationship issues
- his desire to connect to her and her emotional insecurity with
him, Buffy and Faith's struggle with being the slayer. This episode
encapsulates the themes and issues in ten episodes. You don't
need Into The Woods, Hush, Enemies, Bad Girls, Consequences, etc
- because Who Are You covers these themes
as well if not better. As for the set up? Graduation Day covers
that as well.
Angel S1/Prophecy Girl and WttH - covers Buffy's boyfriend issues.
Fool For Love - covers the slayer/vampire relationship and the
B/S dynamic as well as the problems between Riley/Buffy.
While Riley is important - you have to pick the episodes that
cover the most ground. Who Are You, Fool For Love, Restless, all
cover Riley territory pretty well. I picked the Freshman - because
it deals with the slayer/girl dichotomy in college and how Buffy's
job has changed. It also introduces the distance between Buffy
and the SG for the first time.
As for Dawn? I made a decision - do I want to focus on Buffy as
the girl or Buffy as the slayer? So I picked the episodes that
encapsulate SlayerBuffy's view of Dawn the best - The Body (where
Buffy as the slayer is almost useless for her mother but as the
slayer she can save Dawn.) Forever or BloodTies of No Place Like
Home might be essential to explain the Gift. But it has been argued,
quite well in fact, that Buffy didn't just sacrifice herself for
Dawn, she did it for the world and even if Dawn had not been her
sister, she would have died for her - because Dawn was an innocent.
Buffy's feeling towards Dawn as an innocent is established to
some degree in The Body - when she goes to her sister to reveal
her mother's death and when she saves Dawn from the vampire. Dawn
is highlighted as well in
Grave and Once More With Feeling and to a degree in CWDP.
So I think she's covered.
Truth is? When you limit it to 22-25 episodes, you have to pick
one character to focus on. On ATS - it's even harder because S4
was so tightly plotted and so serialized that it just does not
make sense. I picked the Angel/Connor/Darla arc because that was
the one with the fewest episodes.
My first attempt included Cordelia/Gunn/Fred and Wes and I went
wayyy over. Connor is so essential to Angel's story it's impossible
not to include his origins. Dawn isn't really that essential to
Buffy's, she's essential, but not to the extent that you have
to include all the episodes on her - since you can argue that
Buffy would have probably done what she did in the Gift if it
had been someone else. Angel? What he did in Home is arguably
more ambiguous and I can't see him doing it if it weren't for
the fact that Connor was his son.
Again - it's really tough to do.
I focused on the episodes essential to Buffy as the slayer.
We'd probably pick different one's if it was Buffy as the girl,
actually I think it would be far harder to do 22 episodes on Buffy
the girl. The easiest would probably be picking 25 episodes that
told the Dawn Story, The Xander Story, The Anya Story, The Tara
Story, The Spike story, etc...since they have less episodes devoted
to them.
Hope that explains my choices a bit better. ;-)
[> On a related topic
-- Celebaelin, 05:27:47 09/11/03 Thu
I've mentioned this before but it may be worth repeating as the
thread didn't last long, vote for your favourite Buffy eps. to
be released on the Best of Buffy DVD at
http://www.freeserve.com/entertainment/buffy/default.htm?linkfrom=Today&link=sub1_link1&article=TODentsvote_buffy
[> [> Yes! That was the
poll I was referring to! Thanks Celebalin. -- s'kat, 18:27:11
09/11/03 Thu
See Celebalin's post for the poll that started this idea.
[> Board hopping briefly
-- RJA, 12:00:25 09/11/03 Thu
Since this really interests me in that obsessive geeky kinda way,
and your lists didnt get the attention they should over on the
ASSB. I've noticed a few changes you made, and agree with them.
Here's my own ammended personal list.
