After watching the last three episodes, I am even fuzzier on how Whedon and his writers are trying to portray Buffy. On one hand, you have Buffy the poor student, and it isn't simply a matter of being too busy slaying to study (though that certainly plays a part.) Buffy admits that school, books, and learning aren't her thing. She even admits in a previous episode that prior to being called as the Slayer, she was even flightier than Cordelia. So how does this non-reading, C (or D or F) student make references like she did in "Enemies" where she says that Faith "makes Godot look punctual." Her witty sarcasm and clipped remarks are frequently filled with these sorts of highbrow literary and cultural references that seem out of sync with her life experience. So what is Whedon trying to say? There's more to Buffy than meets the eye? I get that, but where does she obtain this vast knowledge that seems to escape her when other people make these same sorts of references?
On the flip side, I find some of these Buffy inconsistencies quite compelling. Here you have a young woman who has faced demons and tons of otherwordly horrors, and yet she still manages a very high school jealousy over Faith and Angel in "Enemies" and "Earshot." The immaturity behind this insecurity is highlighted by its juxaposition against Angel's age and experience. Angel has seen it all and done it all, while Buffy is obviously feeling her way through this. She even tries to read Angel's mind in "Earshot" in order to determine his thoughts and feelings about Faith. This serves as a sharp reminder that the girl who has had to grow up too fast ("Anne") is still exactly that, a girl. She may kill baddies and fight demons, but ulitimately, she's not the best at human relationships (as was discussed in the Leon article.)
On a separate and unrelated note, I have to mention the Mayor, who is quite possibly the most entertaining Buffy bad guy yet. His G-rated quips contrast sharply with Faith's morality-free lifestyle/attitude. I am intrigued that the one person in Sunnydale who is most concerned with living a good, clean life is also the one that plans to destroy the town and its inhabitants. This would seem to echo my previous suggestion that Whedon is against any authority that establishes any external/artificial set of rules and regulations. The Mayor could stand in for government, organized religion, even heavy handed parenting. It is also significant that once again the rebellious Faith has sought out someone to tell her what to do. Certainly she has chosen a leader more in line with what she wants, but still, the Mayor treats her much like a father would, and she submits willingly to his control.
Saturday, February 28, 2009
Wednesday, February 25, 2009
Respect My Authority
With this week's episodes, we revisit the idea that authority is bad in the Buffyverse. In "Revelations," the new watcher, Gwendolyn Post, turns out to be an evil, power-crazed baddie. What I did find interesting, however, was that while Buffy and her crew never liked the new watcher, Faith, the resident rebel, felt inexplicably connected to her. This made me wonder what Whedon was suggesting here...that those who cannot self-regulate are the only ones who need an absolute authority? It is an interesting suggestion that could have far reaching implications on everything from government to religion.
In "Helpless," Giles is forced to put Buffy through a test which could potentionally harm/kill her. This echoes the same theme found in "Revelations." Buffy and Giles seem to be managing just fine on their own until Quentin from the Council shows up. Once again, the writers seem to be pointing to people's need to regulate/control themselves so that less capable dictator types aren't given a foothold. This would also seem to tie in well with the chapter we read on Buffy and religion. Perhaps Whedon is suggesting the existence of good and evil as intrinsic values rather than manifestations of a deity. If that is the case, then it would make sense that he would be against any sort of imposed external regulation like religion.
Both "Bad Girls" and "Consequences" show what happens when absolute authority goes bad. The Mayor, already powerful in Sunnydale, becomes invincible. The new watcher's attempts to control Faith end badly. Whatever else Whedon and his writers are suggesting by their characterizations of adults in the Buffyverse, it is clear that they have little faith in authority.
In "Helpless," Giles is forced to put Buffy through a test which could potentionally harm/kill her. This echoes the same theme found in "Revelations." Buffy and Giles seem to be managing just fine on their own until Quentin from the Council shows up. Once again, the writers seem to be pointing to people's need to regulate/control themselves so that less capable dictator types aren't given a foothold. This would also seem to tie in well with the chapter we read on Buffy and religion. Perhaps Whedon is suggesting the existence of good and evil as intrinsic values rather than manifestations of a deity. If that is the case, then it would make sense that he would be against any sort of imposed external regulation like religion.