Season one
1. WTTH
2. The Harvest
3. Angel
(Tempted with Prophecy Girl, was in initial list, but I think
ultimately not as essential as subsequent episodes)
Season Two
4. Surprise (for obvious reasons, but also this, along with Innocence
also negates the need for School Hard to be here - you find out
more about the group dynamic and history, plus the emphasis on
their humanity)
5. Innocence
6. Becoming pt 1
7. Becoming pt 2
Season Three
8. Anne (I think this is something that is an either/or with Prophecy
Girl, in that they both deal with accepting being a Slayer. I
think this is more important since it explains Buffy's return,
and is more linked to the Angel arc already established on this
DVD)
9. The Prom (ultimately I prefer this over Lover's Walk, since
it has Bangel splitting up, and is a nice marking point of Buffy
as the Slayer, and being recognised for that. I think it brings
together her character arc quite nicely before the action of...
10. Graduation Day pt 1
11. Graduation Day pt 2
Season Four
12. Restless (I feel bad for only having one episode from season
four, but this, in terms of a larger arc, is the only one that
is essential to what it says about her character. CollegeBuffy
is interesting, but not sure how far that added anything to her
character in the long run)
Season Five
13. No Place Like Home (simply because Dawn needs to be explained,
and it sets up The Body and The Gift)
14. Fool For Love
15. The Body
16. The Gift
Season Six
17. Once More With Feeling (since ultimately, the fact she was
in heaven is said again here, and I think thats enough to justify
her descent into the dark side. Also we see separation from the
gang, turning to Spike. All those things essentially that Bargaining
and Afterlife ultimately told us)
18. Dead Things (I used to have Amends, but realised it was not
as important as this to Buffy's story on the whole. This is more
important, and probably the best episode to show the Dark Slayer
aspect without requiring a whole load of backstory. Also largely
self contained)
19. Grave
Season Seven
20. CWDP
21. Get It Done
22. Chosen
Really enjoyed this :-)
[> [> okay you convinced
me - good picks. -- s'kat, 18:43:58 09/11/03 Thu
Once again - I find myself going with your picks over mine, RJA.
I agree...Anne probably is a better choice over Prophecy Girl
- since it covers both the slayer and Buffy's return and how the
others struggle without her.
(Damn Prophecy Girl is so much better written, but you're right.)
Also The Prom, while it is not the best written episode and skimps
on the other characters, it does handle the B/A relationship and
Buffy's feelings about the slayer and high-school the best. So
have to go with it over Lover's Walk.
No Place Like Home? I'm torn between it and Blood Ties.
But think it might be more self-contained. Blood Ties isn't very
good as a stand-a-lone.
You do solve a huge problem by just picking Restless out of S4,
but on the other hand - you nix Riley - who is important and to
a degree Faith. Still think Who Are You is more vital to the arc.
We may have to do 24 - with the addition of Dead Things - which
you've also convinced me on.
Good choices.
[> Here are my picks for
this seductive poll -- sdev, 13:21:42 09/11/03 Thu
Season 1 -
1. Angel
2. Prophecy Girl
I would eliminate all but Angel and Prophecy Girl. From those
episodes alone I believe the viewer can catch on. I see Season
1 as a prequel.
Season 2-
3. School Hard
4. Surprise
5. Innocence
6. Becoming II
This is where the series really starts for me. Many different
recurring stories start here. Add School Hard for Spike introduction.
I think Becoming 2 works by itself.
Season 3-
7. Lover's Walk
8. Faith hope & Trick
9. Graduation Day Part II
Add Faith's introduction because she is a Buffy shadow.
Season 4-
10. Hush (or The Initiative)
11. Who Are You
12. Primeval
Season 4 I would substitute a Riley episode for The Freshman--Hush
would work because it shows Buffy and Riley at their respective
jobs, or The Initiative, for the same reason as OnM suggested--
need to show Buffy's relationship with Riley. I would put in Primeval
instead of Restless. Primeval sets the stage for the Potential
empowering spell in Chosen, brings up the power of prior slayers,
and also is the true season resolution.
Season 5-
13. Fool For Love
14. Blood Ties
15. The Gift
Season 5 I would add this Dawn episode to understand Buffy's motives
in the Gift and to understand her Season 6 stress.
Season 6--
16. Once More With Feeling
17. Smashed
18. Dead Things
19. Seeing Red
For Season 6 I would add Smashed, beginning of sexual relationship
between Spike and Buffy, Dead Things and Seeing Red and eliminate
Grave. Smashed, DT and SR were pivotal to Buffycentric Season
6 and to Buffy's character development which made sense of Season
6 and 7. Grave was really critical to Willow not Buffy.
Season 7--
20. Conversations with Dead People
21. Touched
22. Chosen
My focus was more on the inner Buffy not the slayer mythos so
I picked Touched because that is where she regains her strength
and belief in herself.
Along the same lines I think the inner Buffy went through the
most in seasons 1 and 6 and therefore I picked the most episodes
from those two seasons.
[> A more Mainstream approach
is required... -- ZachsMind, 09:41:21 09/12/03 Fri
What's 'essential' mean in this context? The 22 episodes Shadowkat
has listed are ideal in an attempt at summarizing seven years
of storytelling into one season's worth of material. However,
it leaves immense gaps in the storytelling that would turn off
newcomers. Jumping from Harvest to Angel is possible, but jarring.
Going from Becoming Part Two to Lover's Walk? Ouch. You gotta
through Beauty & the Beasts in there at least, and there's still
nuances one misses after that. Then Graduation Day immediately
thereafter? High school just doesn't speed by that fast. Restless
makes absolutely no sense unless taken in context with not only
the episodes surrounding it but ultimately the three seasons of
episodes beyond it. Actually pretty much everything from Faith's
entrance to Willow's return from England. Without all that, Restless
will just hurt one's head. Just rip that puppy right outta there.
It's a treat for diehard fans but would leave newbies spinning.
Restless IS a standalone, but it doesn't so much reveal new stuff
as illuminate elsewhere stuff. Jumping from The Body to The Gift?
Woah. Where's my Tums? From Once More With Feeling to Grave!?
I think I just got whiplash!
No. This isn't how one would introduce newcomers, and this isn't
how one defines what is "essential" to understanding
Buffy. The overall plot arcs and season arcs and even the ultimate
series arc (which is ultimately Buffy going from being unhappy
about being the chosen one to Buffy realizing that she's cookies.
I'm not kidding. Maybe someday I'll waft eloquent about that)
are all delicious treats for only die hard fans. I mean sometimes
a newcomer will grasp one of them, but usually by the time he
does he's 1) no longer a newbie to Whedon's universe and 2) hooked.
To introduce newcomers to Buffy, to launch a dvd collection of
episodes that would draw a wider audience into the Buffy story,
one would have to go in the exact opposite direction. Pick TWENTY
episodes that reflect Buffy & the Scoobies at their best. Not
highlights of the overall series arc, but episodes which are for
the most part self-contained, and tell entertaining stories.
S.1: The Puppet Show, Nightmares, Out of Sight Out of Mind
S.2: School Hard, Halloween, Bewitched Bothered and Bewildered
S.3: Homecoming, The Zeppo, Earshot
S.4: Fear Itself, Pangs, Hush
S.5: Before Dawn(Buffy vs Dracula), I Was Made to Love You
S.6: All The Way, Once More With Feeling, Tabula Rasa,
S.7: Lessons, Help, Him
Yeah I know. That last one I almost said "Showtime"
instead, but "Him" is more contained, and illuminates
the four main females in the ensemble. It's also just downright
funny from start to finish. Silly. Perhaps even redundant, but
adorable all the same. I know BB&B did it better, but despite
fan speculation, the two episodes are not that similar. If you
watched them back to back you'd see how Him actually complements
BB&B.