Both "Bad Girls" and "Consequences" show what happens when absolute authority goes bad. The Mayor, already powerful in Sunnydale, becomes invincible. The new watcher's attempts to control Faith end badly. Whatever else Whedon and his writers are suggesting by their characterizations of adults in the Buffyverse, it is clear that they have little faith in authority.
Monday, February 23, 2009
The Good, The Bad, and the Really, Really Ugly
One might expect the storylines of Buffy the Vampire Slayer to follow a strict good-versus-evil rule. After all, stories that are clearly black and white, with no pesky gray area, have always done well in the fantasy genre. (See movies like Star Wars and Lord of the Rings.) But from the very beginning of the series, the line between good and bad has been far from stationary. Buffy does fight and kill vampires and other hellish baddies, but to do so, she must break rules and deceive those she loves (like her mother.) She further muddies the waters by dating a vampire, and not just any vampire. Angel has killed many, many people. He may have a soul now, but that does not erase the fact that he committed unspeakable crimes.
In the three episodes we watched for Tuesday (2/24), we see even further evidence of the skewed vision of good and evil that exists in Sunnydale. In "Becoming Part Two," Buffy must face the demon, Acathla, and her former lover, Angel, who is now set on destroying the world. When things look bleakest, she finds help from the most unlikely source, Spike. That Spike has tried to kill both Buffy and those she loves is not what is most ironic, however. It is the fact that Spike is willing to help Buffy because of his love for Drusilla (well, that and his desire to stop the destruction of the world.) Though the viewer has seen Spike as a ruthless (though charming) killer, they suddenly feel at least a twinge of empathy for a character who is trying to keep his beloved. Buffy is conflicted by Spike's offer, but she ultimately decides to accept it in order to pursue a greater good. (If the Buffy/Spike detente is not an example of one big moral gray area, I don't know what is.)
In "Anne," Buffy slips away from Sunnydale to live in some unnamed town. It would appear, however, that the moral dilemnas followed her to her new location. She is immediately confronted by someone who needs her help, a girl from Sunnydale. Though "Lily" seems helpless and hopeless, she still tries to get money from Buffy and turns on Buffy when things go downhill. A character who might at first seem good (though not to regular viewers of BtVS) because of his apparent desire to help the needy, turns out to be an evil demon sent to recruit workers for some mysterious and deadly factory. Buffy must choose between protecting herself and helping others (a choice she makes often in the series) and, of course, chooses the latter. Though this episode does not necessarily show situational gray areas, it does play on our expectations of who is good and who is bad.
When it comes to moral dilemnas and gray areas, no character except Angel has ventured so far as Faith. In "Faith, Hope, and Trick," the new slayer (to replace Kendra) enters with an entourage of otherworldly baddies close behind. Though Faith is a slayer called to fight evil, she does so with much more relish than Buffy. She seems to enjoy the violence, whereas Buffy sees it more as a means to an end. Is Faith a "good" character? Her motives seem far from pure. Did she assume that Kakistos would follow her to Sunnydale? Did she hope that she could then let Buffy take over and relieve her of her pursuers? When she heard about Kakistos, she immediately tried to run (something Buffy would never do.) She is far more concerned about her own personal safety and fulfillment than the safety of those around her. It seems clear that the line between good and evil will only get more blurry the longer Faith is in the picture.
Buffy must also deal with her own gray areas as she finally admits to Giles and Willow that she killed Angel after he regained his soul. Yes, she was working toward the greater good. Killing Angel (or, at least, sending him to Hell) saved the world, but she also proved once and for all that when it came to choosing between love and slaying, she could make the right choice. It could also be argued, however, that she was "saving" Angel. She could have no way of knowing that Angel would return. Maybe she thought that by killing him she was freeing him from his tortured soul.
In the three episodes we watched for Tuesday (2/24), we see even further evidence of the skewed vision of good and evil that exists in Sunnydale. In "Becoming Part Two," Buffy must face the demon, Acathla, and her former lover, Angel, who is now set on destroying the world. When things look bleakest, she finds help from the most unlikely source, Spike. That Spike has tried to kill both Buffy and those she loves is not what is most ironic, however. It is the fact that Spike is willing to help Buffy because of his love for Drusilla (well, that and his desire to stop the destruction of the world.) Though the viewer has seen Spike as a ruthless (though charming) killer, they suddenly feel at least a twinge of empathy for a character who is trying to keep his beloved. Buffy is conflicted by Spike's offer, but she ultimately decides to accept it in order to pursue a greater good. (If the Buffy/Spike detente is not an example of one big moral gray area, I don't know what is.)
In "Anne," Buffy slips away from Sunnydale to live in some unnamed town. It would appear, however, that the moral dilemnas followed her to her new location. She is immediately confronted by someone who needs her help, a girl from Sunnydale. Though "Lily" seems helpless and hopeless, she still tries to get money from Buffy and turns on Buffy when things go downhill. A character who might at first seem good (though not to regular viewers of BtVS) because of his apparent desire to help the needy, turns out to be an evil demon sent to recruit workers for some mysterious and deadly factory. Buffy must choose between protecting herself and helping others (a choice she makes often in the series) and, of course, chooses the latter. Though this episode does not necessarily show situational gray areas, it does play on our expectations of who is good and who is bad.
When it comes to moral dilemnas and gray areas, no character except Angel has ventured so far as Faith. In "Faith, Hope, and Trick," the new slayer (to replace Kendra) enters with an entourage of otherworldly baddies close behind. Though Faith is a slayer called to fight evil, she does so with much more relish than Buffy. She seems to enjoy the violence, whereas Buffy sees it more as a means to an end. Is Faith a "good" character? Her motives seem far from pure. Did she assume that Kakistos would follow her to Sunnydale? Did she hope that she could then let Buffy take over and relieve her of her pursuers? When she heard about Kakistos, she immediately tried to run (something Buffy would never do.) She is far more concerned about her own personal safety and fulfillment than the safety of those around her. It seems clear that the line between good and evil will only get more blurry the longer Faith is in the picture.
Buffy must also deal with her own gray areas as she finally admits to Giles and Willow that she killed Angel after he regained his soul. Yes, she was working toward the greater good. Killing Angel (or, at least, sending him to Hell) saved the world, but she also proved once and for all that when it came to choosing between love and slaying, she could make the right choice. It could also be argued, however, that she was "saving" Angel. She could have no way of knowing that Angel would return. Maybe she thought that by killing him she was freeing him from his tortured soul.
Wednesday, February 18, 2009
Parental Guidance Suggested
Thus far in Buffy, we have seen adults/authority figures portrayed in a less than flattering light. Either the adults in Buffy's life are completely clueless idiots (Principal Flutie), secretly sinister (Principle Snyder, the Praying Mantis teacher), or they are powerless in the face of evil or danger. The four episodes that we watched for Thursday (2/19) focused on the latter group, though there were a few sinister sneaks thrown in for good measure.
In "What's My Line? Part Two," Giles is portrayed (as he is so often is) as a slightly bumbling, well-intentioned advisor. He may have book smarts, but he is seen (at least by the kids) as someone who is more about thought than action. When Kendra reminds Buffy to return to her watcher for "orders," Buffy is insulted. She informs Kendra that she "doesn't take orders." Though Giles is technically an authority figure in Buffy's life, obviously, she feels that when it comes to a crisis, she should trust her own judgement. Giles may come up with clever plans, but ultimately, it is the kids who implement them. Willy, on the other hand, appears incompetent at first only to become a somewhat spineless bad guy.
Giles' role of kindly father figure contines in "Surprise" and "Innocence." Though he does hours and hours of research on the Judge, it is Buffy and Xander who come up with and implement the plan to steal a weapon and destroy the Judge. Jenny Calendar is sent to protect the curse on Angel that keeps him good. She is conflicted when she must weigh her ancestral traditions against her relationships with Giles and Buffy. In the end, she fails to protect Angel or Buffy.
Buffy's mother, however, seems the most clueless adult so far in the series. She ignores her daughter's bizarre behavior and unexplainable circumstances at every turn almost as if she is under a spell. She is frustrated with Buffy, and in "Becoming" her lack of faith in her daughter comes to the fore. She may have defended Buffy with an axe in "School Hard" and declared her to be a self-reliant young woman, but those days are over.