Then spend any extra space you have on the discs with an abundance
of special features designed to fill in any necessary blanks,
without unloading the entire farm. Introduce new fans to the parts
of Buffy that the above episodes don't address, or more properly
the things hinted at, and direct them to what episodes feature
that more prominently. Explain that these episodes only touch
the surface. In order to really grok Buffy, one needs to delve
a little deeper, but the above list would reel in new initiates
and show what is truly essential in capturing the essence of Buffy.
To get EVERYTHING however, one needs to see everything. There's
no substitute for that. There's no cliff notes version of Buffy.
Nor should there be.
[> [> Re: A more Mainstream
approach is required... -- Valheru, 13:27:37 09/12/03 Fri
Yes, this sounds like a better way to go. Although I think it
would be a good idea to include some arc-ish episodes,
ala the old Buffy/Angel Chronicles and Slayer Chronicles
VCR box sets. Something just to let the newbies know that, yes,
the show has some excellent standalones, but the arcs are where
the juicy stuff is. S2's Angelus arc is probably the best candidate,
because 1) it doesn't require a great deal of backstory, 2) it's
early enough that it doesn't spoil very much if the newbies want
to be relatively fresh to later season arcs should they choose
to see more, and 3) because it is the Angelus arc.
Another idea is to only include the high school years, or maybe
up to S4. Once the show hits S5 (or more precisely, Restless),
it begins to rely much more on the past to inform themes, and
perhaps it does a disservice to the stories if the episodes are
seen with only a rudimentary knowledge of the first four seasons.
Besides, if the first four seasons aren't enough to hook someone,
S5-7 probably won't fare any better.
Maybe do some of the strongest episodes from S1-3, then Hush,
a dream from Restless, and a preview of the last 3 years.
1-6. WTTH, The Harvest, The Pack, Angel, Nightmares, Prophecy
Girl
7-15. School Hard, Halloween, Lie to Me, Surprise, Innocence,
BB&B, Passion, Becoming I, Becoming II
16-22. Lover's Walk, Amends, The Zeppo, Doppelgangland, Earshot,
Graduation Day I, Graduation Day II
23. Hush
24. Previews
Geez, even doing it that way, I had to leave of some gems. Is
there any particular reason why Fox couldn't just do a 39-disc
box? =)
[> [> [> Hmm...maybe
it depends on the newbie? -- s'kat, 15:28:15 09/12/03 Fri
Another idea is to only include the high school years, or maybe
up to S4. Once the show hits S5 (or more precisely, Restless),
it begins to rely much more on the past to inform themes, and
perhaps it does a disservice to the stories if the episodes are
seen with only a rudimentary knowledge of the first four seasons.
Besides, if the first four seasons aren't enough to hook someone,
S5-7 probably won't fare any better.
Hmmm...an interesting factoid I'd like to share since coming on
line - over 50% of the people I've meet online who are currently
obsessed with or enjoy BTVS and over the age of 25, did not get
intrigued until S4. Before that they saw the show as "juvenile"
and found anything dealing with high school? Uninteresting. It
was S4 that intrigued them.
(Personally? I got hooked in S2 and started watching in 1997,
but I'm in the minority of a majority of people I've met in person
and on fanboards.) I couldn't get my mother interested until S6
- she wouldn't even try it. One of my closest friends? Can't stand
the reruns featuring Seasons 1-3, but loves the episodes after
that.
Why? Simple. They found the focus on the high school alienating
to them. They could not get past the idea that the show took place
in a high school. When S7 threatened to go back to high school,
they wondered if they would be interested.
So the question is? Who is your audience? Is it 16-25? In which
case anything from S1-S3 would work. OR is it 25-44, in which
case S4-S7 might be a better choice. Another thing to consider
- which episodes appeal to the broadest demographic and/or age
group?
I'd take only one or two from s1, it had the lowest ratings and
the least appeal. So taking demographics into consideration and
the fact that you want to appeal to people who buy DVD's. Attract
newbies and addicts - broadest sales possible.