I am curious about Whedon's motivation for portraying adults in this manner. It could, of course, simply be a matter of appealing to a young viewer. Every teenager thinks their parents are idiots at some point. In Sunnydale, the parents really are. It could also be a device to emphasize Buffy's isolation and loneliness because of her Slayer calling. Buffy is 17 and is moving quickly toward adulthood/womanhood. If we are following the pattern of the female hero, the time is approaching for her to break away from home/mother/adult guidance and move toward independence. Perhaps Whedon is showing how Buffy's circumstances are forcing her to grow up too quickly.
The adults' blindness to the mayhem and danger that surround them could also be a metaphor. Children and teenagers generally have a very strong sense of personal justice. They are outraged by people and situations that adults just accept as being part of life. Parents remind their teenage children that "life isn't fair." Sometimes as adults, though, we become blind to the evils and injustice that surround us on a daily basis. We accept bad circumstances because "that's just the way things are." Perhaps Whedon is pointing to the power of youth to recognize wrongs in our society and to bring them to light.
In "What's My Line? Part Two," Giles is portrayed (as he is so often is) as a slightly bumbling, well-intentioned advisor. He may have book smarts, but he is seen (at least by the kids) as someone who is more about thought than action. When Kendra reminds Buffy to return to her watcher for "orders," Buffy is insulted. She informs Kendra that she "doesn't take orders." Though Giles is technically an authority figure in Buffy's life, obviously, she feels that when it comes to a crisis, she should trust her own judgement. Giles may come up with clever plans, but ultimately, it is the kids who implement them. Willy, on the other hand, appears incompetent at first only to become a somewhat spineless bad guy.
Giles' role of kindly father figure contines in "Surprise" and "Innocence." Though he does hours and hours of research on the Judge, it is Buffy and Xander who come up with and implement the plan to steal a weapon and destroy the Judge. Jenny Calendar is sent to protect the curse on Angel that keeps him good. She is conflicted when she must weigh her ancestral traditions against her relationships with Giles and Buffy. In the end, she fails to protect Angel or Buffy.
Buffy's mother, however, seems the most clueless adult so far in the series. She ignores her daughter's bizarre behavior and unexplainable circumstances at every turn almost as if she is under a spell. She is frustrated with Buffy, and in "Becoming" her lack of faith in her daughter comes to the fore. She may have defended Buffy with an axe in "School Hard" and declared her to be a self-reliant young woman, but those days are over.
I am curious about Whedon's motivation for portraying adults in this manner. It could, of course, simply be a matter of appealing to a young viewer. Every teenager thinks their parents are idiots at some point. In Sunnydale, the parents really are. It could also be a device to emphasize Buffy's isolation and loneliness because of her Slayer calling. Buffy is 17 and is moving quickly toward adulthood/womanhood. If we are following the pattern of the female hero, the time is approaching for her to break away from home/mother/adult guidance and move toward independence. Perhaps Whedon is showing how Buffy's circumstances are forcing her to grow up too quickly.
The adults' blindness to the mayhem and danger that surround them could also be a metaphor. Children and teenagers generally have a very strong sense of personal justice. They are outraged by people and situations that adults just accept as being part of life. Parents remind their teenage children that "life isn't fair." Sometimes as adults, though, we become blind to the evils and injustice that surround us on a daily basis. We accept bad circumstances because "that's just the way things are." Perhaps Whedon is pointing to the power of youth to recognize wrongs in our society and to bring them to light.
Monday, February 16, 2009
Destiny Bites
The three episodes we watched for Tuesday seemed to focus especially on Buffy's internal struggle over her destiny and the "normal" life she was giving up to be the Slayer. While "School Hard" and "What's My Line" centered on the school life and career she would never have, "Halloween" looked more at what she was losing personally, as a girl. Between the three episodes, a complete picture was painted of everything Buffy's life was not. Each time, she was given a choice: Slayer or girl. Though she may have sampled some of the normal activities (mostly to a bad end), she ultimately "chose" her destiny every time. I suppose it could be argued that she had no choice, no free will, but it seemed to me that that the writers were trying to portray her as deeply noble, someone who would make the right choice regardless. The inevitability of her fate seems almost irrelevant when she willingly makes sacrifices for her friends.
In "School Hard," we once again revisit the cruel injustice that is high school - only for Buffy that is magnified a thousand times. Her mother thinks she's trouble, and the principal is itching to expel her for the slightest infraction. Despite the fact that she is good and responsible (at least for a sixteen year old), she is contantly questioned and never trusted or given the benefit of the doubt. Certainly everyone who has lived past their sixteenth birthday could relate to this sort of treatment on a smaller scale, but Buffy is the ultimate misunderstood teenager. Though the episode highlights the respect and admiration she has to sacrifce to be a secret of slayer of vampires, she does as, at least, gain a nod from her mother. It is obvious, however, that this conflict is far from over.
"Halloween" links to a conflict I mentioned in a previous blog - that of Buffy's becoming something altogether different because of how she must live. Darla may point to what Buffy could become (evil), but there are other things Buffy could become. She is dating a vampire. So who is she? A teenage valley girl who love to shop? A butt-kicking vampire slayer? A hardened killer? Her transformation into a clueless noblewoman is her identity crisis come to life.
Of the three episodes, "What's My Line" seemed the most poignant portrayal of Buffy's internal conflict. It isn't simply about her life now. It's about her future. What can possibly become of her? Should she even worry about it since she probably won't live that long? When the replacement Slayer shows up, however, Buffy is shown that her life could be worse. Her life is far more "normal" than Kendra's. Once again, we are reminded of what Buffy could become and what she has to lose.
In "School Hard," we once again revisit the cruel injustice that is high school - only for Buffy that is magnified a thousand times. Her mother thinks she's trouble, and the principal is itching to expel her for the slightest infraction. Despite the fact that she is good and responsible (at least for a sixteen year old), she is contantly questioned and never trusted or given the benefit of the doubt. Certainly everyone who has lived past their sixteenth birthday could relate to this sort of treatment on a smaller scale, but Buffy is the ultimate misunderstood teenager. Though the episode highlights the respect and admiration she has to sacrifce to be a secret of slayer of vampires, she does as, at least, gain a nod from her mother. It is obvious, however, that this conflict is far from over.
"Halloween" links to a conflict I mentioned in a previous blog - that of Buffy's becoming something altogether different because of how she must live. Darla may point to what Buffy could become (evil), but there are other things Buffy could become. She is dating a vampire. So who is she? A teenage valley girl who love to shop? A butt-kicking vampire slayer? A hardened killer? Her transformation into a clueless noblewoman is her identity crisis come to life.
Of the three episodes, "What's My Line" seemed the most poignant portrayal of Buffy's internal conflict. It isn't simply about her life now. It's about her future. What can possibly become of her? Should she even worry about it since she probably won't live that long? When the replacement Slayer shows up, however, Buffy is shown that her life could be worse. Her life is far more "normal" than Kendra's. Once again, we are reminded of what Buffy could become and what she has to lose.
Tuesday, February 10, 2009
The Master of Metaphor
Some of the Buffy baddies are far from subtle in the metaphor department. In “The Witch”, the overachieving cheerleader wannabe was really her own evil, overbearing mother trying to relive her glory days. This tied in nicely with Buffy’s own desire to be popular and also with her lack of an involved mother. The evil mom and her struggling daughter were everything that Buffy and her mother were not.
Not all the villains were quite as obvious, however. Darla, the Master’s Girl-Friday and Angel’s ex, seemed to represent everything that Buffy was fighting against becoming – someone who completely lacks empathy and kills for fun. It is interesting however, that she is so similar in appearance to Buffy – blonde, attractive, young (looking anyway). I think this physical similarity points to what Buffy is capable of, even if she never becomes a vampire. Buffy must balance her need for cold objectivity in the face of death with her desire to remain human and empathetic with her fellow man.