S1
1.Angel
(This is still the most popular episode from this season and the
one's that gets voted for on the F/X marathons)
S2
2.School Hard
3Surprise/4Innocence
5BBB
6Passion
7Becoming I/8Becoming II
This covers the whole Angelus arc more or less - brings
in Giles, Spike, the comedy and melodrama.
S3
8. The Wish (very dark episode)
9. The Zeppo
10. Dopplegangland
11. Helpless
(All are pretty much stand-a-lones, all very adult not much focus
on high school issues)
S4.
12. Hush
13. Something Blue
(Two very popular episodes - one a comedy, one a silent movie)
S5
14. Buffy vs. Dracula
15. Fool For Love
16. The Body
Also all stand-a-lones but adult and gripping and high vote getters
for F/X marathons.
S6
17. Once More With Feeling
18. Dead Things
(These two are more or less stand-alones which get across the
flavor of the season by themselves)
S7
19. Lessons (or Beneath You - maybe Beneath You since it had a
bit more going on)
20. Selfless
21. Conversations With Dead People
22. Chosen
Again, this really is a matter of opinion. I honestly don't know
what I'd do if I was a marketing person with Fox. Probably put
together an online poll and have people vote.
Which is what they did. LOL!
[> [> new quote-of-the-week
nomination: -- anom, 10:54:29 09/14/03 Sun
"There's no cliff notes version of Buffy. Nor should there
be."
And good overall point too, ZachsMind. Although you & shadowkat
may be trying to do different things. Is the goal to have the
newbie say at the end, "Oh, OK, I get the picture--yeah,
I see why you like it," & not feel the need to watch the
other episodes, or is it to have s/him say, "Wow! I gotta
see more of this!" & rush out to buy all the DVDs that are
out by that time & then borrow your tapes of the rest?
So it may depend not only on the newbie but on what the diehard
fan wants to accomplish.
[> Restless -- Dochawk,
22:39:40 09/12/03 Fri
Restless may be one of the finest hours of Buffy ever, but it
is not essential in understanding the story of Buffy. In fact,
I think it is one of the least important episodes in Buffy's story.
There are many episodes which I think are mediocre which are more
important for her story. The missing episode from your list which
I think most belongs there: Checkpoint, where the watcher/slayer
relationship is really examined and Buffy truly understands her
power.
[> [> You're right -
Checkpoint probably is better. -- s'kat, 22:05:11 09/13/03
Sat
We do need an episode with the First Slayer though.
But - that said, I think Get it Done might work just as well as
Intervention or Restless and is probably far clearer.
Checkpoint does a good job of showing her relationship with the
council and is a big turning point - after that episode, Buffy
never relies on the Council or anyone with the Council's advice
again. It's a true turning point in the series.
[> Need a transcript site
-- Finn Mac Cool, 16:25:31 09/13/03 Sat
For the past three days I've been trying to come up with my list
of the Essential Buffy the Vampire Slayer, but have been having
difficulty. The three criteria I have to fulfill are really making
me head hurt (worthiness of episodes, episode limit, and continuity
coherence). So, it would really help me out if someone could point
me towards a transcript site, specifically one that has the "previously
on" segments. That will help me figure out how to reduce
continuity confusion and maybe finish my own list. Anyone know
of a site like this?
[> [> http://ww3.buffy-vs-angel.com/guide.shtml
-- Sophist, 16:57:52 09/13/03 Sat
[> [> [> Unfortunately
. . . -- Finn Mac Cool, 21:51:21 09/13/03 Sat
It doesn't quite have what I'm looking for. It only transcribes
the "previously on" segments for the later seasons.
The earlier seasons (such as 3, which is the one I'm having the
most trouble with) don't have the previously on mentioned.
[> [> [> [> www.buffyworld.com
-- Masq, 10:07:26 09/15/03 Mon
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