Perhaps the most challenging character to crack is the Master. Does he represent Buffy’s absent father? Death? Or more convincingly, is the Master a metaphor for Buffy’s destiny, forced upon her against her will? The Master was already in Sunnydale waiting for Buffy to arrive. No matter how many vampires she faced in Season 1, the Master came up with yet another evil plan that cost Buffy more of her precious “normal” time. Even with the Master’s Death in “Prophecy Girl,” she cannot completely escape him. He forces her to face her death, and then in the Season 2 opener, he nearly rises again. It seems that, like her destiny as the Slayer, Buffy cannot escape the Master. Even though she has crushed his bones to dust, his Anointed remains to cause trouble for the unwilling Slayer.
Not all the villains were quite as obvious, however. Darla, the Master’s Girl-Friday and Angel’s ex, seemed to represent everything that Buffy was fighting against becoming – someone who completely lacks empathy and kills for fun. It is interesting however, that she is so similar in appearance to Buffy – blonde, attractive, young (looking anyway). I think this physical similarity points to what Buffy is capable of, even if she never becomes a vampire. Buffy must balance her need for cold objectivity in the face of death with her desire to remain human and empathetic with her fellow man.
Perhaps the most challenging character to crack is the Master. Does he represent Buffy’s absent father? Death? Or more convincingly, is the Master a metaphor for Buffy’s destiny, forced upon her against her will? The Master was already in Sunnydale waiting for Buffy to arrive. No matter how many vampires she faced in Season 1, the Master came up with yet another evil plan that cost Buffy more of her precious “normal” time. Even with the Master’s Death in “Prophecy Girl,” she cannot completely escape him. He forces her to face her death, and then in the Season 2 opener, he nearly rises again. It seems that, like her destiny as the Slayer, Buffy cannot escape the Master. Even though she has crushed his bones to dust, his Anointed remains to cause trouble for the unwilling Slayer.
Monday, February 9, 2009
Follow the Leader
In addition to watching the first three episodes of Season 1 this weekend, I went ahead and watched the whole first season. While I can definitely see some of the patterns that were mentioned in the article on the female hero (Buffy's in the "Virgin" stage, obviously), I think it is significant that unlike the stories mentioned in the article, Buffy (the character/tv show) was created by a man. Yes, Buffy is physically powerful. She is resourceful and clever, but ultimately, she needs a man (Giles) in order to fulfill her destiny. Though creator, Joss Whedon, says he wants a strong female character, he still creates a girl who is often ruled by her passions and must be led by a man. As we learn from the first episode on, her slaying duties at her old school did not end well for her, and no specific mention of a previous watcher is made. Giles quickly becomes the "brains" of the operation. Even Willow, the only female character so far who is betrayed as really intelligent, is mostly taking orders from Giles. Of course, they are still kids, and Giles is an adult. It would be beyond unrealistic to create teenage characters who exist completely in their own realm with no adult supervision/interaction (not that this show is reality based), but it seemed to me that, at least in the first three episodes, Buffy is ruled mostly by her emotions, and Giles must use his intellect and vast knowledge of vampire lore to rein her in time and again. This seemed to be particularly true of episode three, "The Witch," where Buffy's desire to fit in and be a popular cheerleader led her into trouble and almost cost her her life.
Joss Whedon's possible slip into patriarchy aside, he does create a strong, clever character who uses witty banter and sarcasm as much as she uses her fists. She and her friends, Willow and Xander, often communicate in a quick, almost telegraphic style of language that is full of humor and historical and cultural references. I did find it funny, however, that while they completely understood Cordelia's comment about hyperbole in "The Witch," they were unable to decipher the meaning of the words "mythological entomology" in the following episode, "Teacher's Pet." Overall, though, Whedon has created a character that is an interesting juxtaposition between street smart tough and innocent lamb.
Joss Whedon's possible slip into patriarchy aside, he does create a strong, clever character who uses witty banter and sarcasm as much as she uses her fists. She and her friends, Willow and Xander, often communicate in a quick, almost telegraphic style of language that is full of humor and historical and cultural references. I did find it funny, however, that while they completely understood Cordelia's comment about hyperbole in "The Witch," they were unable to decipher the meaning of the words "mythological entomology" in the following episode, "Teacher's Pet." Overall, though, Whedon has created a character that is an interesting juxtaposition between street smart tough and innocent lamb.
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